mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

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Fingering

b. 3

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering digit in FESch

No teaching fingering
..

In the main text we include the fingering entered into FESch, which could be coming from Chopin. Similar situations are in b. 6-7, 10, 12 and 15.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 6-7

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 10

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 12

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch, literal reading

Fingering written into FESch, contextual interpretation

No teaching fingering
..

In the main text we include the fingering entered into FESch, which could be coming from Chopin. The second and third digits are written inaccurately; we interpret them in accordance with the unequivocal entry in an analogous situation in b. 10.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 15

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering
..

We include this fingering in the main text (probably indicated by Chopin).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch