Fingering
b. 61-62
|
composition: Op. 31, Scherzo in B♭ minor
..
In the main text we take into account the fingering entered into FED, which comes from Chopin. category imprint: Differences between sources |
|||||
b. 180
|
composition: Op. 31, Scherzo in B♭ minor
..
The indication according to which the endings of both trills are to be performed by the L.H. only was added in FED. category imprint: Differences between sources |
|||||
b. 293
|
composition: Op. 31, Scherzo in B♭ minor
..
The digit 1, which in this context means that the f note should be taken over by the L.H., was ignored both by the copyist and the engraver of FE. A similar situation can be found in analogous b. 395, which makes us assume that Chopin could have added those digits in A already after having drawn up FC. See also b. 374. This is the only example of a silent takeover of a tied note by the other hand by means of fingering in Chopin's output. In a few other situations, the takeover was indicated by a corresponding rhythmic notation (the Nocturne in E major, Op. 62 No. 2, b. 35 & 73) or by a combination of vertical slurs before the chord (the Sonata in B minor, I mov., b. 103). category imprint: Differences between sources issues: Errors in FE , Errors of FC |
|||||
b. 374
|
composition: Op. 31, Scherzo in B♭ minor
..
The fact that there is no indication that f should be taken over by the L.H. is to be considered an inaccuracy of notation. Chopin could have considered the indication in very similar b. 293 to be clear enough, yet it is also possible that he simply overlooked that place while adding ones in b. 293 and 395. category imprint: Editorial revisions |
|||||
b. 395
|
composition: Op. 31, Scherzo in B♭ minor
..
Just like in b. 293, the fingering digit written in A was not reproduced in any of the remaining sources, perhaps due to lack of understanding of its meaning. category imprint: Differences between sources issues: Errors in FE , Errors of FC |