Issues : Accompaniment changes
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b. 4
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composition: Op. 2, Variation IV, primitive version
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Chopin was gradually reaching the satisfying pitch of the three topmost notes in the 2nd and 4th L.H. figures. In this bar, both AsI figures differ from the A version, but in analogous bar 20 it is only the 4th figure that is different, and the 2nd figure is identical in both manuscripts. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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In the 1st half of the bar, the L.H. part bears traces of corrections in AsI. While working on this manuscript, the initial version: category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Corrections of AI |
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b. 7
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composition: Op. 2, Variation IV, primitive version
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As in bars 1-2 and 5-6, in AsI Chopin kept the position of the hemidemisemiquaver figures, in spite of the melody semiquavers, which are each time farther away. In the final version, he reduced the distance between the melody semiquavers and the preceding arpeggio-like figures. The same in bar 23. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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b. 8
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composition: Op. 2, Variation IV, primitive version
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In the 1st half of the bar (2. volta) the principal AsI version (written first, with normal-sized notes) refers to the principal version of bars 1-2 and 5-6 – the hemidemisemiquaver group does not move in parallel with the melody semiquavers. Nevertheless, this version is compatible (in an acceptable way) with both versions of the 2nd half of bar 7, hence these places can be treated independently. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 9
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composition: Op. 2, Variation IV, primitive version
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In A Chopin simplified the L.H. part by standardising the first 2 figures. A similar situation is to be found in bar 13. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
1-c1-a & f1-e
was ultimately replaced by the one we give in our transcription. Chopin then once more changed the 2nd and 3rd hemidemisemiquavers in the 1st figure of the bar; in 
