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b. 9

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
..

On the 3rd beat of the bar we give a dotted rhythm after PE, based on the later autograph – [A].

category imprint: Differences between sources

issues: Dotted or even rhythm

b. 9

composition: WN 17, Polonaise in B♭ major

..

In JC and EF, there is a  before the last a1. This unjustified in this context sign is not included in PE. Similarly in bar 36.

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 9-10

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

  in Ap

cresc. - - - in FEcor

cresc. in FE (→GE,EE) 
..

The   pair of signs in Ap may be considered as an alternative to cresc. - - - in FEcor. In the finished version of FE (→GE,EE) the dashes limiting the range of the dynamic scope were omitted.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE

b. 9-14

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

No fingering in Ap

One numeral in FE (→GE) 

99 numerals in EE
..

These bars, being a repetition of bars 1-6, were not provided with fingering by Chopin (except for the '4' digit at the beginning of bar 9). In EE Fontana copied here the fingering given in FE at the beginning of the Etude. In bar 12 the alternative misplaced fingering from the beginning of the bar was even repeated.

category imprint: Differences between sources

issues: EE revisions

b. 9-15

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

Semiquavers in CLI & FE (→GE,EE) 

Crotchets in Ap
..

The articulation of the accompanying two-note chords, extended in Ap in bars 9-10 and 13-15, seems to be a one-time exclusive idea or a certain transitional phase in the shaping process of the Etude's text.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes