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p. 3, b. 23-36
p. 1, b. 1-10
p. 2, b. 11-22
p. 3, b. 23-36
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 27-28

No fingering in A (→GE) & EE1

Fingering in FE

Fingering writteninto FED

Chopin added the fingering of the bottom voice most probably at the time of proofreading FE (also in bars 28 and 29). What draws attention is the fact that the composer considered the fingering of the top voice to be obvious – cf. the Etude in Gminor, No. 6, bars 14-15. The entry in FED proves that what was obvious to Chopin was not that obvious even for such a talented pupil as Miss O'Meara.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Annotations in teaching copies, EE revisions, Annotations in FED, Authentic corrections of FE

notation: Fingering

Missing markers on sources: A, FE1, FE2, FED, FEJ, FES, GE1, GE1a, GE2, GE3, EE1, EE2, EE3