Fingering
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b. 1
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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. 1-10
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composition: Op. 10 No 6, Etude in E♭ minor
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The omission of '1' at the end of bars 1 and 9 in FE (→GE) could be blamed on the engraver's distraction and considered as the notation's inaccuracy, if it was not for a simultaneous addition of '2' at the end of bars 2-3. According to us, regardless of the reason for omitting these digits, the final effect of the changes in FE must be accepted as deliberate and valid. Allegedly, Chopin assumed that the hand position in bars 1-2 is not as important as in bars 3-4. In EE the addition by Fontana in bar 1 complies with the fingering written by Chopin in A, yet in bars 9-10 – it does not. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 2
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composition: Op. 10 No 6, Etude in E♭ minor
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In EE Fontana employed a supplemented version of Chopin's fingering from bar 4. category imprint: Differences between sources issues: EE revisions |
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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 |
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 
