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b. 329-330

composition: Op. 2, Variations, complete

Semiquavers in AsI & A

Quavers in GE1 (→FE,EE,GE2→FESB)
..

As in bar 323, in GE1 (→FE,EE,GE2→FESB) the semiquaver beams in the top voice were overlooked.

category imprint: Differences between sources

issues: Errors in GE

b. 329-330

composition: Op. 2, Variations, complete

..

As in many similar situations, in A the majority of the necessary accidentals are missing – Chopin wrote accidentals only to the 2nd quaver in bar 329 (e2-e3-g3-e4) and the next semiquaver (b3), the penultimate semiquaver in bar 329 (b1), the bottom note of the 2nd triplet in bar 330 (g) and the bottom note of the 6th triplet in bar 330 (d1). Assuming that the accidentals of the first two-quaver figure of the passage are also valid in the second one, all necessary accidentals were already added in GE1 (FE,EE,GE2→FESB,GE3). In FE a  to e2 on the 4th L.H. quaver in bar 329 was also added. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , FE revisions

b. 329

composition: (Op. 4), Sonata in C minor, Mvt IV

Triad in A

Sixth in GE (→FE,EE,IE)
..

The missing c3 note in GE (→FE,EE,IE) is most probably an oversight by the GE engraver. In Chopin's autographs, establishing the presence of a middle note of a chord on a ledger line can be problematic; in this case, however, the c3 notehead is very clear, even bigger than e3 (however, the presence of e3 is proven by the very fact of writing a ledger line at this pitch).

category imprint: Differences between sources

issues: Errors in GE , Uncertain notes on ledger lines

b. 329-331

composition: (Op. 4), Sonata in C minor, Mvt IV

to b. 331 in A

 in b. 329-330 in GE (→FE,EE,IE)
..

In A the arms of the  hairpin differ by a half of a bar. We assume that it is the bottom, longer arm that is reliable, reaching the topmost note of the three-bar quaver sequence. In GE (→FE,EE,IE) the mark was led only to the end of bar 330, in accordance with the range of the top arm; moreover, the beginning of the mark was shifted by almost an entire bar, making it look like the hairpin that was printed in an analogous phrase 4 bars earlier.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 330

composition: Op. 39, Scherzo in C♯ minor

Rhythm in EE and an interpretation of GC's script

Rhythm in FE & GE
..

The initial rhythm in RH () is confirmed in EE and also in GC (despite an obvious error - ). Traces of printing edits in FE allow us to see that the rhythm intitially was notated in this edition too but it was changed by Chopin to . We see this variant also in GE, revised most probably based on the rhythm in the earlier phrase, in bars 322 and 326

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE , Errors of GC