b. 64
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 64
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composition: Op. 10 No 5, Etude in G♭ major
..
In GE2 and subsequent GE,s, the fingering digit over the last note is missing. It is most probably an oversight. category imprint: Differences between sources issues: Errors in GE |
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b. 65
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composition: Op. 10 No 5, Etude in G♭ major
category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 65
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composition: Op. 10 No 5, Etude in G♭ major
..
The change of the rhythmic configuration in the 1st triplet performed in a proofreading of FE (→GE,EE) is an example of a characteristic rhythmic variant, frequently encountered in Chopin's works (cf. Scherzo in C minor, Op. 39, bar 47). The uniform spacing of notes and a small, clearly inserted rest show that initially Chopin wrote a plain semiquaver triplet there, the correction in FE being only the last stage of changes at this place. category imprint: Differences between sources issues: Authentic corrections of FE , Inserted rest |
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b. 65-66
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composition: Op. 10 No 5, Etude in G♭ major
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The meaning of the entry in bar 66 is unclear, although most probably it concerns simultaneous performance of the e1-g1 third with the 1st finger of the L.H. (the grip was marked by Chopin on a number of occasions, e.g., in the Piano Concerto in E minor, Op. 2, 2nd mov., bar 16 or the Prelude in A major, Op. 28 No. 7, bar 12). Another possibility is the use of 1st fingers of both hands, which was indicated by Fontana in EE. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |