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b. 7-30

composition: Op. 64 No 1, Waltz in D♭ major

..

There are no slurs in As. We do not record the absence of these signs in further notes. Cf. notes on dynamic signs and pedalling.

category imprint: Differences between sources; Corrections & alterations

b. 7-8

composition: Op. 35, Sonata in B♭ minor, Mvt III

Two slurs in GC (→GE)

Two-bar slur in FE (→EE)
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The two-bar-long slur in FE (→EE) is most probably a result of an inaccurate interpretation of [A] (there are no traces of a possible correction in print) – see bars 65-66. 

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 7-23

composition: Op. 64 No 2, Waltz in C♯ minor

Sixth B-g in As

Third e-g in AI & A (→FE→GE,EE)
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The deletion visible in As suggests that the B-g sixth may be a remaining element of the original version, in which a sixth was present also on the 2nd crotchet. The same applies to bar 23, which is not written out in As. The version with sixth appears also in AI in bar 23 (deleted).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 7-9

composition: Op. 21, Concerto in F minor, Mvt II

Synchronization signs written into FED

No teaching indications
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Characteristic synchronisation signs of the parts of both hands, in the form of lines combining the notes that are supposed to be played simultaneously, were added next to the groups of small notes in bars 7 and 9 in FED. Similarly in bars 26 and 75.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Synchronization markings

b. 7

composition: Op. 21, Concerto in F minor, Mvt II

Quavers in A & GE2

Semiquavers in GE1 (→FE→EE)
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The change of the beam of the group of grace notes is probably an arbitrary decision of the engraver of GE1 (→FE→EE): cf. analogous bar 26 and bar 75.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions