Fingering
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b. 1-5
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composition: Op. 10 No 3, Etude in E major
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The detailed fingering of the first phrase in EE is an addition by Fontana. category imprint: Differences between sources issues: EE revisions |
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b. 6
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composition: Op. 10 No 3, Etude in E major
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In the main text we include the fingering written by Chopin in FED. The abundant fingering of Fontana in EE includes, among others, an identical indication of double use of the 4th finger. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 7-8
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composition: Op. 10 No 3, Etude in E major
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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 |
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b. 8
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composition: Op. 10 No 3, Etude in E major
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In the main text we include the fingering added by Chopin in FED and the slur, embracing this group of semiquavers in A. In EE Fontana gave the identical fingering, marked in a more accurate manner. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 8
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composition: Op. 10 No 3, Etude in E major
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In the main text, we give the fingering of the L.H. added by Chopin in a proofreading of FE (→GE). According to us, the fingering was meant to dissipate any possible doubts concerning the division between the hands – in this particular place moving the bottom voice of the R.H. to the bottom stave may suggest its performance by the L.H. The fingering is absent in EE, which may be an oversight of the engraver or a revision of Fontana, who focused on the R.H. (in bars 1-14 he provided fingering to almost every note in the R.H.). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
