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Issues : Authentic corrections of FE
b. 21-22
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composition: Op. 25 No 6, Etude in G♯ minor
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These bars, being an exact repetition of bars 5-6, have no fingering in FC (→GE) and base text to EE (→EE1). It was most probably also the case of the base text to FE, as only at the time of proofreading this edition, Chopin added certain indications. They refer to the exact indications from bars 5-6 and 9-10, resembling less typical situations, related to the arrangement of two neighbouring white keys. Therefore, one can conclude that the composer considered the alternate use of 1-2 fingers (in the bottom voice) and 4-3 (in the top) to be typical for the successions of white and black keys, hence not requiring reminder. The fingering was repeated also in EE2 (→EE3). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 23-26
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composition: Op. 25 No 6, Etude in G♯ minor
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The Chopin fingering – marked after the same rules as in the previous four-bar section – was most probably added at the time of proofreading FE. Later, the indications of EE2 (→EE3) were completed on the basis of this edition. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 29
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC one can see that the category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 30-31
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composition: Op. 25 No 6, Etude in G♯ minor
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Different versions of rhythmic notation of the last third are not easy to classify in terms of authenticity and chronology. The differences between particular sources concern three elements: the tie sustaining b category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of FE , Inaccuracies in FC |
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b. 31
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composition: Op. 25 No 6, Etude in G♯ minor
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The pedalling was added by Chopin most probably at the time of proofreading FE. category imprint: Differences between sources issues: Authentic corrections of FE |