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Issues : Annotations in FES
b. 22
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composition: Op. 10 No 8, Etude in F major
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Under the f crotchet in FES there is a pencilled ambiguous mark, resembling category imprint: Differences between sources |
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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. 43
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composition: Op. 10 No 8, Etude in F major
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In A (→FE→EE) the category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , GE revisions , Omission of current key accidentals , Errors of A , Annotations in FES |
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b. 78
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composition: Op. 10 No 8, Etude in F major
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Chopin added the fingering digit '1' in FED. The digit is also among the fingering added by Fontana in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FES |
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b. 80-81
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composition: Op. 10 No 8, Etude in F major
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The fingering added in FE (→GE) in bar 81 – probably by Chopin – despite being totally correct from the pianistic point of view, is, however, contrary to Chopin's fingering of similar figures in bars 26, 77 and particularly 83. Due to this fact, in the main text we give the fingering added in pencil in FES. The fingering of FE was also not included by Fontana in EE, who proposed a solution modeled on Chopin's hints in similar bars, hence compatible with the annotations in FES. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FE |