Issues : Authentic corrections of FE
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b. 3
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composition: Op. 10 No 6, Etude in E♭ minor
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While proofreading FE, Chopin added the fingering of the L.H. in bars 3-4, particularly '3' over the first sustained a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors resulting from corrections , Authentic corrections of FE |
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b. 3
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composition: Op. 10 No 6, Etude in E♭ minor
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The fingering in the L.H. was added by Chopin during a proofreading of FE (→GE,EE). Chopin suggests here a different, slightly more demanding finger arrangement than at the beginning of the piece. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FE |
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b. 4
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composition: Op. 10 No 6, Etude in E♭ minor
category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 7
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composition: Op. 10 No 6, Etude in E♭ minor
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In A there is no category imprint: Differences between sources issues: Omissions to cancel alteration , Authentic corrections of FE |
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b. 7-15
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composition: Op. 10 No 6, Etude in E♭ minor
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In the context of the 1st half of bars 7 and 15, the position of the fingering digits indicates the hand with which a given note is to be performed: digits over the notes point to the R.H., digits under the notes – to the L.H. This characteristic fingering was indicated by Chopin in A (→FE) in each appearance of this place (bars 7, 15 and 47). The sense of this fingering, completed already in a proofreading of FE in the 2nd half of bar 7, was not understood by the engraver of GE who arranged all digits over the tie. Fontana also misinterpreted it, as in EE he indicated another division between the hands. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Authentic corrections of FE |
in bar 3. As, according to the benchmark fingering given in bar 1, the last semiquaver in bar 2 should be played with the 4th finger, such a notation could suggest a swap of the finger on this note. According to us, there is, however, a more plausible explanation for this notation – Chopin added the fingering in bar 3 before he decided to change the ending of bar 2, i.e. the 3rd finger at the beginning of bar 3 was added in the moment when the note was being struck and not held. Therefore, in the main text we propose to move the digit to bar 2, which was included in the neighbouring 
returning f on the 9th semiquaver of the bar. It is almost certainly an oversight, corrected by Chopin in a proofreading of 
