Page: 
Source: 
p. 5, b. 62-77
p. 1, b. 1-16
p. 2, b. 17-31
p. 3, b. 32-46
p. 4, b. 47-61
p. 5, b. 62-77
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - English edition
EE3 - Corrected impression of [EE2]
EE4 - Revised impression of EE3
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  b. 75

 in A

No marking in FE (→GE,EE)

The absence of  in the editions, even if it is not a result of Chopin's proofreading in FE, could have been accepted by the composer who seems to be reducing the number of performance indications (mainly dynamic) in many places, leaving more scope for performers in this respect. Cf., e.g., bars 1-16, as well as notes to the Etude in E major, No. 11, bars 1-14 or Etude in C minor, No. 12, bars 2-10.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Authentic corrections of FE

notation: Verbal indications

Missing markers on sources: EE4, EE3, A, FE1, FE2, FED, FEJ, FES, GE1, GE2, GE3, GE4