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b. 4-8
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composition: Op. 10 No 8, Etude in F major
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Two digits written in A in bar 4 are generally enough to decipher Chopin's fingering in bars 1-8. While proofreading FE (→GE,EE), Chopin completed the hints so that each of the finger arrangements used in these bars included the written out precise fingering at least once. We give this fingering in the main text. In EE, Fontana additionally expanded the indications drawn from FE. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 4-8
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composition: Op. 10 No 8, Etude in F major
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In A it can be seen that the crotchets in the middle of bars 4 (g) and 8 (f) were originally written as quavers after which relevant rests would follow. category imprint: Corrections & alterations issues: Corrections in A |
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b. 4-6
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composition: Op. 10 No 8, Etude in F major
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In the sources the E1-E octaves at the beginning of bars 4 and 6 are briefly written with the 8 digit. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
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b. 4-7
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composition: Op. 10 No 8, Etude in F major
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These bars, making up the second line of A, contain a few distinct examples of Chopin's manner of writing notes on ledger lines. With the visibility of such a note probably in mind the composer shaped the note-head as a short vertical stroke which sometimes was extended enough to look like an additional downward crotchet stem. In the discussed bars it pertains to R.H. c1 in bars 4-6, as well as c1 and a in bar 7. Telling are in particular the notes in bars 5 and 7, where the descending direction of arpeggios makes any sustentions impossible. category imprint: Source & stylistic information issues: Uncertain notes on ledger lines |
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b. 8
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composition: Op. 10 No 8, Etude in F major
category imprint: Differences between sources |
