Issues : GE revisions
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b. 16-22
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composition: Op. 64 No 3, Waltz in A♭ major
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Due to the applied abbreviated notation of bars 17-31, it is not entirely certain how the slurs of A at the transition between bars 16 and 17 are to be interpreted. According to us, it is more likely that Chopin though about a continuous slur, which is indicated by the fact of combining slurs in A in analogous bars 124-125 (a respective change was introduced in later GE). Omission of the slur in GE1op and GE1Ab is a patent mistake. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Errors in GE , GE revisions |
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b. 17-19
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composition: Op. 64 No 3, Waltz in A♭ major
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GE1Ab and GE1op overlooked the category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , GE revisions |
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b. 29-30
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composition: Op. 64 No 3, Waltz in A♭ major
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In A (→FE→EEW1) there are no naturals raising d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omitted correction of an analogous place |
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b. 31
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composition: Op. 64 No 3, Waltz in A♭ major
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Same as in bar 15, the moment of the division of the slur in A is not entirely legible. In the main text we give the most natural, as far as the piano technique is concerned, division after the 3rd quaver in the bar. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 61-62
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composition: Op. 64 No 3, Waltz in A♭ major
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In GE2Ab the chords were arbitrarily deprived of the f1 notes, probably by analogy to bars 57-58. category imprint: Differences between sources issues: GE revisions |
in bars 17-19 in 
3(2) to d3(2). In the remaining sources the mistake was corrected. Cf. bars 
