Vorschlagsliste mit Übersetzungen der Tempovorschriften etc. für G, angefertigt im Auftrag von Associated Music Publishers durch Arthur Mendel. Dezember 1941. Arnold Schönberg Center, Wien.

3 einseitig beschriebene Blätter, maschr., mit hs. Zusätzen Schönbergs (Bleistift, Grünstift, Rotstift). S. [1] oben, Mendels Titelvorschlag: ARNOLD SCHOENBERG │ THREE PIECES FOR PIANO │ Drei Klavierstücke │ Op. 11 │ (Revised 1924); darunter Vorschlag für Innentitel: Inside title │ (caption): THREE PIECES │ (Drei Klavierstücke); unten rechts von Schönbergs Hand, quer: please number the measures a number to every measure (diesem Wunsch wurde in G nicht entsprochen).

Zu Einzelheiten vgl. die Lesarten-Tabelle 2 unten GA, Reihe B, Bd. 4, S. 12ff.

Zu F gehört (auch zur analogen Quelle G des Opus 19) der folgende Begleitbrief A. Mendels an Schönberg vom 20. 12. 1941 (Arnold Schönberg Center, Wien, 2 einseitig beschriebene Blätter, maschr.; S. [1] oben links quer zur Anschrift der hs. Vermerk Schönbergs: Mendel │ Ass. Mus. Publ.):

Dear Sir: I am writing to you on behalf of Associated Music Publishers, Inc., of New York, the American representatives of Universal Edition, who plan to issue an American edition (in the narre of Universal) of your Sechs kleine Klavierstücke und Drei Klavierstücke, Op. 19 and Op. 11 respectively. They have asked me as editor to glance through these pieces and prepare them for the printer, and I have accordingly prepared translations of the various German terms contained in them. The Italian terms are just as understandable here as in German, of course.
What I propose to do, in general, is to leave the German terms in the music, and add (above or below, wherever there is space) the translation. The pieces will not be reengraved, but photographed from the original editions (the 1924 revision of Op. 11), and the new additions will be pasted in the appropriate places before photographing.
I have discussed the problems involved with Mr. Greissle and Mr. Steuermann here, and what appears on the enclosed pages is my decision alter consulting them. Many of the terms (e. g. langsamer, viel schneller, etc.) present no problems; others are more difficult. They are all submitted for your criticism.
In addition, I must ask you spec f cally about a few:
In Op. 11, Nr. 1, 3rd brace: will everything be as clear as possible by deleting »Mit Dämpfung bis [Coda] «, and the [Coda] , and »3. Pedal«, and inserting »una corda« at the second measure and »tre Corde« after the ferst note of the third? (hs. Zusatz Schönbergs: yes)
In the 4th brace of the saure piece, Mr. Steuermann teils me he finds that pianists are offen confused by the »Flag. [Noten] «, and he suggests omitting it. (hs. Zusatz Schönbergs: yes omit) Perhaps you will be good enough to let me know what you think of all these suggestions at your earliest convenience.
Faithfully yours Arthur Mendel.