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b. 7-8

composition: Op. 10 No 3, Etude in E major

No fingering in AI, A & FE (→GE)

Fingering in EE
..

The fingering of EE, including each note in the R.H., comes from Fontana.

category imprint: Differences between sources

issues: EE revisions

b. 7

composition: Op. 10 No 3, Etude in E major

No mark in AI & FE (→GE,EE)

Wedge in A

Our variant suggestion
..

The wedge written in A was most probably overlooked in FE (→GE,EE).

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 7

composition: Op. 10 No 3, Etude in E major

Accent in A, more likely reading

Less likely reading of A (→FE→GE,EE)
..

The accent in the 1st half of this bar may be interpreted as short or long in A. The second possibility is indicated by the even shorter accent in the L.H. in the 2nd half of the bar and by the melodic context.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 7

composition: Op. 10 No 3, Etude in E major

Long accent in AI & A

Short accent in FE (→GE,EE)
..

The accent in the 1st half of the bar may be interpreted as long or short in A. A clearly longer sign is written also in AI. On the other hand, a comparison with analogous accents in the 2nd half of this bar and in bars 1-2 suggests the second possibility and this is how the sign was understood in FE (→GE,EE). According to us, the context, particularly the harmonic one, can justify distinguishing this note with a longer accent.

category imprint: Graphic ambiguousness

issues: Long accents

b. 7

composition: Op. 10 No 3, Etude in E major

..

Both in GE and EE the indication stretto was moved to the beginning of the 2nd half of the bar.

category imprint: Differences between sources

issues: EE revisions , GE revisions