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p. 12, b. 199-224
p. 1, b. 1-20
p. 2, b. 21-42
p. 3, b. 43-60
p. 4, b. 61-75
p. 5, b. 76-90
p. 6, b. 91-105
p. 7, b. 106-126
p. 8, b. 127-147
p. 9, b. 148-163
p. 10, b. 164-178
p. 11, b. 179-198
p. 12, b. 199-224
p. 13, b. 225-240
p. 14, b. 241-255
p. 15, b. 256-271
p. 16, b. 272-293
p. 17, b. 294-315
p. 18, b. 316-332
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
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  b. 203

Quavers in A (→GE)

Dotted rhythm in FE

Dotted rhythm in EE

In FE the part of the quaver beam to the right of g1 is slightly more tilted than the preceding section. It could mean that changes were being made in print, which would suggest a Chopinesuqe correction to the rhythm in this place. However, it is not certain, hence in the main text we keep the A version (GE). The FE version – most probably authentic – can be considered an equal variant. Such rhythmic variations are the most common type of rhythmic variants in Chopin's pieces.

EE basically repeated the FE version, yet the semiquaver was placed after the 3rd quaver of the L.H. triplet, contrary to the convention used by Chopin and kept in FE.

Compare the passage in the sources»

category imprint: Differences between sources

issues: EE revisions, Authentic corrections of FE, Dotted rhythms and triplets, Dotted or even rhythm

notation: Rhythm

Missing markers on sources: A, FE1, FE2, FEJ, FES, GE1, GE2, EE1, EE2