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Op. 10 No 3, Etude in E major

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b. 48-53

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

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In order to facilitate the interpretation of the chromatic progressions, we add a number of cautionary and reminding signs. Only a part of them are included in the sources, there are also situations where the sources have other signs of this type, according to us, unnecessary.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 48-52

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

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In the autographs there are no sharps returning f1 and f3 at the 6th semiquaver in bar 49. From the harmonic point of view, f1 and f3 could be possible here, yet taking into account the regularity of the figuration's structure, one can assume this omission as a clear oversight. The signs were added – probably by Chopin – in a proofreading of FE (→GE,EE; in GE1 and GE1a there is no  in the L.H.).

In bars 48-52, AI still lacks several accidentals, yet due to the octave doublings between the parts of both hands, it does not lead to any text doubts.
In GE1, before the top note of the 5th semiquaver in the R.H. in bar 49 there is an erroneous  instead of . The error was also in the proofreading copies of FE1, yet it was corrected in the last proofreading.
In FE1 (→GE1,EE2→EE3) there is no  lowering f3 to f3 in the 5th semiquaver in bar 51. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE

b. 52

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

c1 & c3 in AI

c1 & c3 in A (→FE→GE,EE)
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The version of AI is undoubtedly earlier and was changed – as it seems, definitely – already at the stage of writing A (→FE→GE,EE).

category imprint: Differences between sources; Corrections & alterations

b. 53-54

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

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The c-c1 octave at the last semiquaver in bar 53 was written by Chopin in AI after trying a number of different versions. The version, written in the final form in A, was then changed by Chopin for an a-f1 sixth at the time of proofreading FE (→GE,EE). Of course, the fingering added by Fontana in EE concerns only the last version (cf. bars 53-57).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 54

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

a2-d2-a3 in AI

d2-b2 in A (→FE→GE,EE)
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The version of AI is certainly earlier and it cannot be excluded that it was left by inattention as the ending of the fragment that was ultimately deleted by Chopin.

category imprint: Differences between sources; Corrections & alterations

issues: Changed phrase length