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b. 12-25

composition: Op. 10 No 1, Etude in C major

..

The sources differ in the details of notation of accidentals in figures which are repeated in various octaves.
In CLI the  raising into d is present only in front of the 1st note in bar 22, whereas in bar 25 a  in front of c3 was additionally inserted also in the 4th group of semiquavers.
In FE (→GE1,→EE2,→EE3) there are no  in the 2nd group of semiquavers in bars 12, 22 and 24. In the remaining editions, a  was added in bar 12, while in GE4 (→GE5) also in bars 22 and 24. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves

b. 12-14

composition: Op. 10 No 1, Etude in C major

Ties in CLI, GE & EE

No ties in FE

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In FE there are no ties sustaining the upper notes of the octaves in bars 11-12 and 13-14. According to us, the most probable explanation is a misunderstanding at the time of changing the original brief notation of the octaves with the use of 8 under the upper notes for regular notation. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 12-26

composition: Op. 10 No 1, Etude in C major

No pedalling in CLI

Pedalling in FE (→GE,EE

..

In the main text we give the undoubtedly authentic pedalling of FE (→GE,EE).

category imprint: Differences between sources

b. 12-26

composition: Op. 10 No 1, Etude in C major

No fingering in CLI

Fingering in FE (→GE,EE)

..

The fingering in bars 12-13, 15-21 and 24-26, originating from FE (→GE,EE) and adopted to the main text, must be authentic.

category imprint: Differences between sources

b. 12-25

composition: Op. 10 No 1, Etude in C major

..

In CLI all octaves in bars 12-22 and 25 are written in an abbreviated form with the digit under the upper notes. In FE the notation was used only in bars 19-22, while in GE1 (→GE2GE3) in bars 21-22.

category imprint: Source & stylistic information

issues: Abbreviated octaves' notation