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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
..
Neither in AI nor in A is the type of accent Chopin thought of here clear. The sign is visibly shorter in AI than in A, therefore, we interpret it as a short and long accent, respectively. This is how we give it in the main text. According to us, it is highly likely that a long accent was written also in the base text to FE, reproduced inaccurately as category imprint: Differences between sources; Corrections & alterations issues: Long accents |
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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
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In all manuscripts, FE and EE1 (→EE2) have no flats returning e category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A |
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b. 6-7
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composition: Op. 25 No 2, Etude in F minor
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Cf. General Editorial Principles, p. 17. category imprint: Differences between sources; Editorial revisions |
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b. 6-8
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composition: Op. 25 No 2, Etude in F minor
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In the version prepared for print, Chopin abandoned in this fragment any attempts to suggest any phrase divisions, both structural (AT) and expressive (AW). The written in AW phrase breath effect in the 2nd half of bar 7 (and 26) was used – in the form underlined with articulation – only on the occasion of the last appearance of this fragment (bar 57). category imprint: Differences between sources; Corrections & alterations |
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b. 6-8
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composition: Op. 25 No 4, Etude in A minor
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In the main text we give a pair of category imprint: Differences between sources issues: Authentic corrections of FC |
in 
2 and e
