Issues : Corrections in A
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b. 46
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composition: Op. 28 No. 24, Prelude in D minor
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One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin also combined the slurs that initially encompassed three notes before the rest and the further part of the motif to the a1 crotchet. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 54
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composition: Op. 28 No. 24, Prelude in D minor
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The crossing-out visible in A at the end of the bar probably concerned the category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 55
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composition: Op. 28 No. 24, Prelude in D minor
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Chopin initially wrote G category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 60
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composition: Op. 28 No. 24, Prelude in D minor
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The denser notation of A suggests that the demisemiquaver rest and the beam changing the semiquaver to a demisemiquaver were added by Chopin later. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 70
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composition: Op. 28 No. 24, Prelude in D minor
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Chopin initially wrote G category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
mark; Chopin started writing it, yet having realised that a pedal change was superfluous, he stopped and crossed it out. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 20 and 41.
as the 4th semiquaver in 
1.