Issues : Inaccuracies in FE

b. 1

composition: Op. 25 No 6, Etude in G♯ minor

in FC, EE & GE2 (→GE3)

in FE & GE1

..

The use of  time signature surprises only in GE1, as FE did not use the  indication in the Etudes – contrary to the manuscripts – even once, neither in Op. 25 nor in Op. 10 and the Etude in F minor, Dbop. 36 No. 1 (cf. also the Impromptu in A major, Op. 29). In any case, the correctness and authenticity of the  time signature is undeniable with respect to the compatible version of FC and EE. The correct time signature was returned in GE2 (→GE3).

category imprint: Differences between sources

issues: Changes of metre , Inaccuracies in GE , Inaccuracies in FE , GE revisions , 4/4 or 2/2

b. 29-30

composition: Op. 25 No 6, Etude in G♯ minor

..

In FE and EE1 (→EE2) there are no flats lowering b2 to b2 in bar 29 and b1 to b1 in bar 30. In FC the inaccuracy appears only in bar 29. GE and EE3 include the correct text.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in FC

b. 34

composition: Op. 25 No 6, Etude in G♯ minor

..

In the 2nd half of the bar, in FC (→GE1), FE and EE1 there are no sharps raising c1 to c1 and d1 to d1. EE2 (→EE3) completed the second one of them, while GE2 (→GE3) – both.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in GE , Inaccuracies in FE , GE revisions , Inaccuracies in FC

b. 46

composition: Op. 25 No 6, Etude in G♯ minor

 in FC (→GE) & EE

 in FE

..

Taking into account analogous bar 44, the later pedal depression in FE has to be considered as an inaccuracy. It is hard to assume to whom it could be ascribed and what could have provoked it.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FC

b. 47-48

composition: Op. 25 No 6, Etude in G♯ minor

..

The notation of accidentals in the sources shows significant inaccuracies and differences, which, however, do not cause any difficulties in interpreting Chopin's intentions. Due to the use of an octave sign in some of the sources, it is also unclear which signs have to be considered as necessary.
The most serious mistake is included in EE1, in which in bar 47 there is not a single  lowering a to a. FC (→GE1) and FE include a  giving an a3 before the 1st semiquaver; the sign was added only in EE2 (→EE3) together with a respective  in the L.H. In bar 48 in FC, FE and EE1, the  giving a1 appears only before the 3rd semiquaver; the necessary sign at the beginning of the bar was added in GE1 and EE2 (→EE3), yet only in EE2 (→EE3) the superfluous in this situation sign before the 3rd third was deleted. It is only GE2 (→GE3) that includes the completely correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies , Inaccuracies in FC