Issues : Main-line changes
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b. 178
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composition: Op. 23, Ballade in G minor
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In A, Chopin shortened the rhythmic value of the b category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A , Main-line changes |
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b. 178
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composition: Op. 2, Variations, complete
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In the version intended for publication, Chopin reserved the trill for the last repetition of this phrase, bar 194. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 179-180
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composition: Op. 38, Ballade in F major
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The R.H. part underwent substantial changes in A, mainly rhythmical. Interestingly, it is possible to decipher the deleted versions with high probability. Chopin started with the following: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 182
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composition: Op. 2, Variations, complete
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In AsI there are two semiquavers at the end of the bar in the first record (b. 182), whereas the second one (b. 182') includes a dotted rhythm, compliant with the versions of the remaining sources. The respective variants are included in the note below. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes , Dotted or even rhythm |
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b. 185-186
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composition: Op. 38, Ballade in F major
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The deletions visible in A at the beginning of the 2nd half of bar 185 demonstrate that Chopin changed the 7th R.H. semiquaver. The removed semiquaver was probably a g1-c2 fourth. Similarly, we can guess that the deleted 7th semiquaver in bar 186 sounded a1-d2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
2-b
in 
. Subsequently, this was slightly modified by removing the penultimate semiquaver in bar 179:
. Analogous transformations were applied in bars 183-184.