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Op. 50 No. 3, Mazurka in C♯ minor

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b. 3-4

composition: Op. 50 No. 3, Mazurka in C♯ minor

c2 repeated in AI & AF (→FE→EE)

c2 tied in GE
..

The version with tied c2, coming probably from [AG] (→GE), is undoubtedly later, hence we give it directly in the main text. Admittedly, Chopinesque proofreading of FE took place even later, yet the fact that a tie was not added here does not allow us to draw conclusions that Chopin returned to the original concept, since the difference could have been of less importance to the composer, hence he could have forgotten it while proofreading FE.
There is a similar situation in b. 7-8 and 95-96.

category imprint: Differences between sources; Corrections & alterations

b. 3

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

In the main text we add a cautionary  before b1.

category imprint: Editorial revisions

b. 6

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

Both autographs are lacking in the  raising a1 to a1. The mistake is also in EE, where it was repeated after the proof copy of FE. In the very FE Chopin added the overlooked accidental; the correct text is also in GE.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE , Last key signature sign , Errors repeated in EE

b. 6

composition: Op. 50 No. 3, Mazurka in C♯ minor

No mark in AI & GE2

Long accent in AF & GE1

Short accent in FE (→EE)
..

The shorter bottom arm of the accent in AF caused the mark in FE (→EE) to have been reproduced as short. The absence of the accent in GE2 is most probably an oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in A

b. 7-8

composition: Op. 50 No. 3, Mazurka in C♯ minor

g1 repeated in AI & AF (→FE→EE)

g1 tied in GE
..

Like in b. 3-4, in the main text we give the version with tied g1, coming probably from [AG] (→GE).

category imprint: Differences between sources; Corrections & alterations