Issues : Accompaniment changes
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b. 12
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composition: Op. 28 No. 12, Prelude in G♯ minor
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This bar was entirely crossed out in A and rewritten on adjacent staves – the R.H. above the crossing-out, while the L.H. – below. In the readable initial version, the regular steps of the R.H. quavers and the position of the 1st L.H. chord are preserved, while the f1 notes are written enharmonically as e category imprint: Corrections & alterations; Source & stylistic information issues: Omissions to cancel alteration , Corrections in A , Deletions in A , Accompaniment changes , Enharmonic corrections , Main-line changes |
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b. 33-34
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composition: Op. 28 No. 12, Prelude in G♯ minor
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Starting from the 2nd beat of b. 33, the R.H. part was enhanced by Chopin; he crossed out the earlier version, which we present below: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 39
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A one can see that the additional a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 68-69
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A one can see here crossings-out and corrections in both parts; however, we were able to decipher only some of the crossed-out versions. The 2nd beat of b. 68 could have featured e (with a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes |
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b. 70
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The first L.H. octave was being changed a few times in A. Among the crossed-out versions, there was certainly a G category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes |
1: 
. The corrections had been performed before the performance marks were introduced – the crossed-out version did not contain the following elements: accent, staccato dots, phrase mark, dashes marking the range of crescendo and pedalling marks. The 
restoring b1 on the 3rd beat of the bar was also missing.
. The changes consisted in making the bottom voice independent and in rejecting short slurs in favour of a longer phrase mark. Considerable corrections can also be seen in the following bars – see the notes to 
that was on the 3rd beat in the L.H., perhaps as a correction of the version with d