Pitch
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b. 159-160
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composition: Op. 23, Ballade in G minor
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Under these three L.H. chords, one can see deletions in A; however, they allow us to decipher the deleted text – the same chords written down an octave lower. According to us, it did not necessarily have to be the initial version but a mistake – a bar earlier, an identical motif is written down in the bass clef; while writing the same chords in the treble clef, Chopin could have had the impression that the very change of clef assured the transfer of the notes an octave higher. Cf. a similar situation in the Scherzo in C category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Authentic corrections of FE , Bass register changes |
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b. 162
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composition: Op. 23, Ballade in G minor
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The version of A is most probably a Terzverschreibung, which would often happen to Chopin with a larger number of ledger lines – cf., e.g. the Polonaise in C category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE |
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b. 162
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composition: Op. 23, Ballade in G minor
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The cautionary natural to a1 was added – perhaps by Chopin – in the stage of proofreading FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 162
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composition: Op. 23, Ballade in G minor
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In A, the grace note is so close to the f4 quaver that the 8 digit opening the octave sign, although actually placed over f4, encompasses the grace note too. In spite of that, FE (→GE,EE) clearly excluded the grace note from the octave sign, which is, according to us, a mistake, since it constitutes a sonically unjustified complication. Such a problem with a grace note and an octave sign is also to be found in other pieces by Chopin, e.g. in the Sonata in B minor, Op. 58, 4th mov., b. 254 and 258, where it seems that the grace notes are not encompassed with the octave sign in both places, yet the pianistic context (and in b. 254 also the musical context) is an argument for inaccuracy of notation. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccuracies in A |
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b. 164-165
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composition: Op. 23, Ballade in G minor
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In these bars, there are no flats to a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE |
minor, Op. 39, b. 
3.
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