Op. 64 No 2, Waltz in C♯ minor

 b. 8-24

	c1 ×3 in As, 1st version, probable reading
	d1 ×3 in As, 2nd version, contextual interpretation
	d1-d1-c1 in As, 1st version, possible reading, or d1-d1-c1 in AI
	d1-c1-c1 in A (→FE→GE,EE)

Similarly as in bar 4, As includes two versions in bar 8, which differ in the R.H. only – as we may assume – with bottom notes of the first three dyads. However, a full interpretation is not possible here, since in the original version, written in the main course of the text, the 1st quaver is covered with an inkblot, probably resulting from corrections (probably from c¹-e¹ to d¹-e¹). The bottom note of the 2nd quaver is also unclear – it can be both d¹ and c¹. In analogy to bar 4, we assume that in the original version, all three bottom notes were c¹. An additional argument for such a reconstruction is a correction visible in AI in bar 24 – Chopin wrote there initially c¹ three times, changing then the first two to d¹. The second of the given versions of As is written over the R.H. and under the L.H. of the first, probably with an intention to choose one of them later. 
In the discussed bar As does not include a  before d¹, the sound of these notes, however, is unquestionable, since a respective sign is – in a similar context – in the previous bar.

Therefore, we are dealing here with four editions of this place, most probably written by Chopin, out of which the latest is closer to the original one more than both intermediate ones, which can be considered to be an indication of the composer's hesitation. A possible reason of his dilemmas was finding the smoothest transition between the a-d-e chord at the beginning of the bar and the d-a-cchord at the end.

In bar 24 all sources include the same versions as in bar 8.   

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

notation: Pitch