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b. 9-13
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composition: Op. 10 No 2, Etude in A minor
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The cautionary naturals before c1 in the L.H. were added in bars 9 and 13 in one of the last proofreadings of FE (→GE). They are also included in EE, except for the category imprint: Differences between sources issues: Cautionary accidentals , EE inaccuracies , Authentic corrections of FE |
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b. 9-13
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composition: Op. 10 No 2, Etude in A minor category imprint: Differences between sources issues: GE revisions |
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b. 10-14
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composition: Op. 10 No 2, Etude in A minor
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Lack of the lower octave at the beginning of bar 10 in Ap may point to Chopin's hesitation, as the octave is both in CLI and FE (→GE,EE). The situation in bar 14, in which A1 was added by Chopin only in FEcor (→FE→GE,EE), suggests, however, that the bass note in the original Chopin's idea was supposed to be only A, while the lower octaves were added by Chopin only at the stage of reviewing the entire piece. Overseeing one or two places during this kind of serial corrections would often happen to Chopin (cf., e.g., the Etude in G category imprint: Differences between sources issues: Authentic corrections of FE , Bass register changes , Abbreviated octaves' notation |
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b. 10-14
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composition: Op. 10 No 2, Etude in A minor
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The third on the 3rd beat in bar 10 in CLI was probably meant to be a fifth in the original version (Terzverschreibung). In the sources Chopin's hesitation concerning the placement of the cautionary category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , GE revisions , Accompaniment changes , Authentic corrections of FE , Errors of CLI |
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b. 10-14
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composition: Op. 10 No 2, Etude in A minor
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We add cautionary naturals before a2 at the beginning of bars 10 and 14. category imprint: Editorial revisions |
overlooked in bar 13 in 
indication in bars 9 & 13 was added by the reviser of 
major, No. 5, 
