Issues : Authentic corrections of FE
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b. 86-87
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composition: Op. 10 No 8, Etude in F major
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In both bars A has additional sharps before f category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
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b. 88
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composition: Op. 10 No 8, Etude in F major
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The accent at the beginning of the 4th group of semiquavers is included in FE (→GE,EE). In such a context it is not certain whether it was Chopin that added it during a proofreading or the engraver that left one sign too many "on the run". Cf. bars 9-10. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 89
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composition: Op. 10 No 8, Etude in F major
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Chopin added the staccato dot over the chord in a proofreading of FE (→GE,EE). In GE the mark was added also over the quaver in the R.H. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 89-90
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composition: Op. 10 No 8, Etude in F major
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The fingering in the L.H. was written by Chopin in A, yet in FE (→GE) it was inaccurately reproduced – lack of digits in the last group of semiquavers in bar 89 and at the beginning of bar 90 is probably accidental. On the other hand, Chopin completed the fingering in a proofreading of FE (→GE,EE), by adding the digits '1' and '2' in the middle group in bar 89. As all authentic digits complement each other, we include them all in the main text. In EE Fontana developed Chopin's fingering drawn from FE. category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections of FE |
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b. 93
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composition: Op. 10 No 8, Etude in F major
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The fingering of A is inaccurate, while in the L.H. it is certainly superfluous. In the main text we give the completed and corrected indications of FE (→GE). category imprint: Differences between sources issues: EE revisions , Errors of A , Authentic corrections of FE |
3, the 10th semiquaver. In 
