Issues : 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. 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. 188
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composition: Op. 2, Variations, complete
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The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note. As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with a category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE |
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b. 188
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composition: Op. 2, Variations, complete
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In AsI the last quaver in the bar underwent an evolution that eventually resulted in the version of A (→GE→FE,EE,FESB). The starting point was the version (written down clearly, in normal-sized script) that we consider the text of this source. It is very similar to the respective fragment of b. 184. Chopin then crossed out the f1-b category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
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b. 191
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composition: Op. 2, Variations, complete
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We give the text written down in normal-sized lines, most probably initial, as the version of AsI. The slur over these three chords most probably also concerns this version – see the next note. Chopin then sketched a version in which the top voice is separated and provided with a changed rhythm; generally, it is compliant with the final version: category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |
in 
suggested by the editors
1 fourth and added a double grace note (in a draft manner) to the 4th quaver and 4 dyads as in the final version, however, without marking the differentiated rhythmic values, which are thus to be interpreted as demisemiquavers. We give this interpretation as an alternative variant of the text of 
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