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b. 166
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composition: Op. 12, Variations in B♭ major
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In the case of such a small element as an augmentation dot, put in an atypical place, a double, independent oversight cannot be completely ruled out. However, it seems more likely that Chopin added this dot in the last stage of proofreading FE, after the copies serving as the bases for GE and EE had been sent. category imprint: Differences between sources issues: Errors in EE , Errors in GE , Authentic corrections of FE |
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b. 166
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composition: Op. 12, Variations in B♭ major
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The line showing the course of the separated accompaniment voice was added by Chopin in FEO. category imprint: Differences between sources |
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b. 166-167
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composition: Op. 12, Variations in B♭ major
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In FE 3 naturals raising e category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Errors repeated in GE |
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b. 167-168
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composition: Op. 12, Variations in B♭ major
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In the main text we include the fingering digits entered into FEO (teaching copy). category imprint: Differences between sources; Editorial revisions |
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b. 167
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composition: Op. 12, Variations in B♭ major
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In GE the absence of 2 out of 3 fingering digits provided in FE could be blamed on the engraver's inattention, while the additional digit in EE – on revision. However, it is likely that the GE version represents the text of a proof copy of FE, which was then differently supplemented in the very FE and in the basis for EE, most probably by Chopin. In the main text we provide the FE version, which conveys almost the same volume of information as EE but with a smaller number of marks. Moreover, it is undoubtedly authentic, which cannot be said of EE (with certainty). category imprint: Differences between sources issues: EE revisions , Errors in GE , Authentic corrections of FE , Authentic corrections of EE |
to e, in various octaves, were omitted – bar 166, the 5th and 10th semiquaver, and the quaver at the beginning of the 2nd half of bar 166. In 
to the 11th semiquaver (c
2).
