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b. 6-7

composition: Op. 10 No 3, Etude in E major

..

In FE, in the part of the R.H. there are visible traces of correcting up to six erroneous notes in this bar. The engraver's errors resulted here from the routine approach, assuming the presence of the simplest figuration schemes – .

category imprint: Source & stylistic information

issues: Errors in FE , Authentic corrections of FE

b. 6

composition: Op. 10 No 3, Etude in E major

Versions in AI

Version in A (→FEGE,EE)

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At the time of writing AI, Chopin was still looking for the best melodic continuation for the first, five-bar-long phrase. In the 1st half of the bar, after numerous deletions, he wrote two versions, out of which it was eventually the second one that was adopted, marked in this manuscript as ossia. The only version of the 2nd half of the bar was then changed in A.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 6

composition: Op. 10 No 3, Etude in E major

 in A

 in FE (→GE,EE)

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The fact of shortening the  hairpins in FE (→GE,EE) is certainly an arbitrary decision of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 7-8

composition: Op. 10 No 3, Etude in E major

No signs in AI, A & FE (→GE,EE)

Arpeggio signs written into FED

Our variant suggestion

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Chopin added the little slurs indicating arpeggios in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 7-8

composition: Op. 10 No 3, Etude in E major

No fingering in AI, A & FE (→GE)

Fingering in EE

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The fingering of EE, including each note in the R.H., comes from Fontana.

category imprint: Differences between sources

issues: EE revisions