Articulation, Accents, Hairpins
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b. 62
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composition: WN 17, Polonaise in B♭ major
category imprint: Differences between sources |
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b. 62
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composition: WN 17, Polonaise in B♭ major
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The accent over the syncopation is an unquestionable improvement of notation, introduced by Chopin into [A] (→PE). category imprint: Differences between sources |
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b. 62
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composition: WN 17, Polonaise in B♭ major
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The wedges over the last semiquavers of triplets in PE probably come from [A]. It is not entirely clear how the signs are to be understood if the staccato articulation for all semiquavers was probably determined with a relevant verbal indication. category imprint: Differences between sources |
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b. 63
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composition: WN 17, Polonaise in B♭ major
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The category imprint: Differences between sources |
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b. 64
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composition: WN 17, Polonaise in B♭ major
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The wedge and accents, visible in PE, probably come from [A]. According to us, the type of the accent, short or long, does not stem from the notation; therefore, we consider both possibilities, giving the priority to the long accent (cf. bar 65). category imprint: Differences between sources |
in 
in the next bar. In turn, the sense of the sign in 
