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b. 188
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composition: Op. 2, Variations, complete
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The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note. As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with a category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 188
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composition: Op. 2, Variations, complete
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In AsI the last quaver in the bar underwent an evolution that eventually resulted in the version of A (→GE→FE,EE,FESB). The starting point was the version (written down clearly, in normal-sized script) that we consider the text of this source. It is very similar to the respective fragment of b. 184. Chopin then crossed out the f1-b category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 188-189
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composition: Op. 49, Fantaisie in F minor
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In A there is no category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , FE revisions , Last key signature sign , Inaccuracies in A , Errors repeated in GE |
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b. 188
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composition: (Op. 4), Sonata in C minor, Mvt IV
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As in bar 5, in A the category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions , Errors of A |
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b. 188-189
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The analogous L.H. sequences in bars 187-188 and 188-189 are most probably supposed to be performed identically. Due to this reason, in the main text we suggest adding a slur (or a tie?) to c1, as marked by Chopin in bars 5-6. category imprint: Editorial revisions issues: Errors of A |
in 
suggested by the editors
1 fourth and added a double grace note (in a draft manner) to the 4th quaver and 4 dyads as in the final version, however, without marking the differentiated rhythmic values, which are thus to be interpreted as demisemiquavers. We give this interpretation as an alternative variant of the text of 
to the 2nd quaver in bar 188 (g
