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b. 3

composition: Op. 10 No 6, Etude in E♭ minor

 in A (→FE→GE,EE)

Our suggestion
..

The sign at the beginning of bar 3 in A (→FE→GE,EE) may be considered as  hairpins, especially due to the fact that it is between the staves. However, a comparison with analogous bars 11 and 43 shows that we are probably dealing with an unfortunately placed long accent mark and this is the interpretation we suggest in the main text.  

category imprint: Interpretations within context; Differences between sources

issues: Long accents

b. 3-4

composition: Op. 10 No 6, Etude in E♭ minor

..

Bar 3 in A (→FE→GE1→GE2→GE3) repeats the  from the 1st half of the bar before g in the 2nd half of it. The  before f in the 2nd half of bar 4 is similarly repeated. The unnecessary signs were removed in GE4 (→GE5). In analogous bars 11-12 and 43-44 the signs do not appear in any of the sources.  

category imprint: Differences between sources

issues: Cautionary accidentals

b. 3

composition: Op. 10 No 7, Etude in C major

f1-g1 in A

f1-b1 in FE (→GE,EE)
..

The  f1-g1 second in A is most probably the original version of the 3rd semiquaver. In analogous bar 36 Chopin changed it to an f1-b1 fourth already in A. The traces of corrections are also visible in bar 3, yet the  f1-a1 third was removed, probably written by mistake. In bar 11, in which the 1st phrase appears one octave higher, the f2-b2 fourth is immediately written in A. 

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Authentic corrections of FE

b. 3

composition: Op. 10 No 7, Etude in C major

c repeated in A

c tied in FE (→GE,EE)
..

The tie sustaining c was added in a proofreading of FE (→GE,EE), undoubtedly by Chopin (he introduced an identical addition in analogous bar 36).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 3-4

composition: Op. 10 No 7, Etude in C major

No fingering in A (→FE→GE)

Fingering in EE
..

The entire fingering in EE was added by Fontana. In the part of the R.H. it naturally stems from the fingering given by Chopin as a template in bar 1.

category imprint: Differences between sources

issues: EE revisions