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b. 1-5

composition: Op. 10 No 7, Etude in C major

..

In A one can see that the penultimate semiquaver in bars 1 and 5 was initially d1-f1.

category imprint: Corrections & alterations

issues: Corrections in A

b. 1

composition: Op. 10 No 7, Etude in C major

in A

in FE1

in FE2

in EE3

in EE4

..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See Etude in C, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1-2

composition: Op. 10 No 7, Etude in C major

Fingering in A

FE (→GE)

..

In the main text we give the fingering in the R.H. written by Chopin in A and then completed in a proofreading of FE (→GE). In EE the fingering was carefully completed by Fontana, also in the L.H.

category imprint: Differences between sources

issues: EE revisions , Authentic corrections of FE

b. 1

composition: Op. 10 No 7, Etude in C major

Slur from g in A (→FEGE,EE)

Our suggestion

..

According to us, separating the accented a note from the following quavers is unnatural in terms of both articulation and phrasing. It is confirmed by the slurring of similar bars 2, 5-6, 34-35 and 38-39 – a and g are combined with a slur in five out of seven places in A and in all seven in FE. Therefore, in the main text we suggest a slur beginning already from the 3rd quaver in the bar.

category imprint: Editorial revisions

issues: Inaccurate slurs in A

b. 1-2

composition: Op. 10 No 7, Etude in C major

..

In A (→FEEE,GE1GE2) there are naturals before the upper notes on the last semiquaver of each group (b1). The unjustified accidentals were removed in GE3 (→GE4). Cf. bars 4 and 12, as well as 37-39.

category imprint: Differences between sources

issues: GE revisions , Cautionary accidentals , Last key signature sign