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b. 3-4

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A one can see that three accidentals were crossed out; it seems that Chopin wrote them "just in case." Afterwards, it turned out that they were superfluous – the  before the penultimate note in b. 3 and the flats before d3 and g2 in b. 4. (We give the  before a3 in our transcriptions due to the division of the bar between the lines.) 

category imprint: Source & stylistic information

issues: Cautionary accidentals , Deletions in A

b. 4

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In FC there is no accidental before the 2nd semiquaver in the 3rd group. The structure of the figuration and the  present two notes further (as well as analog. b. 20) made the reviser of GE realize the mistake of the copyist and add a

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 6-7

composition: Op. 28 No. 16, Prelude in B♭ minor

Fingering written into FESch

No teaching fingering

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FESch

b. 8

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A (→FC,FE) there is no  before the 2nd semiquaver in the 2nd half of the bar (a2). The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 8-11

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A one can see that Chopin would prolong certain L.H. slurs by adding to the slur the 4th quaver of three consecutive halves of bars, A, B and d, respectively. A similar situation can be found between b. 11 and 12.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A