Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor




Op. 23, Ballade in G minor
In these bars, there are no flats to a1 and A
in A (→FE) (the accidental to a
at the end of b. 164 is not necessary due to a respective
to the L.H. chord). What is more, the remaining necessary flats were inserted only in the first half of each of these bars. Moreover, in A Chopin even deleted the
that was initially put to G
in b. 165 (cf. the description of A in some Preludes, Op. 28, e.g. in F
minor, No. 8). GE and EE include the version adopted by us.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources
issues: EE revisions, Accidentals in different octaves, GE revisions, Inaccuracies in A, Errors repeated in FE
notation: Pitch