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b. 3
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composition: Op. 10 No 2, Etude in A minor
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It is not clear how to understand the signs shaped in the form of accents visible in Ap at the end of bars 3 and 4. Therefore, in both places we offer alternative interpretations. A similar problem appears in analogous bars 11-12, 38 and 39. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Long accents |
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b. 3-4
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composition: Op. 10 No 12, Etude in C minor
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We present the literal interpretation of the slurs included in A, however, there is no doubt that Chopin considered this notation to be equal to one slur, as in bars 1-2. A similar hesitation, concerning the choice of space for leading the slur, is visible also in bars 41-42. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , Authentic corrections of FE |
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b. 3
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composition: Op. 10 No 12, Etude in C minor
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category imprint: Differences between sources issues: Errors in GE |
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b. 3
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composition: Op. 10 No 11, Etude in E♭ major
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The additional b category imprint: Differences between sources issues: Errors in GE |
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b. 3-4
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composition: Op. 10 No 11, Etude in E♭ major
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In Chopin's notation, the category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , No pedal release mark |
in 
1 in 
marks which are not followed by 
usually appear at the end of the pieces. In other situations it is mostly a result of an oversight, yet sometimes it seems that Chopin wanted to emphasise a performance of a given fragment with pedal but without a precise indication of each movement of the leg. This is the situation we are probably facing in this place, as the marks of a pedal depressed on each quaver could simply occupy too much space. In order to avoid any ambiguity, in the main text we add con. In the editions the pedal mark was omitted. Cf. bars