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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 |
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b. 5-7
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composition: Op. 10 No 10, Etude in A♭ major
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In a proofreading of FE (→EE) Chopin reduced the number of accents in these bars, removing the accents at the beginning of the 1st and 3rd three-note groups of quavers. The change, together with a relevant correction of bars 1-4, homogenised the accentuation of the entire 1st eight-bar section of the Etude. In GE – probably due to an accumulation of mistakes – there are 4 accents in bar 6 and then only one in bars 5 and 7 (the accent in bar 5 was overlooked in GE3 and GE4). See also bar 8. category imprint: Differences between sources |
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b. 5-8
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composition: Op. 10 No 10, Etude in A♭ major
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In the 2nd four-bar section Chopin wrote the accidentals less carefully. In A (→FE) there are no naturals before b2 in bar 5 and d3 in bars 7-8. These patent oversights were corrected in GE and EE (in EE3 the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , GE revisions , Errors of A |
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b. 5
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composition: Op. 10 No 2, Etude in A minor category imprint: Differences between sources issues: GE revisions |
3 to d3, resulting from haste while writing 
in bar 7 was not completed).
indication was added by the reviser of