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Op. 10 No 7, Etude in C major

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b. 3-4

composition: Op. 10 No 7, Etude in C major

No fingering in A (→FE→GE)

Fingering in EE
..

The entire fingering in EE was added by Fontana. In the part of the R.H. it naturally stems from the fingering given by Chopin as a template in bar 1.

category imprint: Differences between sources

issues: EE revisions

b. 3-4

composition: Op. 10 No 7, Etude in C major

No slur in A

Slur in FE (→GE,EE)
..

The slur was added by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 3

composition: Op. 10 No 7, Etude in C major

in A

No indication in FE (→GE,EE)
..

According to us, an accidental omission of cresc. in FE (→GE,EE) is the most plausible explanation in this case.

category imprint: Differences between sources

issues: Errors in FE

b. 4

composition: Op. 10 No 7, Etude in C major

..

Before the 7th semiquaver in A there is no  returning e1. However, there is a  before e1 on the 9th semiquaver, which would be unjustified, if the 7th and 8th semiquavers were meant to be e1. Therefore, an oversight of the  is beyond any doubt and it was confirmed by an accidental added in a proofreading of FE (→GE,EE). Analogous bar 37 is written correctly already in A. Cf. bar 12.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 4-12

composition: Op. 10 No 7, Etude in C major

..

In GE3 (→GE4) a  was added before b1 at the end of bar 4 and b2 in bar 12, which can be regarded as formally justified.

category imprint: Differences between sources

issues: GE revisions