Issues : Inaccuracies in JC
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b. 68-69
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composition: WN 17, Polonaise in B♭ major
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The rhythmic notation of the 2nd and 3rd beats of those bars cause substantial problems as in bars 52-53 and analog. The analysis of the notation of JC suggests that Chopin initially wrote only four quavers in each hand in [AI] and then, in a simplified manner, separated some of the notes by extending their stems over the beams (a similar notation is to be found in the finished autograph of the Polonaise in F minor, WN 12, bars 23-24). The notation of EF is an alternative attempt to decipher the notation of [AI]. For the main text we adopt the notation of PE with a clearly highlighted melodic voice. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Inaccuracies in JC |
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b. 70
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composition: WN 17, Polonaise in B♭ major
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In JC, there is no cautionary bass clef at the end of the great stave. category imprint: Source & stylistic information issues: Inaccuracies in JC |
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b. 74-75
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composition: WN 17, Polonaise in B♭ major
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In JC, the accidentals before the 2nd quavers in the L.H., both the category imprint: Interpretations within context; Source & stylistic information issues: Inaccuracies in JC |
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b. 78-80
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composition: WN 17, Polonaise in B♭ major
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In the entire A major fragment, it is only EF that has a correct notation, as far as the accidentals are concerned (however, we add both signs in the 3rd triplet in bar 80 and the natural in the 5th triplet, required in accordance with the rules adopted by us). PE lacks some of the signs, which, however, does not have any impact on determining the correct text; similarly in JC, where there are only few necessary signs. category imprint: Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Inaccuracies in JC |
in bar 74 and the 
in bar 75 are placed on the level of b