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b. 3-13

composition: Op. 28 No. 3, Prelude in G major

  in FCI

No signs in A (→FC→GE, →FE→EE)
..

In FCI the pair of   hairpins in b. 3-4 defines a detail that was not marked in the final editing of the piece. When this phrase is repeated, it is accompanied only by a long accent at the beginning of b. 13.

category imprint: Differences between sources

b. 3-12

composition: Op. 28 No. 3, Prelude in G major

2 short accents in FCI

Short accent in A, probable interpretation (→FC→GE, →FE→EE)

Long accent in A, possible interpretation
..

It is unclear whether the accent in A was supposed to be long or short, according to Chopin. Both FC (→GE) and FE (→EE) interpreted it as short; a short accent is also in FCI (as well as in b. 12). In the main text we also favour a short accent – both the acceleration of the tempo of the Prelude and the shortening of the rhythmic value of this note are an argument for a short, purely dynamic accent.
In FE (→EE) the accent was placed under the stave, which is a routine revision, frequently used by editors both in times of Chopin and nowadays. In this case, it does not influence the meaning of the sign; we do not include this detail in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Placement of markings

b. 3-4

composition: Op. 28 No. 3, Prelude in G major

Slur from semiquaver in FCI & A (→FE→EE)

Slur from mid-bar in FC (→GE)
..

The longer slur of FC (→GE) resulted from a mistake of the copyist, most probably confused by the contour of a fragment of the slur written on the back of this page (over b. 22) blending into the slur of A. 

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors of FC

b. 3

composition: Op. 28 No. 4, Prelude in E minor

..

One can see traces of changing the pitch of the bottom note in the last pair of chords in As. On the basis of the photocopy at our disposal, however, it seems impossible to determine whether f was changed to e or the other way round. We assume that Chopin changed his mind only once and that it is the text of As after corrections that is compliant with the final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 3-5

composition: Op. 28 No. 4, Prelude in E minor

Separate slurs in As (bars 4-5)

Continuous slur in A (→FC→GE, →FE→EE)

Separate slurs in CGS (bars 3-4)
..

The divided slurs in As are rather an evidence of Chopin's structural thinking at the time of writing down the idea of the Prelude than a performance indication. The broken slur of CGS is an inaccuracy of notation at the transition to a new line.

category imprint: Differences between sources; Corrections & alterations