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b. 8-9
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In A it is not quite clear where this slur ends, but in AI it definitely reaches f1 in bar 9, just like in A in analogous bars 28-29. Therefore in our main text we extend the slur to f1. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 8
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composition: Op. 24 No. 3, Mazurka in A♭ major
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AI has even crotchets in the 2nd part of the bar. It is probably an original rhythmic version of this and analogous bars—cf. the vertical alignment of the RH and LH notes in bar 4 in both AI and A. category imprint: Differences between sources; Corrections & alterations |
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b. 8
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In AI, there are no pedal marks here. In practice it certainly means that the pedalling given before in analogous bar 4 should be used (this kind of economic notation is not an exception in Chopin's music, cf. e.g. Impromptu in A category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 8
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composition: Op. 24 No. 3, Mazurka in A♭ major
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AI does not have a staccato dot for A flat, although a dot is present in the analogous bar 4. A (→GE→FE→EE) all have staccato here. Similarly in bar 32. category imprint: Differences between sources |
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b. 8-12
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composition: Op. 24 No. 2, Mazurka in C major
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In GE2 (→GE3), small slurs were arbitrarily added in bars 8, 10 and 12 connecting grace notes with the crotchets that follow them. We omit those conventional signs from the main text. category imprint: Differences between sources issues: GE revisions |
Op. 29, bars 1-2, 5-6 & 19-20). 
