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. 23, Ballade in G minor
At the beginning of b. 45 and 47, one can see deletions and corrections in the L.H. part in A. On the basis thereof, we can read the initial version of b. 45: 
. The change of the bass note from g to f
is also visible in b. 47; however, there was no change to the rhythm there – the a1 minim was a syncopation from the very beginning. One can ponder why Chopin forwent rhythmic variants in these bars – according to us, the reason could have been the need to accentuate the 2nd crotchet in the bar in b. 45 as well to keep the rhythm cohesive with the previous bars.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A
notation: Pitch
