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Fingering

b. 57-58

composition: Op. 10 No 5, Etude in G♭ major

Fingering in A

No fingering in FE (→GE,EE)

..

In the editions, the omission of fingering digits (1) over the 1st notes in these bars is most probably a result of distraction of the engraver of FE.

category imprint: Differences between sources

issues: Errors in FE

b. 61

composition: Op. 10 No 5, Etude in G♭ major

Fingering in A

No fingering in FE (→GE,EE)

..

Omission of the '1' digit over the penultimate note in the editions is certainly a result of distraction of the engraver of FE.

category imprint: Differences between sources

issues: Errors in FE

b. 63-64

composition: Op. 10 No 5, Etude in G♭ major

Fingering written into FED

No teaching fingering

Notation suggested by the editors

..

In the main text we give the fingering written by Chopin in FED in the form adopted in our edition for this kind of situations.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FED

b. 64

composition: Op. 10 No 5, Etude in G♭ major

'4' in A (→FEGE1,EE)

No numeral in GE2 (→GE3GE4GE5)

..

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

b. 65-66

composition: Op. 10 No 5, Etude in G♭ major

No fingering in A (→FEGE)

Fingering in EE

Fingering written into FED

..

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