Issues : Dotted rhythms and triplets
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b. 45-46
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composition: Op. 2, Variations, complete
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In the main text, we place a demisemiquaver under/over the last note of a semiquaver triplet in each of the 4 places where such a combination occurs, in accord with the notation of A (→GE→EE,FESB). In FE1 (→FE2) the demisemiquaver in these figures is placed after the last semiquaver of the triplet. This is certainly an arbitrary revision of the engraver of this edition, who had not yet seen that Chopin was using this Baroque-Classical convention, which in the 19th century was gradually superseded by a notation conforming with the strictly calculated nominal rhythmic values of the notes. In all places (as well as in bar 44) AsI notes a dotted rhythm in twice the rhythmic values, as category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
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b. 51-53
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composition: Op. 2, Variations, complete
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On the 2nd beat of each of these bars, the R.H. top voice is written down in AsI in twice as long rhythmic values than suggested by the time signature and the relation to the bottom voice: category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Dotted rhythms and triplets |
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b. 104-108
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 104 and 106-108), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
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b. 110-122
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 110, 120 and 122), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note on b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
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b. 123-126
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composition: Op. 2, Variations, complete
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The notation of FE, with the demisemiquaver going beyond the 3rd note of the semiquaver triplet (in b. 123, 124 and 126), is contrary to the Chopinesque understanding of this kind of combination of a dotted rhythm with a triplet – see the note to b. 45-46. category imprint: Differences between sources issues: Dotted rhythms and triplets , FE revisions |
. This is an obvious mistake.
. Regardless of the mistake (cf. b. 45-46), it definitely means that the last notes of both voices should be performed simultaneously. However, a change introduced into 
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