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Op. 10 No 11, Etude in E♭ major

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b. 16

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

..

In A there is no  lowering g to g on the 5th quaver in the bar. The accidental was added in FE (→GE,EE).

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category imprint: Differences between sources

issues: Omission of current key accidentals , Authentic corrections of FE

b. 16-23

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

Wedges in A

Dots in FE (→GE,EE)
..

The chords at the beginning of bars 16, 17, 19 and 21-23 in A are provided with clear wedges (the mark in bar 17 discussed separately would not be obvious, yet in the context of the remaining ones it does not raise any doubts). In spite of this, in the editions all these marks were reproduced as dots. According to us, it is an inaccuracy of the engraver who was not familiar enough with the details of Chopin's notation.

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category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Wedges

b. 17-25

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

 &  in A

 in FE (→GE,EE) 
..

At the beginning of bars 17, 19, 23 and 25 A includes  indications, while in bar 21 – . In the editions all  marks were omitted and instead of  there is . Due to the fact that all other dynamic indications in these bars were more or less accurately reproduced, it seems highly unlikely that the changes had not been accepted and partially introduced by Chopin. Therefore, in the main text we leave the version of FE (→GE,EE) without any additions. The version of A may be considered as an alternative one.
In bar 21 the erasure visible in A allows to conclude that originally Chopin most probably wrote there .

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category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , Corrections in A , Authentic corrections of FE

b. 17

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

B in A

A in FE (→GE,EE) 
..

It is hard to determine what prompted Chopin (?) to enharmonically change the correct orthography of A to a simplified notation of FE (→GE,EE). In the main text we give the notation of A.

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category imprint: Differences between sources; Corrections & alterations

issues: Enharmonic corrections , Authentic corrections of FE

b. 17-21

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

..

In bar 17 we add cautionary naturals before f1 and f2. In bar 19, in a similar situation, the signs are already included in A.

In bar 17 in A there is a visible trace after the change of the lower note of the 3rd chord in the R.H. from g1 to f1. Chopin introduced similar changes also in bars 19 and 21. Cf. bar 22.

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category imprint: Editorial revisions; Corrections & alterations

issues: Corrections in A , Cautionary accidentals