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b. 16
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composition: Op. 10 No 7, Etude in C major
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The version of A is certainly earlier and was changed by Chopin in a proofreading of FE (→GE,EE). Cf. bar 18, in which this rhythm of harmonic changes was present from the beginning. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 16-23
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composition: Op. 10 No 7, Etude in C major
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The pedalling in A is written rather at random – only the category imprint: Differences between sources issues: Authentic corrections of FE , No pedal release mark , Inaccuracies in A |
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b. 16-17
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composition: Op. 10 No 7, Etude in C major
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It is unclear whether Chopin wanted the first quavers in this bar to be provided with wedges, as it is in A, or dots, which were printed in FE (→GE,EE). Taking into account numerous inaccuracies in reproducing Chopin's wedges, in the main text we give preference to the notation of A. category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
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b. 17
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composition: Op. 10 No 7, Etude in C major
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In A Chopin omitted the staccato mark in the middle of bar 17, probably due to corrections. We consider the wedge added in a proofreading of FE (→GE1,EE) to be a binding indication of Chopin's intention in this respect. In GE2 (→GE3→GE4) the wedge was replaced with a dot. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE , Wedges |
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b. 18
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composition: Op. 10 No 7, Etude in C major
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In the main text we suggest to add a slur after similar bar 20. The addition, probably on the same basis, was already performed in EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
2 from 7th semiquaver in 
marks in bars 17 and 21 and the whole-bar long pedalling in bars 19-20. In the main text we give the indications of the version completed by Chopin in a proofreading of 
