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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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The metronome tempo marking was added – undoubtedly by Chopin – only at the stage of preparing the Etude for print: in [A] or in a proofreading of FE. category imprint: Differences between sources issues: Metronome tempos |
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b. 1-2
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composition: Op. 10 No 4, Etude in C♯ minor
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The majority of the slurs of AI is written inaccurately, without precise determination of the range, which is natural in a working autograph. Moreover, the intended range is generally easy to interpret and, on many occasions, such as in the discussed bars, it corresponds to the range of the slur of FE (→GE,EE). In the subsequent section of the Etude, where such a kind of substantial relevance seems to take place, we do not notify minor graphic discrepancies. category imprint: Source & stylistic information |
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b. 1-2
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composition: Op. 10 No 4, Etude in C♯ minor
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In AI the slur does not embrace two entire bars, yet its shape and melodic context suggest that Chopin most probably had in mind such slur like in FE (→GE,EE). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 1
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composition: Op. 10 No 4, Etude in C♯ minor
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The crescendo indicated in this place most probably leads to category imprint: Differences between sources; Corrections & alterations |
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b. 2
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composition: Op. 10 No 4, Etude in C♯ minor
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In the main text we give here the fingering written by Chopin in FED in analogous bar 60 (cf. General Editorial Principles, p. 17). Some of these numerals are also written in bar 2 (FES) and bar 10 (FED and FES). category imprint: Differences between sources |
in bar 4, also added only at the time of preparing the Etude for publication – most probably in [A]. 
