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p. 7, b. 110-125
p. 1, b. 1-21
p. 2, b. 22-40
p. 3, b. 41-55
p. 4, b. 56-73
p. 5, b. 74-90
p. 6, b. 91-109
p. 7, b. 110-125
p. 8, b. 126-140
p. 9, b. 141-155
p. 10, b. 156-172
p. 11, b. 173-187
p. 12, b. 188-205
p. 13, b. 206-223
p. 14, b. 224-244
p. 15, b. 245-264
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A - Autograph
FE - French edition
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FE2 - Corrected impression of FE1
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Revised impression of GE2
GE4 - Corrected impression of GE3
GE1a - Album German edition
EE - English edition
EE1 - First English edition
EE2 - Amended impression of EE1
EE3 - Revised impression of EE2
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Revised impression of GE2
GE4 - Corrected impression of GE3
GE1a - Album German edition
EE - English edition
EE1 - First English edition
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EE3 - Revised impression of EE2
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  b. 125

There is a  before the 5th quaver in GE, which makes this and the 9th note sound like d. Harmonic changes in such passages can be found in Chopin's works (e.g. in the Etude in C major, Op. 10 No. 1, b. 60 and 64 or in the Etude in C minor, Op. 25 No. 12, b. 42), in this case, however, the authentic pedal markings (and other factors) indicate that one harmony should be continued until the end of the bar. The engraver of GE most probably changed the sharps to naturals a note too early (by mistake).

Compare the passage in the sources»

category imprint: Differences between sources

issues: Errors in GE

notation: Pitch

Missing markers on sources: A, FE1, FE2, FED, GE1, GE2, GE3, GE4, GE1a, EE1, EE2, EE3