Fingering
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b. 47
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composition: Op. 25 No 6, Etude in G♯ minor
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The missing fingering digit over the 1st semiquaver in GE3 is certainly a result of wear and tear of printing materials (the beginning of the slur is also invisible). category imprint: Differences between sources issues: Errors in GE |
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b. 49-50
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composition: Op. 25 No 6, Etude in G♯ minor
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Lack of some of the fingering indications in FC (→GE) – '1' in bar 49 and three digits in bar 50 – is most probably a result of the copyist's inattention, although fingering additions in the base texts to FE and EE cannot be entirely excluded. category imprint: Differences between sources issues: Errors of FC |
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b. 51
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composition: Op. 25 No 6, Etude in G♯ minor
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The third finger, written in all three Stichvorlage manuscripts – FC (→GE) and base texts to FE and EE – was changed by Chopin to first while proofreading FE. Hence the composer resigned from repeating the fingering arrangement appearing at the beginning of this bar in favour of full compatibility with the basic fingering scheme of minor third chromatic passages, defined at the beginning of the Etude (bars 5-6 and 9-10). However, taking into account the fact that the changes of the direction of movement naturally offer an opportunity for minor, local deviations, not breaching the general rules, in the main text we give both versions of Chopin fingering. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 51
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of the 10th, 11th and 12th third, appearing only in FE, was almost certainly added at the time of proofreading FE, together with the change of the digit under the 9th third – see the adjacent note. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 57
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composition: Op. 25 No 6, Etude in G♯ minor
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Chopin completed and changed the beginning of fingering of the top voice in the proofreading of FE. category imprint: Differences between sources issues: Authentic corrections of FE |
