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b. 4-6
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composition: Op. 10 No 4, Etude in C♯ minor
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The fingering in EE was Fontana's addition. The fingering in bar 6 is contrary to the indications written in FES, probably by Chopin, in a pianistically similar place, in bar 20. category imprint: Differences between sources issues: EE revisions |
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b. 4-6
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composition: Op. 10 No 4, Etude in C♯ minor
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Both lack of the slur in bar 6 in AI and in bars 4-5 in FE (→GE1,EE) may be considered as inaccuracy of notation related to the transition to the new line (such situations are very frequent in Chopin's pieces, e.g., in the Etude in F major, No. 8, bars 34-36 and 61 or E category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Inaccuracies in FE |
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b. 4-5
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composition: Op. 10 No 3, Etude in E major
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In the main text we suggest to embrace with a slur eight subsequent thirds, after the slurs written in A in both analogous places – bars 12-13 and 65-66. However, the source version can be deemed as complete. category imprint: Editorial revisions |
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b. 4-12
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composition: Op. 10 No 3, Etude in E major
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It is not entirely clear, which accent – short or long – Chopin had in mind in bar 4, while writing A. According to us, due to the melodic context, it is the long accent that is more plausible, yet it is worth observing that the accents in the L.H. in bars 1-2 are shorter from the discussed accent in bar 4. The problem is even more evident in bar 12. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 4
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composition: Op. 10 No 4, Etude in C♯ minor
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The visible in AI corrections reveal Chopin's original concept of the figuration in the part of the R.H.: category imprint: Corrections & alterations |
major, No. 11 bars 
