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Op. 25 No 3, Etude in F major

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b. 25-28

composition: Op. 25 No 3, Etude in F major

..

Similarly as in bars 20-24, although to a lesser extent, the notation of [A] lacks a few – five in total – necessary sharps and naturals (as notation of the autograph, one can feel free to consider the compatible version of GC and FE). It does not impede the correct interpretation of the text. In EE1 the notation is far more accurate (only the  before the 1st f1 in the R.H. in bar 25 was overlooked), whereas the remaining editions have the totally correct text.

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category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC

b. 29

composition: Op. 25 No 3, Etude in F major

No marking in GC (→GE)

in FE & EE

Our variant suggestion
..

Chopin's intention in relation to  at the beginning of the bar is unclear. It is both in FE and EE, yet in GC one can see deletion of this sign, hence it is absent in GE. It suggests Chopin's intention to withdraw from this indication. However, in FED, bearing traces of development of the Etude with Chopin,  is written in pencil for the second time (apart from the printed sign), which has to be interpreted as confirmation of its validity. Therefore, it is possible that Chopin hesitated whether to indicate the absolute dynamics level in this place. It cannot be excluded that the correction in GC is unfinished –  was written there only under the 2nd quaver and Chopin could have simply wanted to move it to the beginning of the bar, yet due to distraction he did not write the sign in the new place. This kind of finished shift can be seen in bar 43, in which  written by the copyist under the 2nd quaver was deleted by Chopin and added at the beginning of the bar.

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category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic corrections in GC

b. 40

composition: Op. 25 No 3, Etude in F major

..

In GC, FE and EE1, there are no naturals before the 1st semiquaver and 2nd quaver in the R.H. (g1 and d2). Both patent inaccuracies were corrected in GE, whereas in EE2 (→EE3) and FES, only the first of the signs was added, the  lowering g1 to g1.

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category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , Accidentals in different octaves , Errors in EE , GE revisions , Annotations in FES , Errors of GC

b. 40

composition: Op. 25 No 3, Etude in F major

..

In EE1 (→EE2), there is no  before the 4th quaver in the bar (a1). This patent inaccuracy was corrected only in EE3.

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category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , EE inaccuracies

b. 41-44

composition: Op. 25 No 3, Etude in F major

..

Similarly as in bars 20-24, in the notation of [A] – for the notation of the autograph we consider the compatible version of GC and FE – seven necessary accidentals (naturals) are missing, which, however, does not impede the correct interpretation of the text. In EE1 (→EE2), the notation is already more accurate (in relation to GC and FE 2 signs were added, in the R.H. in bar 41), while the next 3 naturals were added in EE3. GE has the correct version, yet in GE1 there are no signs in the 2nd group in bar 43, which, from the graphical point of view, is the same as the previous one (repeating the signs in such situation is a question of convention).
An inaccurate notation is also present in two subsequent bars.

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category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in GC