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b. 7
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composition: Op. 25 No 2, Etude in F minor
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AT, AW and CDP do not have here the category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Errors of A , Errors of CDP |
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b. 7-15
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composition: Op. 25 No 4, Etude in A minor
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At the beginning of bars 7 and 15 we add cautionary naturals before G and g. The signs before the 1st quaver in both bars were introduced in GE and EE3, before the second – only in GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 7-8
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composition: Op. 64 No 3, Waltz in A♭ major
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The category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, in both bars, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. Similarly in analogous places – cf., bars 19-20, 23-24, 35-36, 39-40, 49-50 and 53-54. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC |
before the 5th (e2) quaver. In 
hairpin is shifted in 
signs were overlooked in these bars, what later versions of 
2. However, there are strong grounds, both source (proved also in other pieces Chopin's doubts concerning the notation of a/a