Issues : Corrections in A
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b. 1
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composition: Op. 28 No. 6, Prelude in B minor
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In A one can see that the initial tempo marking was Largo. Cf. changes of markings in adjacent Preludes. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 1
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composition: Op. 28 No. 7, Prelude in A major
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A possible authenticity of the indications of CXI remains purely hypothetical – the only assumption can be a correction, visible in A, of the initial Lento indication. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A |
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b. 1
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composition: Op. 28 No. 9, Prelude in E major
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In A one can see a crossing-out proving that the time signature was changed from category imprint: Corrections & alterations; Source & stylistic information issues: Changes of metre , Corrections in A , Deletions in A |
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b. 1-2
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composition: Op. 28 No. 21, Prelude in B♭ major
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In the main text we give the slur of FE (→EE), since the vast majority of subsequent slurs, present in a similar context, is led to the 1st quaver in the next bar in A – out of 13 slurs in b. 1-12 and 15, it is only the slurs in b. 1, 8 and 10 that end on the 6th quaver; two (in b. 6 and 9) are ambiguous. We consider all the above slurs to be inaccurate, since the differences in the range of slurs are not related to the structure of motifs, e.g. the shorter slurs in b. 1 and 8 are opposed by the longer ones in similar figures in b. 2 and 7. Moreover, in A one can see corrections – the slurs in b. 4-5 and 5-6 were being extended (in b. 3-4 probably too). Along with the crossed-out staccato dot at the beginning of b. 2, it may indicate that the concept of markings of those figures changed from category imprint: Differences between sources issues: Corrections in A , FE revisions , Omitted correction of an analogous place , Inaccuracies in FC |
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b. 1-8
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composition: Op. 28 No. 19, Prelude in E♭ major
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In A one can see crossed-out three-quaver slurs running from the 2nd quaver of each triplet to the 1st quaver of the next one. One can assume that the crossing-out was related to the legato indication added at the beginning of the Prelude. At the beginning of the Etude in A category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
to 
.
1 to c1 in 
to 
. Consequently, the aforementioned shorter slurs would be uncorrected elements of the initial slurring.