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b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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The use of the category imprint: Differences between sources issues: Changes of metre , Inaccuracies in FE , 4/4 or 2/2 |
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b. 1-6
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composition: Op. 25 No 8, Etude in D♭ major
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Chopin's intention of providing all bass notes with staccato dots remains beyond any doubt, despite the fact that in A the last dot is missing (or it is written in an unclear manner). It is FE and GE2 (→GE3) that include the totally correct notation in this respect. In the remaining editions, the notation is more or less inaccurate – GE completely omits the dots in these bars, while EE puts them only next to a few notes, rather accidentally (one dot was omitted in each of the following bars: 1-3 and 5-6). category imprint: Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies , Inaccuracies in A |
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b. 2-6
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composition: Op. 25 No 8, Etude in D♭ major
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We add cautionary flats before the 2nd sixth in bars 2 and 6. category imprint: Editorial revisions |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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It is one of rare cases of Chopin's giving a clearly different fingering for the same fragment. In the main text we include them both – directly over the notes we give the fingering of FE, probably added by Chopin while proofreading (it does not include the 10th quaver of the bar); the fingering was then repeated in EE2 (→EE3). The top fingering, together with the numerals concerning the 9th and 10th sixth comes from A (→GE). In EE1 there is no fingering in this bar. category imprint: Differences between sources; Corrections & alterations issues: Differences in fingering , Authentic corrections of FE |
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b. 3
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composition: Op. 25 No 8, Etude in D♭ major
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GE1 has a g category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error |
time signature is surprising only in 
time signature was not used in the Etudes even once – contrary to the manuscripts – neither in Op. 25 nor in 
major, 
.