Fingering
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b. 51
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composition: Op. 10 No 1, Etude in C major
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Chopin did not give here the fingering, as he probably thought that the one he wrote in analogous bar 3 was enough. Fontana, adding the fingering in EE, included both the authentic indications and his own alternative solution. category imprint: Differences between sources issues: EE revisions |
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b. 52-53
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composition: Op. 10 No 1, Etude in C major
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In FE (→GE) there is no fingering in this place. Adding the indications in EE, Fontana included both authentic fingering (given in analogous bars 4-5) and his alternative proposals. category imprint: Differences between sources issues: EE revisions |
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b. 54-58
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composition: Op. 10 No 1, Etude in C major
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In bars 51-58 in FE (→GE) there is no fingering. Chopin probably thought the indications he gave in analogous bars 3-8 and 1-2 to be sufficient. Adding the indications in bars 54-58 in EE, Fontana stuck to the fingering resulting from Chopin's indications. category imprint: Differences between sources issues: EE revisions |
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b. 59-66
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composition: Op. 10 No 1, Etude in C major
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The fingering in bars 59, 61 and 65-66 taken from FE (→GE,EE) and adopted in the main text, is undoubtedly authentic. Fontana, following the previous indications by Chopin, completed it in EE in bar 60. category imprint: Differences between sources issues: EE revisions |
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b. 62-64
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composition: Op. 10 No 1, Etude in C major
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The undoubtedly authentic fingering of FE, given in the main text, was completed by Fontana in EE by adding his own alternative proposals. In bar 63 at the beginning of the 2nd group of semiquavers, an obvious mistake was committed by placing the indication of the 1st finger over d1. In GE the digit '5' over the 5th note in bar 62 was added. category imprint: Differences between sources issues: EE revisions , GE revisions |
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