Page: 
Source: 
p. 11, b. 122-147
p. 1
p. 2
p. 3, b. 1-13
p. 4, b. 14-28
p. 5, b. 29-43
p. 6, b. 44-58
p. 7, b. 59-73
p. 8, b. 74-91
p. 9, b. 92-106
p. 10, b. 107-121
p. 11, b. 122-147
p. 12, b. 148-177
p. 13, b. 178-209
p. 14, b. 210-239
p. 15, b. 240-263
p. 16, b. 264-278
p. 17, b. 279-293
p. 18, b. 294-308
p. 19, b. 309-326
p. 20
GE1 - First German edition
Main text
GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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Graphic ambiguousness
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Notation
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No differences
GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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Important
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copy link PDF GE1 - First German edition


  b. 132

a-e1 fifth in GE

Triad with c1 in FE (→EE)

According to us, the version of FE (→EE) most probably resulted from a misinterpretation of the manuscript – in Chopin's and Fontana's manuscripts it can be difficult to determine whether a chord contains a middle note on a ledger line – cf., e.g. the Etude in A major, Op. 10 No. 10, b. 76, the Prelude in C major, Op. 28 No. 1, b. 34 or the Concerto in F minor, Op. 21, mov. I, b. 109. Repeating two notes of the preceding chord on the 3rd crotchet would be an unnecessary burden to the accompaniment; it does not occur in this section, as a result of which in the main text we follow GE

Compare the passage in the sources »

category imprint: Differences between sources

issues: Inaccuracies in FE, Uncertain notes on ledger lines

notation: Pitch

Missing markers on sources: GE1, GE2, FE1, FE2, EE1, EE2, EE3, FES