Pitch
|
b. 231
|
composition: Op. 23, Ballade in G minor
..
In A there are no accidentals to the first L.H. octave, while the category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , Authentic corrections of FE , Last key signature sign |
|||||
|
b. 232
|
composition: Op. 23, Ballade in G minor
..
The version of GE1a with an a2-f3 sixth resulted from a routine revision based on the idea that diminished or augmented octaves generally come from oversights or mistakes. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 233
|
composition: Op. 23, Ballade in G minor
..
The category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , FE revisions , Inaccuracies in A |
|||||
|
b. 233
|
composition: Op. 23, Ballade in G minor
..
In A (→FE) this bar is at the end of a line; therefore, it should be marked that the clef is going to change to the bass one. A did not do it; however, a corresponding mark was added by FE. category imprint: Differences between sources; Source & stylistic information issues: FE revisions , Inaccuracies in A |
|||||
|
b. 235
|
composition: Op. 23, Ballade in G minor
..
The deletion visible in A next to the c-c1 octave most probably covers the initial version of this octave. According to us, it could have been d-d1. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
lowering a to a
is only just before the 2nd crotchet. Chopin's mistake is evidenced by the 
before the bottom note of the last octave in this bar, which would be irrational if the 1st octave were supposed to be A-a (naturally, the mistake is also evidenced by the logic of the chromatic bass sequence). The mistake of 
to the top note of the 1st sixth (f
3), overlooked by