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b. 5-13
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composition: Op. 10 No 6, Etude in E♭ minor
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In bars 5 and 13 it is not certain whether the difference between the indications (accents, category imprint: Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 5-6
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composition: Op. 10 No 7, Etude in C major
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In A the accent in bar 5 is significantly longer than the one in bar 6 (similarly in bars 9-10). A minor difference was reproduced only in EE, which is probably a fortuitous coincidence. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 5-14
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composition: Op. 10 No 7, Etude in C major
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The whole-bar long slurs of EE are an arbitrary addition of the reviser who simply copied the authentic slurs from bars 1-4. The revision includes bars 5-11 in EE3 and in EE4 also bars 12-14. category imprint: Differences between sources issues: EE revisions |
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b. 5-6
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composition: Op. 10 No 9, Etude in F minor
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In bar 5 and in the 1st half of bar 6, in AI, instead of part of the L.H., there is come sopra, which, in this context, undoubtedly refers to bars 1-2 and means repetition of the notation of the first three groups of semiquavers. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 5
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composition: Op. 10 No 10, Etude in A♭ major
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The hook at the bottom of the natural raising d category imprint: Source & stylistic information issues: Errors in FE , Authentic corrections of FE |
twice in 
hairpins) of 
3 to d3, resulting from haste while writing