Pitch
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b. 5-7
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composition: WN 17, Polonaise in B♭ major
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Similarly as in bars 1-2, we consider the versions of JC and EF as a result of an erroneous reading of the autograph of the previous version of the Polonaise, [AI]. Cf. also the remark concerning bars 3-4. category imprint: Differences between sources |
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b. 5-6
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composition: WN 17, Polonaise in B♭ major
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In JC, there are no flats lowering a and a1 into a category imprint: Differences between sources issues: Cautionary accidentals , Omission of current key accidentals , Errors of JC |
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b. 8
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composition: WN 17, Polonaise in B♭ major
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The additional f note appears in the versions of JC and EF based on an earlier autograph. Its omission in a later version of PE mitigates the impression of parallel shift of chords in combination with the previous bar. category imprint: Differences between sources |
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b. 9
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composition: WN 17, Polonaise in B♭ major
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In JC and EF, there is a category imprint: Source & stylistic information issues: Cautionary accidentals |
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b. 10-11
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the undoubtedly later version of the accompaniment written – with minor inaccuracies – in PE. The new shape of the accompaniment in this version was provided with slurs and the indication legato, probably by Chopin. The text of EF is a more precise notation of the earlier version, written in a partially draft form also in JC. In that last manuscript, it is three additional notes that draw attention; their meaning and relation to the remaining part of the notation is ambiguous. It could be, e.g., a draft of a new version of the bass line in this bar developed by Chopin. category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Accompaniment changes , Inaccuracies in PE |
and a
before a in bar 7. 
