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b. 48
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composition: Op. 10 No 8, Etude in F major
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Out of three '1's Chopin wrote in A, only the first two were included in FE, which is probably a result of the engraver's oversight. In turn, two other digits added during a proofreading at the end of the bar certainly come from Chopin. Both in EE and in GE, the fingering adopted from FE was completed in the 3rd group of semiquavers. In the main text we suggest all certainly authentic digits included in A and FE. category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of FE |
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b. 49
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composition: Op. 10 No 8, Etude in F major
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In A (→FE) there is no category imprint: Differences between sources; Editorial revisions issues: EE revisions , Accidentals in different octaves , GE revisions |
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b. 49-52
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composition: Op. 10 No 8, Etude in F major
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In the main text we give the fingering of FE (→GE), in which Chopin completed scarce indications of A. In EE Fontana added a number of further indications, which do not go beyond the positions resulting from Chopin's fingering. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 49-50
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composition: Op. 10 No 8, Etude in F major
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It is not clear whether a slightly oblique line in A going from the last crotchet of bar 49 to the second beat of bar 50 is a slur, nor what the extent of that possible slur should be. In the main text we give the slur from FE (→GE,EE) and suggest adding another one modeled on the sign written in A in the analogous bar 48. category imprint: Graphic ambiguousness; Editorial revisions |
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b. 50
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composition: Op. 10 No 8, Etude in F major
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In A (→FE) there are no accidentals in this bar. The cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
before the 4th semiquaver, which is a patent oversight. The sign was added in 
