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Op. 10 No 7, Etude in C major

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b. 1

composition: Op. 10 No 7, Etude in C major

88 in A

84 in FE (→GE,EE)
..

Chopin changed the prescribed tempo of the Etude twice: in A he deleted Presto and wrote Vivace, while in a proofreading of FE (→GE,EE), he slightly reduced the metronome tempo. Cf. changes of a similar nature in the Etudes in E major, No. 3 and C minor, No. 12.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Changes of tempo markings

b. 1

composition: Op. 10 No 7, Etude in C major

in A

in FE1

in FE2

GE

in EE3

in EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 3

composition: Op. 10 No 7, Etude in C major

in A

No indication in FE (→GE,EE)
..

According to us, an accidental omission of cresc. in FE (→GE,EE) is the most plausible explanation in this case.

category imprint: Differences between sources

issues: Errors in FE

b. 25

composition: Op. 10 No 7, Etude in C major

No marking in A (→FE→GE,EE)

in FED

suggested by the editors
..

Chopin added  in FED. According to us, the annotation can be considered as an addition to the dynamic concept of this fragment written in A (→FE→GE,EE), therefore, independently from its possible change indicated in the same copy in bars 27-28.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 26

composition: Op. 10 No 7, Etude in C major

 in A

No marking in FE (→GE,EE)
..

 was omitted in FE (→GE,EE), most probably due to lack of space on the page.

category imprint: Differences between sources

issues: Errors in FE