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b. 5
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composition: Op. 25 No 11, Etude in A minor
..
The clearly smaller number of fingering numerals in GC (→GE) is probably the original version, completed by Chopin in the base texts to FE and EE. In the main text we give the most accurate indications, included in EE. category imprint: Differences between sources |
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b. 5-12
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composition: Op. 25 No 11, Etude in A minor
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In GC – undoubtedly in accordance with [A] – bars 5-14 are provided with numbers 1-10 as model for the briefly written bars 69-78. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 5
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composition: Op. 25 No 11, Etude in A minor
..
GC (→GE1) features naturals before b3 and a3 in the 3rd group of semiquavers. These unnecessary signs are remnants of the erroneously repeated 2nd group of semiquavers in this place. The mistake was corrected, by changing only the elements influencing the correctness of the text – pitch of the notes, category imprint: Differences between sources issues: GE revisions , Errors of GC |
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b. 5
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composition: Op. 25 No 10, Etude in B minor
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Both in GC and FE one can see traces of corrections from category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE , Authentic corrections in GC |
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b. 5-6
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composition: Op. 25 No 10, Etude in B minor
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The accents in GC (→GE) do not show varied features in these bars and are shorter than, e.g., the ones in GC in bars 9-10. In turn, in FE, and particularly in EE, the first five signs are clearly longer than the sixth one. It is hard to determine how this difference occurred and, as a consequence, what was Chopin's intention in this regard. Therefore, in the main text we reproduce the notation of the basic source, i.e. GC. See also bars 107-108. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
to 
before the 3rd note. In 
to 
. 
