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b. 2-11

composition: Op. 10 No 4, Etude in C♯ minor

No marks in AI

Dots in FE (→GE,EE)
..

In AI, the staccato articulation of the quavers, separated with rests, accompanying the semiquaver figuration (in bars 1-3, 5-6, 9-11), is marked only in bars 1 and 5. There is no doubt that the dots written there are to be understood as a model, hence valid also in the remaining bars.

category imprint: Differences between sources

b. 2-3

composition: Op. 25 No 2, Etude in F minor

Fingering in FED

Fingering in FED

Our suggestion

No teaching fingering
..

The fingering digits pairs written in FED and FES complement each other.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 2-4

composition: Op. 25 No 4, Etude in A minor

No signs in A (→FE)

  in FC (→GE1)

  in EE

  in GE2 (→GE3)
..

The pair of   hairpins must have been added by Chopin in FC and base text to EE. Nothing indicates that Chopin could have wanted to resign from these indications – their absence in A (→FE) is almost certainly a result of haste and insufficient attention at the time of parallelly introducing corrections and additions in three Stichvorlage manuscripts. Similarly in bars 6-8.
Shortening the  sign in GE2 (→GE3) is most probably an editorial revision or a mistake of the engraver. 

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 2-3

composition: Op. 25 No 6, Etude in G♯ minor

..

In FC the part of the R.H. is written in these bars in an abbreviated manner – with the help of •/• signs – as repetition of bar 1.

category imprint: Differences between sources

issues: Abbreviated notation of A

b. 2-6

composition: Op. 25 No 8, Etude in D♭ major

..

We add cautionary flats before the 2nd sixth in bars 2 and 6.

category imprint: Editorial revisions