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b. 7-8

composition: Op. 10 No 7, Etude in C major

No fingering in A (→FE→GE)

Fingering in EE
..

The entire fingering in EE was added by Fontana. In the part of the R.H. it naturally stems from the fingering given by Chopin as a template in bar 1.

category imprint: Differences between sources

issues: EE revisions

b. 7

composition: Op. 10 No 7, Etude in C major

 in A

No hairpin in FE (→GE,EE)

Our variant suggestion
..

In FE (→GE,EE) it is hard to determine whether the lack of the short  mark written in A is a result of Chopin's proofreading or the engraver's oversight. In the main text we suggest a variant solution.

category imprint: Differences between sources

issues: Errors in FE

b. 7-16

composition: Op. 10 No 9, Etude in F minor

..

In AI the 2nd halves of bars 7, 8 and 16 were briefly marked with the // sign.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 7-8

composition: Op. 10 No 9, Etude in F minor

 in AI

 cresc. in A (→FE→GE,EE)
..

The indications of AI do not take into consideration the relations of this bar – agogic and dynamic – with the next bar and subsequent phrase.

category imprint: Differences between sources

b. 7-11

composition: Op. 10 No 9, Etude in F minor

Staccato dots in AI & FE (→GE,EE)

No marks in A
..

The incomplete staccato indications in A were added in a proofreading of FE (→GE,EE). What is interesting is the fact that all dots are also in AI. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Inaccuracies in A