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b. 3
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composition: Op. 24 No. 1, Mazurka in G minor
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It is not clear whether the accent written in A was meant to be a short one or a long one. GE (→FE) has a short accent here, and the inaccurate placement of that mark in FE brought about its erroneous interpretation in EE. However, a comparison with the analogous bars 11, 51 and 59 points to the long accent option as being more probable. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 3
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composition: Op. 24 No. 1, Mazurka in G minor
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The slur of A clearly has a phrasing function and relates to whole chords, also the progression of the upper voice g1-a1. Relocating it to the side of the note heads, which was one of routine operations performed by engravers, completely changed the sense of that marking. category imprint: Differences between sources issues: Placement of markings , Errors in GE |
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b. 3-4
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composition: Op. 24 No. 1, Mazurka in G minor
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In EE, the upper slur in those bars was omitted, probably by mistake. category imprint: Differences between sources issues: Errors in EE |
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b. 3
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composition: Op. 24 No. 1, Mazurka in G minor
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In GE2 (→GE3) a cautionary category imprint: Differences between sources issues: GE revisions , Cautionary accidentals |
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b. 3-4
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composition: Op. 24 No. 1, Mazurka in G minor
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Visible in A is the erased original version of the accompaniment, in which both bars had G crotchet with a staccato dot falling on the 1st beat. Both bars also had pedalling analogous to the pedalling preserved in adjoining bars. The notation before the change was as follows:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
in 
was added before a1 on the last chord. That unjustified revision was probably done to imitate Chopin's signs in analogous bars 