There is, in addition, a set of variations on a Bohemian melody, opus 55, equally ordinary. A set published as opus 40 is perhaps the most pretentious and likewise the most varied. Here we have in the first variation some open, flowing counterpoint in which the theme is pretty well disguised; in the second some effective whirring figures for the left hand; in the third some brilliant broken octaves and double notes. The fourth is in the style of a fugue, pianissimo. The fifth furnishes sharp contrast. The eighth is very brilliant and the last is in Spanish style, which seems to depend upon a lavish use of triplet turns.
What one can hardly fail to observe is the great similarity in all his passage work. Two styles of runs he uses in nearly all his pieces. One is as follows:
![[PNG]](#4545014759173569793_p186_score1.png.id-4157608721296322941.wrap-0.html.html){kind=link}
The other is what one might call an over-reaching figure, in this manner:
![[PNG]](#4545014759173569793_p186_score2.png.id-996799428916004592.wrap-0.html.html){kind=link}
Sometimes, as well as over-reaching the chordal harmony at the top, he anticipates it by a chromatic step at the beginning, thus:
![[PNG]](#4545014759173569793_p187_score.png.id-4568017738141998847.wrap-0.html.html){kind=link}