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b. 1-9

composition: Op. 10 No 9, Etude in F minor

Fingering in A (→FE→GE)

EE
..

The fingering given by Chopin in A (→FE→GE) was repeated by Fontana in EE in the subsequent figures until bar 5. Fontana recalled this fingering also in bar 9.

category imprint: Differences between sources

issues: EE revisions

b. 1

composition: Op. 10 No 9, Etude in F minor

..

In AI the indications  and legatissimo are missing. In this kind of situation, when AI is the only source in which an indication or sign are missing, we do not give this version as an alternative to the versions of other sources. This manuscript had a private, working character and in such situations the missing indications must be considered only as a proof of the notation's underdevelopment.

In the main text we give both indications in the place where Chopin put them in A. In FE (→GE,EE) legatissimo was placed between the staves, while  – not until f1 in the R.H.

category imprint: Differences between sources

b. 1-5

composition: Op. 10 No 9, Etude in F minor

..

AI is missing pedalling markings.

category imprint: Differences between sources

b. 1

composition: Op. 10 No 9, Etude in F minor

Agitato in AI

. = 92 in A

. = 96 in FE (→GE,EE)
..

The way of writing the indication of tempo-character in A suggests that Chopin was gradually developing this indication. Initially, it included only Agitato (as in AI), to which then Molto and eventually Allo were added. The change of the value in the indication of the metronome tempo is most probably a result of Chopin's proofreading of FE (→GE,EE).

category imprint: Differences between sources; Corrections & alterations

issues: Metronome tempos , Authentic corrections of FE , Changes of tempo markings

b. 1-13

composition: Op. 10 No 9, Etude in F minor

..

In AI there are no slurs in the R.H. in bars 1, 5, 9 and 13 (there are only dots).

category imprint: Differences between sources