Issues : EE inaccuracies

b. 20-24

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

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The majority of the sources are missing some of the necessary cautionary signs (flats), which, however, only to the minimal extent impedes the correct interpretation of the text. As it can be concluded from the notation of FE, probably the closest to the notation of [A], Chopin generally omitted the sign next to the note, which already appeared in the same bar, with a relevant sign, one octave lower or higher (in the discussed fragment, FE lacks 12 flats). In GC and EE1 the notation is more precise, further additions were also introduced in EE2 (→EE3), yet only GE has a fully correct text. Similarly in bars 25-28.  

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. 25-28

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

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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.

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. 40

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

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

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

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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.

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. 43

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

in GC (→GE) & FE

No marking in EE

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The absence of  in EE – unless it is the engraver's oversight – may mean that Chopin overlooked the base text to this edition, adding the hint in Stichvorlage manuscripts. It is also possible that he deleted the sign written before the 2nd beat of the bar, willing to move it to the beginning, yet he did not finish the correction (such a correction can be seen in GC, see also bar 29).

category imprint: Differences between sources; Corrections & alterations

issues: EE inaccuracies , Authentic corrections in GC