Issues : EE revisions
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b. 1-10
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text for bars 1-2 and analog. we give the fingering written by Chopin in A (bars 1-2 and 5), as the lack of the 2nd digit in bar 2 in FE (→GE) must be the engraver's oversight. In EE Fontana completed Chopin's indications, adding digits next to each note in bars 1-2 and 9-10. According to us, the use of the 5th finger on the 8th semiquaver in bar 1 by Chopin suggests the 2nd finger for the next one and not the 1st one, as written by Fontana. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 1
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composition: Op. 10 No 6, Etude in E♭ minor
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and the dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
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b. 1-4
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composition: Op. 10 No 6, Etude in E♭ minor
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Each of four slurs in the L.H. written in A embraces the entire bar, despite the fact that due to the inconvenient graphic layout, the notation is not always precise. In FE (→EE2) only two out of them were recreated, in bars 2-3. Similarly in GE1, in which the slur in bar 3 is led only to the penultimate note, a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions |
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b. 1-10
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composition: Op. 10 No 6, Etude in E♭ minor
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The omission of '1' at the end of bars 1 and 9 in FE (→GE) could be blamed on the engraver's distraction and considered as the notation's inaccuracy, if it was not for a simultaneous addition of '2' at the end of bars 2-3. According to us, regardless of the reason for omitting these digits, the final effect of the changes in FE must be accepted as deliberate and valid. Allegedly, Chopin assumed that the hand position in bars 1-2 is not as important as in bars 3-4. In EE the addition by Fontana in bar 1 complies with the fingering written by Chopin in A, yet in bars 9-10 – it does not. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 1
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composition: Op. 10 No 7, Etude in C major
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In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , GE revisions |
(this inaccuracy was corrected only in 
