Slurs
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b. 28
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composition: WN 17, Polonaise in B♭ major
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The slur in PE probably comes from [A]. Its appearance exactly in this place may be related to the change of the rhythmic value of the chord on the 3rd beat of the bar. category imprint: Differences between sources |
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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. 31-32
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composition: WN 17, Polonaise in B♭ major
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In the main text we give the slurs – one in the R.H. and two in the L.H. – after PE. The slurs – one in each hand – are also in EF. category imprint: Differences between sources |
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b. 32-33
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composition: WN 17, Polonaise in B♭ major
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The demisemiquaver motifs are embraced by slurs both in EF and in PE (in JC there are no slurs). While in EF each slur embraces the entire motif (five notes), the slurs in PE are shorter and they embrace only demisemiquavers. For the main text we adopt the notation of PE, the base source. category imprint: Differences between sources |
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b. 32-34
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composition: WN 17, Polonaise in B♭ major
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Both in JC and in EF the pairs of chords at the transition between bars 32 and 33 and 33 and 34 are combined with one slur. In PE, there is a special notation, in which three slurs combine the corresponding chord components of each pair (the lower one is a tie sustaining c1). As such type of notation was used by Chopin, particularly in his early pieces, we give it in the main text. category imprint: Differences between sources |
