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Issues : Authentic corrections of FE
b. 16-18
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composition: Op. 10 No 7, Etude in C major
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In the main text we give the fingering in bar 17, added by Chopin in a proofreading of FE (→GE). In EE Fontana added similar indications also at the beginning of adjacent bars. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 16
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composition: Op. 10 No 7, Etude in C major
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The version of A is certainly earlier and was changed by Chopin in a proofreading of FE (→GE,EE). Cf. bar 18, in which this rhythm of harmonic changes was present from the beginning. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 16-23
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composition: Op. 10 No 7, Etude in C major
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The pedalling in A is written rather at random – only the category imprint: Differences between sources issues: Authentic corrections of FE , No pedal release mark , Inaccuracies in A |
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b. 17
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composition: Op. 10 No 7, Etude in C major
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In A Chopin omitted the staccato mark in the middle of bar 17, probably due to corrections. We consider the wedge added in a proofreading of FE (→GE1,EE) to be a binding indication of Chopin's intention in this respect. In GE2 (→GE3→GE4) the wedge was replaced with a dot. category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE , Wedges |
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b. 24
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composition: Op. 10 No 7, Etude in C major
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In A there is no category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Errors of A , Authentic corrections of FE |