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b. 28
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composition: WN 17, Polonaise in B♭ major
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The cautionary category imprint: Differences between sources issues: Cautionary accidentals |
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b. 28-29
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composition: WN 17, Polonaise in B♭ major
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In JC and EF the pairs of quavers A category imprint: Source & stylistic information |
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b. 29
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composition: WN 17, Polonaise in B♭ major
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In bar 29, it is hard to determine whether the rhythms of JC and EF are authentic. It cannot be excluded that one of them (or even both) are a result of a misunderstanding of the notation of [AI], which could be ambiguous, e.g., due to corrections. In the main text we give the rhythm of PE, compatible with the rhythm of analogous motifs in bars 25 and 27. We also consider the phrasing of the third sequence in bars 29-30, which emphasises this rhythm. category imprint: Differences between sources issues: Dotted or even rhythm |
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b. 29-30
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composition: WN 17, Polonaise in B♭ major
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Two slurs over the third sequence are only in PE. According to us, the slurring is inseparable from the rhythm of the source and cannot be transferred to the versions of JC or EF. category imprint: Differences between sources |
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b. 29
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composition: WN 17, Polonaise in B♭ major
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The notation of the sustained g bass note, read literally, is unclear in JC (and probably also in draft [AI]), yet there are no major doubts as to how to correct it. We observe one of the more invasive possibilities of improving the original notation in EF. In the main text we give the undoubtedly later improved notation of PE (originally in the treble clef). All manners of notation featured in the sources result in the same sound effect. category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Errors of JC |
before a, visible in 
on the 6th quaver and the introduced in the next bar C minor key.
