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b. 5-6

composition: Op. 64 No 3, Waltz in A♭ major

Slur continued in A (→FEEE)

New slur in GE

..

Due to accumulating inaccuracies, caused by the transition to a new line – in FE and GE it begins in bar 6 – the slur in GE ends in bar 5, whereas bar 6 is embraced with a new slur (although in GE1op and GE1Ab the slur in bar 6 suggests a continuation). In the main text, we give the unequivocal slurring of A (→FEEE). 

category imprint: Differences between sources

issues: Inaccuracies in GE , Uncertain slur continuation

b. 7-8

composition: Op. 64 No 3, Waltz in A♭ major

Hairpins in A

FE (→EE), GE2op (→GE3op) & GE2Ab

No signs in GE1op & GE1Ab

..

The  hairpin is shifted in FE – contrary to A – to the beginning of the bar. In the editors opinion, this is due to inaccuracy. In GE1op and GE1Ab both  and  signs were overlooked in these bars, what later versions of GE supplemented.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE

b. 8-24

composition: Op. 64 No 3, Waltz in A♭ major

..

In the main text we omit the cautionary  next to din bar 8, present in the sources. Chopin probably feared that bat the beginning of the bar may trigger an association with d2. Similarly in bar 24, which in A is marked as a repetition of bar 8. 

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 9

composition: Op. 64 No 3, Waltz in A♭ major

Pedalling in A

No pedalling in FE (→GE,EE)

..

The lack of pedal markings is almost certainly an oversight of the engraver of FE (→GE,EE).

category imprint: Differences between sources

issues: Errors in FE

b. 10-11

composition: Op. 64 No 3, Waltz in A♭ major

 in A (→FEEE)

No sign in GE

..

The absence of the  hairpin is certainly an oversight of the engraver of GE. The hairpin was overlooked in GE1op and GE1Ab in the entire line, embracing bars 6-11.

category imprint: Differences between sources

issues: Errors in GE