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b. 5

composition: Op. 63 No. 1, Mazurka in B major

 over f in AI & GE3

 under d1 in FE (→EE,GE1→GE2)
..

In FE the mordent was placed under the d1-f1 third, which suggests that it concerns the bottom note, d1. It must be a mistake – cf. the text of AI and bars 13 and 73 – caused by a tendency to place marks, e.g. accents, staccato dots, slurs or certain ornaments ( and ) on the side of noteheads. In the case of ornaments and slurs, it can change their meaning, thus leading to a mistake, as is the case here (see also, e.g. the Polonaise in F minor, Op. 44, bar 10).
There is a similar situation in bars 7, 71 and 75.

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category imprint: Differences between sources

issues: Placement of markings , GE revisions , FE revisions

b. 5-15

composition: Op. 49, Fantaisie in F minor

..

In bars 5 and 15, opening new lines, the endings of some slurs/ties from the previous bars were omitted in FE – of the slur in bar 5 and of the slur and of the tie to a1 in bar 15. The inaccuracies did not mislead the engraver/reviser of EE, which includes the correct notation.

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category imprint: Graphic ambiguousness; Source & stylistic information

issues: EE revisions , Inaccuracies in FE , Uncertain slur continuation

b. 5

composition: Op. 12, Variations in B♭ major

..

The missing  raising e1 to e1 in FE must be an oversight – by FE or by Chopin. It was corrected both in GE and EE.

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category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals

b. 5

composition: (Op. 4), Sonata in C minor, Mvt IV

No marking in A (→GE→FE,EE,IE)

Arpeggio sign suggested by the editors
..

The missing arpeggio before the chord in the middle of the bar is almost certainly Chopin's oversight – wavy lines are present in both analogous bar 188 and 371.

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category imprint: Editorial revisions

issues: Errors of A

b. 5

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In A the  restoring B in the chord in the middle of the bar is missing. In A these accidentals are also absent the next two times this phrase appears, that is in bar 188 and 371. Nevertheless, the harmonic context indicates that it is a patent mistake by Chopin, which he committed earlier, perhaps when writing this movement as a draft, in which the subsequent appearances of this bar could have been marked in shorthand as repetitions of the first appearance. The flat was added in GE (→FE,EE,IE).

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category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A