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b. 1
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composition: Op. 10 No 9, Etude in F minor
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The way of writing the indication of tempo-character in A suggests that Chopin was gradually developing this indication. Initially, it included only Agitato (as in AI), to which then Molto and eventually Allo were added. The change of the value in the indication of the metronome tempo is most probably a result of Chopin's proofreading of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Metronome tempos , Authentic corrections of FE , Changes of tempo markings |
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b. 1-13
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composition: Op. 10 No 9, Etude in F minor
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In AI there are no slurs in the R.H. in bars 1, 5, 9 and 13 (there are only dots). category imprint: Differences between sources |
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b. 1
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composition: Op. 10 No 8, Etude in F major
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While proofreading FE (→GE,EE), Chopin slightly reduced the Etude's tempo. Cf. changes of a similar nature in the Etudes in F minor, No. 9 and in A category imprint: Differences between sources issues: Metronome tempos , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 8, Etude in F major
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We give the time signature's indication after A. Although FE (→GE,EE) has a category imprint: Differences between sources issues: Inaccuracies in FE , 4/4 or 2/2 |
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b. 1
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
. = 92 in 
, No. 10
, it is difficult to assume that the change of time signature was intentional, as in 
does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C, No. 1, in C
minor, No. 4 and C minor, No. 12. This phenomenon is also present in other pieces, even in the most obvious cases, e.g., in the Etudes in F minor, Op. 25 No. 2, in D
