Fingering
b. 23-24
|
composition: Op. 25 No 7, Etude in C♯ minor
category imprint: Differences between sources |
||||||||||
b. 24
|
composition: Op. 25 No 7, Etude in C♯ minor
..
The first two numerals written in FED are compatible with the entry in FES, which allows for considering the '5' visible in the second copy as an addition to the fingering of FED. In this version we give this fingering – analogous with the Chopin fingering in bar 22 – in the main text. As far as the continuation of the fingering of FES is concerned, the numerals concerning g and a are probably erroneous, while the last four, written under the semiquaver beam, defining the shortened version of this passage, concern exactly this simplified version – see the note to bars 22-24. The fingering of EE2 (→EE3), in spite of being more comfortable, is, however, certainly non-authentic. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , EE revisions , Annotations in FED , Differences in fingering , Annotations in FES |
||||||||||
b. 24
|
composition: Op. 25 No 7, Etude in C♯ minor
..
In FED, playing the g1-a1 second with the 1st finger was marked by Chopin in the way adopted by us in the main text. The same indication in FES has a form of only one big 'one', referring to both notes. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED , Annotations in FES |
||||||||||
b. 25
|
composition: Op. 25 No 7, Etude in C♯ minor
category imprint: Differences between sources |
||||||||||
b. 25
|
composition: Op. 25 No 7, Etude in C♯ minor
..
Chopin wrote three digits to indicate the fingering of the trill, perhaps in order to underline the unobvious set of fingers, in which during the entire trill the 3rd finger plays c1 over the 1st finger, remaining on b. category imprint: Differences between sources |