Page: 
Source: 
p. 1, b. 1-11
p. 1, b. 1-11
p. 2, b. 12-26
p. 3, b. 27-37
p. 4, b. 38-51
p. 5, b. 52-66
p. 6, b. 67-79
Main text
Main text
CLI - Copy by Linowski
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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Graphic ambiguousness
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Differences between sources
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Notation
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Rhythm
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Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
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Differences
No differences
CLI - Copy by Linowski
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Corrected impression of GE1
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
GE5 - Fifth German edition
EE - English edition
EE2 - First English edition
EE3 - Corrected impression of EE2
EE4 - Revised impression of EE3
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  b. 1

in CLI

in FE (→GE,EE

We give the time signature's indication after CLI. Although FE (→GE,EE) has a , it is difficult to assume that the change of time signature was intentional, as in FE the indication  does not appear in any of the Etudes (contrary to the manuscripts), cf. the Etude in C minor, No. 4, F major, No. 8 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, D major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Changes of metre, 4/4 or 2/2

notation: Rhythm

Missing markers on sources: GE1