|
b. 5
|
composition: Op. 25 No 7, Etude in C♯ minor
category imprint: Differences between sources |
||||||||
|
b. 5
|
composition: Op. 25 No 7, Etude in C♯ minor
..
The authenticity of the 3rd fingering numeral in FE does not raise any doubts, however, it is not certain whether it was added in the base text to FE already after GC and base text to EE had been prepared or added in the proofreading of FE. The triple use of the 1st finger in a very similar melodic and piano performance context appears in the Etude in G category imprint: Differences between sources |
||||||||
|
b. 5
|
composition: Op. 25 No 8, Etude in D♭ major
..
We do not give the fingering numeral written in FES in the main text, as it was included in the fingering in bar 1. category imprint: Differences between sources |
||||||||
|
b. 5
|
composition: Op. 25 No 11, Etude in A minor
..
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
||||||||
|
b. 5-6
|
composition: Op. 25 No 11, Etude in A minor
..
FE overlooked the general part of the octave sign over the initial, highest fragment of figuration (in the majority of the sources, including FE, it embraces also half of bar 6). The only visible trace of the indication is the word loco, which was used to end the octave sign in the times of Chopin. This patent error was corrected in FED and FEJ. category imprint: Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Annotations in FEJ |
minor, No. 6, bars 
in 
made by Chopin's hand. Similarly in