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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
..
GE1 has a g category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
..
There is no accidental before the bottom note of the 10th sixth, which makes it to be interpreted as g2. The flat added here in GE2 (→GE3) cannot come from Chopin, yet, one has to admit that a similar addition in many other places would be absolutely accurate – cf. the adjacent note. Possible doubts concerning the sound of this note is dissipated by the category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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In A (→GE1), FE and EE there is no category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of A |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
..
The authenticity of the version with c3 is undeniable – Chopin fingered it twice and heard it then during the lessons. However, it cannot be said of the version with c category imprint: Differences between sources issues: EE revisions |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
..
In A (→GE) and FE there is a superfluous category imprint: Differences between sources; Editorial revisions issues: EE revisions , Cautionary accidentals |
as the bottom note on the 6th quaver. The comparison with the remaining sources, featuring e
.
3 in 
, considering the failure to preserve the rule of parallel movement of the voices to be a sign of mistake. However, it does not mean that it was like that – it could have also been Chopin that introduced this variation.
(cautionary?) before d