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4

A curved line connected two notes that are the same pitch is a tie. If they are different pitches, it is a slur. In this example, the C sharps in the bottom voices in the right hand are tied, and the other voices are played legato according to the slurs.


4

Your doesn't show the important fact that the trills start on the upper note. See the Peters edition here, for example. http://imslp.org/wiki/Special:ReverseLookup/102120 The fingering in your edition is good, but it's not obvious what it means (and @MattPutnam guessed wrong about contrary motion). Play the lower trill with your thumb under the second ...


4

If you can play this study beautifully, using your own fingering, any fingering, that should be good enough. But where it fits the hand, why not use 4? I'm looking at the Cortot edition (highly recommended; his fingering in particular is generally very very good), and in the very first bar the first pair of octaves is marked 5-5, the second 5-4. All of these ...


4

Other editions make it clearer: trill each note, starting on the note rather than the auxiliary (where he specifies it with an accacciatura). You can see it in Scharwenka's edition here. Edit: I should clarify this a bit: Chopin is using accacciature in this passage to specify the starting notes of the trills.


3

The main point of alternating fingers in octave passages is not to enable legato playing. It won't produce a good legato anyway, since the thumb always has to jump/slide (although for psycho-acoustic reaons, half a legato can produce a nice illusion of the real thing). The real reason has to do with finger and hand positions. Judicious choice of the finger ...


2

In the Henle Urtext edition there is no tie on G# and nothing is said about it in the commentary. This suggests that there is no ambiguity: it should be repeated. Also the grace notes should be in the following bar which may or may not affect your interpretation. And the slur should start on the half note G#, there is no slur on the preceding 16th notes. But ...


2

Don't think of it as two simultaneous trills, think of it as a coordinated single trill or tremolo. Also, I'm not familiar with this piece, but the fingering would seem to indicate that the trills move in contrary motion (which I'm finding to be immensely easier as I test it out by tapping on my desk). Finally, I would note that barcarolles are very lazy ...


1

In keeping with the melodic and rhythmic elements Chopin is working with, his intention is to flatten the sixth degree of Eb (key) - i.e., the C. This happens to be the enharmonic equivalent of B. Regardless, his intentions lead him to write Cb. This is an idiosyncratic feature of the key of Eb. Flattening the sixth of other major scales does not lead to ...


1

I haven't checked the sheet music, but in any case, a Cb is enharmonically the same as a B natural. As is always the case, the flat just lowers the note by a semi-tone.


1

First, I agree with alephzero about the fingering. The fingering in your edition assumes that you start on the upper auxiliary rather than the lower, and as I have detailed in my note to his answer this is not set in blood. If you like the lower auxilary, then reverse the numbers in the fingerings. 4-2 on the lower notes and 5-1 on the uppers, changing to ...



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