Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 22, Polonaise
We place this and the next L.H. semiquavers between the last two semiquavers of a respective R.H. triplet, in accordance with the notation of the sources. However, according to us, it is uncertain whether it complies with the notation of [A] and with the performance intended by Chopin – in a figuration in the ending of the Variations in B
Major, Op. 12, based on a similar idea and written with semiquavers in 6/8 time, the L.H. semiquavers are performed simultaneously with the last R.H. semiquaver: 
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Compare the passage in the sources »
category imprint: Source & stylistic information
notation: Rhythm