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b. 30-35

composition: Op. 10 No 3, Etude in E major

No slurs in AI & EE2

Slurs in A (→FEGE) & EE3 (→EE4)

..

In EE2 there are no slurs over bars 30-31 and 34-35. It is one of numerous oversights of this impression, corrected in the next one. AI does not have slurs in the entire fragment (bars 30-41).

category imprint: Differences between sources

issues: Errors in EE

b. 30-31

composition: Op. 10 No 3, Etude in E major

No fingering in AI & A (→FEGE)

Fingering in EE

..

The detailed fingering of EE comes from Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 31

composition: Op. 10 No 3, Etude in E major

c2 & c1 in AI & A (→FEGE,EE)

c2 & c1 in FED

..

There are no reasons to question Chopin provenience of the naturals added in FED. At the same time, however, one cannot consider this change to express Chopin's final intention, as in the remaining preserved pupils' copies, the composer did not mark it.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED

b. 31

composition: Op. 10 No 3, Etude in E major

..

In AI the bar is briefly marked as a partial repetition of bar 30 – in the part of the L.H. there is only a •/• mark, while in the part of the R.H., which was initially written in the same way, Chopin added the first third a1-c2 and the entire bottom voice in order to mark the difference.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Abbreviated notation of A

b. 32

composition: Op. 10 No 3, Etude in E major

b-c1 in AI, A, FE2, GE, EE

c1-d1 in FE1

..

The c1-d1 second at the 5th semiquaver in the bar is almost certainly a mistake of FE1, corrected in FE2. The change to b-c1 was introduced also in GE and EE, perhaps on the basis of analogy with bar 36. 

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE