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b. 1

composition: Op. 10 No 6, Etude in E♭ minor

Fingering in A

FE (→GE,EE)
..

Chopin completed the fingering of the basic figure while proofreading FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 1-10

composition: Op. 10 No 6, Etude in E♭ minor

Fingering in A

FE (→GE)

EE
..

The omission of '1' at the end of bars 1 and 9 in FE (→GE) could be blamed on the engraver's distraction and considered as the notation's inaccuracy, if it was not for a simultaneous addition of '2' at the end of bars 2-3. According to us, regardless of the reason for omitting these digits, the final effect of the changes in FE must be accepted as deliberate and valid. Allegedly, Chopin assumed that the hand position in bars 1-2 is not as important as in bars 3-4.

In EE the addition by Fontana in bar 1 complies with the fingering written by Chopin in A, yet in bars 9-10 – it does not.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 1-9

composition: Op. 10 No 6, Etude in E♭ minor

Accents in A, literal reading

Accents in A, interpretation

Accent in FE (→GE,EE)
..

In A the first long note of the theme, g1, is provided with an accent in both bar 1 and 9 (as well as in bar 41). In FE (→GE,EE) the sign appears only in bar 9, which we consider as an oversight. The accent's type in bar 1 is ambiguous, yet the sign in bar 9 is undoubtedly a long accent and this is the version we adopt in the main text in both places.

category imprint: Differences between sources

issues: Long accents

b. 1

composition: Op. 10 No 6, Etude in E♭ minor

 in A

FE (→GE,EE)
..

In the main text we reproduce the  sign after A, over the part of the R.H. In the editions it was put between the staves. It is impossible to claim whether the change comes from Chopin, yet the sign placed over the stave seems to be more legible, as it does not pose a risk of assigning it to the semiquavers in the L.H. 

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 1

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

88 in A

84 in FE (→GE,EE)
..

Chopin changed the prescribed tempo of the Etude twice: in A he deleted Presto and wrote Vivace, while in a proofreading of FE (→GE,EE), he slightly reduced the metronome tempo. Cf. changes of a similar nature in the Etudes in E major, No. 3 and C minor, No. 12.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Changes of tempo markings