Fingering
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b. 1
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composition: Op. 10 No 10, Etude in A♭ major
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It is unclear whether FE (→GE,EE) missing the first two fingering numerals written in A is a result of Chopin's proofreading or the engraver's inattention. A possible resignation from these hints could have been related to the change of the rhythmic value of the upbeat. category imprint: Differences between sources issues: Errors in FE |
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b. 1-4
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composition: Op. 10 No 10, Etude in A♭ major
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In the main text we give the fingering of A concerning the 2nd, 3rd and 4th quavers in bar 1 (it was also reproduced in FE and EE) and the fingering numeral over the 9th quaver, added in a proofreading of FE (→GE,EE). The authenticity of these indications is beyond any doubt, contrary to the limited, yet resulting in the same effect notation of GE and the notation of EE, completed by Fontana. See also the previous note. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in GE , Authentic corrections of FE |
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b. 7-8
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composition: Op. 10 No 10, Etude in A♭ major
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The fingering added by Fontana in EE naturally follows from the figurations. category imprint: Differences between sources issues: EE revisions |
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b. 9
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composition: Op. 10 No 10, Etude in A♭ major
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The fingering, added by Fontana in EE, repeats in both hands the schemes given by Chopin in bar 1. category imprint: Differences between sources issues: EE revisions |
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b. 42
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composition: Op. 10 No 10, Etude in A♭ major
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Fontana's addition of the fingering in EE may be considered here as justified, as such a melodic phrase has not yet occurred in the Etude's current flow. category imprint: Differences between sources issues: EE revisions |
