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The initial rhythm of the bar was the one in EE - 
and all the lost sources, which can be assessed beased on:
-
GC notation, in which the notes of RH are notated above the 1st, 3rd and 6th quaver od LF. Notated rhythmic values of notes -
- do not correspond with this rhythm but this results from the copyist's error as he placed a quaver flag on the second and not the third chord; - in FE visible traces of correcting the rhythm of EE must havee been done by Chopin himself.
In GE the error found in GC was corrected based on the assumption that it pertained to the placement of augmentation dots on the second chord (
). Such an interpretation seems logical when we see that the same rhythm appears earlier in this phrase.
In b. 334 we have a similar situation - the initial rhythm was altered by Chopin in FE to . In this bar also one of the sources, containing the earlier version of the rhythm, may give its distorted version ( 
in EE).
Looking at the part of bars t. 320-335 and assuming full authenticity of EE it is possible to make a point of a gradual evolution of the rhythmic concept in bars 322, 326, 330 and 334 from a varied one consisting of three rhythmic variants to a unified one both within this phrase and the whole of Scherzo:
category imprint: Differences between sources
issues: GE revisions, Authentic corrections of FE, Errors of GC
notation: Rhythm
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