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b. 2-14

composition: Op. 10 No 11, Etude in E♭ major

Wedges in A

Dots in FE

GE & EE
..

In bars 2-3, 5-6, 10-11 and 13-14 in the main text, we give undeniable wedges written in A (in comparison, Chopin's dots may be seen over the bass notes in bars 1, 5 and analog.). In FE a part of the marks was omitted (in bars 3, 10 and 11) and the rest was interpreted as dots. The changes, according to us, are of a clearly arbitrary nature. GE and EE generally repeat the version of FE, yet they include a dot also in bar 3.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Wedges

b. 2

composition: Op. 10 No 11, Etude in E♭ major

..

In FED there is an added  before a2 in the chord at the beginning of the bar. We also believe that it is advisable in this place, thus we give it in the main text.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Cautionary accidentals

b. 2-14

composition: Op. 10 No 5, Etude in G♭ major

Chords with g in A

No g in FE (→GE,EE)
..

The lower notes of the chords on the 2nd and 3rd quavers in bars 2, 6, 10 and 14 were removed by Chopin in a proofreading of FE (→GE,EE). It was probably related to the change of the dynamic concept of these bars. Similarly in bars 50 and 54.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 2-14

composition: Op. 10 No 5, Etude in G♭ major

No pedalling in A

Pedalling in FE (→GE1→GE1a)

GE2 (→GE3→GE4→GE5) & EE

Our suggestion

Our alternative suggestion
..

The pedal markings added in a proofreading of FE in bars 2, 6 and analog. differ in the placement of the pedal release's mark, which in bars 2 and 14 (as well as in 50) is under the 3rd quaver of the bar, while in bar 6 – under the 2nd one. According to us, it cannot be excluded that Chopin had a different vision of pedalling in bars 1-2 and 9-10 (the first bar of the pair without pedal and in the second one, a half-bar long pedal) and a different one in bars 5-6 and 13-14 (all bars with a pedal to the 2nd quavers). We suggest this possibility, in which the  mark in bar 14 must be considered as misplaced, in the main text. As an alternative, we give a homogeneous pedalling in bars 2, 6 and analog., in which  always falls in the middle of the bar (it requires to assume that  in bar 6 was written by mistake).

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark

b. 2-11

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

No a in A

a in FE (→GE)

a & fingering in EE
..

Chopin changed the version of the last semiquaver in bars 2 and 10 written in A while he was proofreading FE (→GE,EE). Traces of this proofreading are clearly visible in both bars. What is interesting is the fact that in bar 2 A had initially another version, in which a was probably involved, although without the tie sustaining it to the next bar.

In bar 2 the added note a was provided in EE with a fingering digit '3'. We include it in the main text instead of the identical direction at the beginning of the next bar.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Authentic corrections of FE