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Op. 22, Polonaise

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b. 91

composition: Op. 22, Polonaise

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 92

composition: Op. 22, Polonaise

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 92

composition: Op. 22, Polonaise

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 92

composition: Op. 22, Polonaise

e1 in FE (→GE1,EE)

e1 in GE2 (→GE3), contextual interpretation of remaining sources
..

In FE (→EE,GE1) before the 8th note from the end of the bar, there is no  specifying e1, which must be an oversight. While the semitone chromatic steps in the first part of the figuration in b. 91-92 are built around the f-a-c-e diminished seventh chord, from the 6th small quaver on, the harmonic overtone of the figuration moves towards the fully diatonic key of G major, which is signalised by e2 exposed as the 7th and 13th small quavers. Therefore, in the main text we clearly give e1, which was already introduced in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals

b. 93-95

composition: Op. 22, Polonaise

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED