Issues : EE revisions
b. 41-42
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composition: Op. 10 No 8, Etude in F major
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In both bars in A (→FE), there are no accidentals before the last note of the 2nd group of semiquavers. These patent oversights were completed in GE and EE. The sharps are also written in pencil in FES. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Annotations in FES , Inaccuracies in A |
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b. 41
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composition: Op. 10 No 8, Etude in F major
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Two fingering digits given in the main text come from FE (→GE,EE). Fontana repeated them in EE also at the beginning of the next group of 4 semiquavers. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 41
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composition: Op. 10 No 8, Etude in F major
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The staccato dot in EE is undoubtedly an editorial addition. category imprint: Differences between sources issues: EE revisions |
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b. 44-46
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composition: Op. 10 No 8, Etude in F major
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The fingering added by Chopin in a proofreading of FE (→GE) was slightly modified by Fontana in EE. Lack of indication of the 1st finger in the L.H. in bar 44 may also be a mistake. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 47
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composition: Op. 10 No 8, Etude in F major
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In A the only accidental in the part of the R.H. is the before the 3rd semiquaver (c2). In a proofreading of FE (→EE), Chopin also added a before the 2nd note (b1). It is probably a correction of the manuscript's inaccuracies, yet in this harmonic context the version with b1 (b2) as a possible original version cannot be entirely excluded. The accidentals in the 2nd group of semiquavers are included only in GE (in A, in which the middle part of the bar is written – same as in the following bars – with the octave sign, a sign or signs were not necessary). category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of FE |