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b. 7

composition: Op. 10 No 2, Etude in A minor

 g2 in CLI, Ap, GE2 (→GE3) & EE4

No  in FE (→GE1, →EE2→EE3) & GE4 (→GE5)
..

The lack of  raising g2 into g2 on the 10th semiquaver is probably an error of FE (→GE1,→EE2→EE3). It is worth mentioning that when interpreted literally, FEcor has g2 here, as the  before the 2nd semiquaver of the bar is still valid (see the previous remark). Similarly, despite lack of the , g2 is featured in GE1 and GE4 (→GE5). The correctly written combination of the E minor triad on the 2nd beat of the bar and g2 in the described place appears only in Ap. 

category imprint: Differences between sources

issues: Errors in FE

b. 7

composition: Op. 10 No 2, Etude in A minor

..

CLI has by mistake an A on the 3rd beat of the bar. Probably it was similar also at the beginning of the bar, yet in this situation the copyist realised the mistake and corrected the erroneous note. 

category imprint: Interpretations within context; Differences between sources

issues: Errors of CLI

b. 7-9

composition: Op. 10 No 12, Etude in C minor

No fingering in A

Fingering in FE (→GE)

Fingering in EE
..

In the main text we give the fingering added by Chopin in a proofreading of FE (→GE). Fontana added it in EE in a way which can be considered as naturally stemming from Chopin's hints (although certainly not the only one in the 2nd half of bar 8). 

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 7-8

composition: Op. 10 No 12, Etude in C minor

in A

in FE (→GE,EE) 
..

The omission of the dashes limiting the range of the dynamic change in FE (→GE,EE) belongs to the most frequent inaccuracies of French first editions of Chopin's works.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 7-15

composition: Op. 10 No 11, Etude in E♭ major

e1 in A

f1 & e1 in FE (→GE,EE)

f1 & f1 proposed by the editors
..

The change of the inner note in the 4th chord in bar 7 from e1 written in A to f1 featured in FE (→GE,EE) is most probably a result of Chopin's correction. The composer could have striven for a smoother combination of this chord with the next one, without a progression of parallel fifths. According to us, the correction intentionally concerns also two repetitions of this place, in bars 15 and 39 (Chopin omitted one of a few similar places at the time of proofreading on a number of occasions, e.g., in the Etude in G major, No. 5, bar 4).  

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE , Omitted correction of an analogous place