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Issues : Annotations in FES

b. 5-6

composition: Op. 24 No. 3, Mazurka in A♭ major

No teaching fingering provided

Teaching fingering added in FES
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 5

composition: Op. 25 No 7, Etude in C♯ minor

No pedalling in GC (→GE), FE & EE

Pedalling written into FES

Our variant suggestion
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category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 5

composition: Op. 25 No 8, Etude in D♭ major

'5' written into FES

No teaching fingering
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We do not give the fingering numeral written in FES in the main text, as it was included in the fingering in bar 1.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 5

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FED

Fingering written into FEJ

Fingering written into FES

No teaching fingering
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In the main text we give the fingering entered into FEJ, confirmed by a more sparing entry in FED. The addition in FES is also compliant with that fingering, although the d1-g1 notes can be performed by other fingers, e.g. 4-2. Actually, it was those digits that were initially written in FEJ in this place and changed to 2-1.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEJ

b. 5

composition: Op. 28 No. 14, Prelude in E♭ minor

c-c1 w A, literal reading (→FE,FC→GE1)

c-c1 in EE, GE2 (→GE3) & FES
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The missing naturals raising c-c1 to c-c1 are almost certainly Chopin's mistake. It is indicated by the naturals added by Chopin in FES as well as by the cautionary  written in A before c1 in the next bar (eventually crossed out), which suggests that Chopin assumed that it was c that was valid there*.
The naturals were added in EE and GE2 (→GE3).

* A precautionary approach should be taken in the case of a reasoning based on a cautionary accidental – in b. 12 in A we can also observe crossed-out flats before c-c1, although the sound of those notes had already been consolidated at the beginning of b. 10 (Chopin was not always certain which accidentals were included in the key signature).

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Deletions in A , Annotations in FES , Last key signature sign