Issues : Authentic corrections of FE
b. 4
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering under the first three semiquavers in the bar was added by Chopin most probably at the time of proofreading FE. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 4
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composition: Op. 25 No 6, Etude in G♯ minor
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Chopin added the fingering digit over the last semiquaver probably in the proofreading of FE. The same digit added in EE2 (→EE3) is most probably an editorial revision, introduced probably on the basis of FE. category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 5
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composition: Op. 25 No 6, Etude in G♯ minor
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The chromatic third progression has two fingering versions in the sources:
category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Differences in fingering , Authentic corrections of FE |
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b. 8-10
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composition: Op. 25 No 6, Etude in G♯ minor
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The fingering of FE, undoubtedly coming from Chopin, is almost certainly an addition introduced in the proofreading of this edition. The fingering was repeated in EE2 (→EE3), adding a '1' at the end of bar 8 (evident mistake). category imprint: Differences between sources issues: EE revisions , Authentic corrections of FE |
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b. 12
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composition: Op. 25 No 6, Etude in G♯ minor
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The sharp returning c2 appears in [A] (→FC→GE1) and EE1 only before the 9th semiquaver, which is undoubtedly a mistake committed by Chopin (the composer, same as in many other places, concentrated on marking the top voice only). In the remaining sources, the sign was moved to the correct place (FE and GE2 and GE3) or was only added in this place (EE2 and EE3). category imprint: Differences between sources issues: EE revisions , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE , Errors of FC |