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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

b. 3-4

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

No slur in A

Slur in FE (→GE,EE)
..

The slur was added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 3

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

in A

No indication in FE (→GE,EE)
..

According to us, an accidental omission of cresc. in FE (→GE,EE) is the most plausible explanation in this case.

category imprint: Differences between sources

issues: Errors in FE