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b. 5
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composition: Op. 25 No 10, Etude in B minor
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Both in GC and FE one can see traces of corrections from category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE , Authentic corrections in GC |
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b. 5-6
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composition: Op. 25 No 10, Etude in B minor
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The accents in GC (→GE) do not show varied features in these bars and are shorter than, e.g., the ones in GC in bars 9-10. In turn, in FE, and particularly in EE, the first five signs are clearly longer than the sixth one. It is hard to determine how this difference occurred and, as a consequence, what was Chopin's intention in this regard. Therefore, in the main text we reproduce the notation of the basic source, i.e. GC. See also bars 107-108. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 6
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composition: Op. 25 No 10, Etude in B minor
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The sharps returning f category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , GE revisions |
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b. 7-10
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composition: Op. 25 No 10, Etude in B minor
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Three out of four accents in GC are undoubtedly long accents, the fourth one (in bar 8) may be interpreted as either long or short. In GE they were reproduced as short. EE includes distinct long accents in all these bars, FE – only in bars 9-10, yet the one in bar 7 may also be considered as long. Therefore, it seems that the use of long accents by Chopin is much more likely here. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 7-8
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composition: Op. 25 No 10, Etude in B minor
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In the 2nd half of the bar the sources repeat the sharps before A category imprint: Editorial revisions issues: Cautionary accidentals |
to 
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1 and F
