Fingering
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b. 37-38
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering was added by Chopin most probably in the proofreading of FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 40
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering in this and the next bar was added by Chopin most probably in the proofreading of FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 41
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering was added by Chopin most probably in the proofreading of FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 43-46
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composition: Op. 25 No 6, Etude in G♯ minor
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Lack of fingering in the L.H. in FE may mean that it was added by Chopin in FC and base text to EE. Moreover, it cannot be excluded that some of the digits were already in [A], yet they were either overlooked or misunderstood by the engraver of FE (cf. bar 46). In the main text, we give all digits appearing in the sources, as their authenticity, independently from the differences between the sources (and alleged causes of these differences), does not raise major doubts (cf. the Etude in C category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 47
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composition: Op. 25 No 6, Etude in G♯ minor
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The smaller number of fingering digits in FC (→GE) means that Chopin completed the fingering in the base texts to FE and EE. In EE, omission of one of the digits written in FC indicates an oversight of the engraver or the person performing the base text to EE. category imprint: Differences between sources issues: EE inaccuracies |
minor, No. 7, bars 4-5).
