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b. 6-14

composition: Op. 24 No. 1, Mazurka in G minor

No signs of articulation in the sources in bars 6 and 14.

Staccato dots as in analogous bars.
..

We add staccato dots under bass notes in bars 6 and 14. Despite that and several other omissions in that respect, Chopin's intention to apply that articulation for all bass notes in analogous texture is beyond doubt.

category imprint: Editorial revisions

b. 6-7

composition: Op. 24 No. 1, Mazurka in G minor

Possible interpretation of slurs in A

Simplest interpretation of slurs in A (→GE→FE→EE)
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In A, the slur begun in bar 6 (the last in the line of text) has no continuation, which makes it impossible to figure out Chopin's exact intention for slurring of that phrase. The solution adopted in GE (→FE→EE) seems the most appropriate one (cf. analogous bars 54-55).

category imprint: Graphic ambiguousness

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 6

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

Due to the graphic layout, we add dashes linking  poco a poco with the cresc. in the next line.

category imprint: Editorial revisions

b. 6-8

composition: Op. 24 No. 4, Mazurka in B♭ minor

A minim in A (→GE)

A dotted minim in FE (→EE)
..

In FE (→EE) the upper voice minims at the beginning of bars 6 and 8 are furnished with dots extending their rhythmic values. This contradicts the notation of A (→GE). The error could have resulted from reading the staccato dot on the 2bnd beat as the extending dot for the minim.

category imprint: Differences between sources

issues: Errors in FE

b. 6

composition: Op. 24 No. 4, Mazurka in B♭ minor

A staccato crotchet in A (→GE→FE)

A staccato semiquaver in EE
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In EE, the staccato dot was erroneously placed over the semiquaver b flat1 instead of placing it above the crotchet. 

category imprint: Differences between sources

issues: Errors in EE