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b. 142
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composition: Op. 22, Polonaise
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There are no accidentals before the 4th and 8th semiquavers in FE (→EE,GE). The natural put before c4, the last note in the bar, proves that Chopin considered the category imprint: Interpretations within context issues: Accidentals in different octaves , Cautionary accidentals |
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b. 142
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composition: Op. 22, Polonaise
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The absence of a mordent both in EE and GE suggests that we are dealing with an oversight of the engraver of FE, which made its way to these editions; however, in FE it was corrected in the last stage of proofreading. In the main text we add an accidental – often omitted by Chopin in such situations – specifying the pitch of the mordent's top note. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Accidentals in different octaves , Inaccuracies in FE , Authentic corrections of FE |
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b. 142-144
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composition: Op. 22, Polonaise
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Propagating the accent from b. 145 to the three previous seemingly similar situations is an arbitrary revision of EE, disregarding the harmonic context. See also b. 134-137. category imprint: Differences between sources issues: EE revisions |
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b. 144
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composition: Op. 22, Polonaise
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The sources are lacking in the category imprint: Interpretations within context issues: Accidentals in different octaves , Inaccuracies in FE |
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b. 145-146
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composition: Op. 22, Polonaise
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The traces of removal of rests and demisemiquaver beams, visible in FE, show that every other semiquaver was initially a demisemiquaver preceded by a rest: category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE , Main-line changes |
from before the 1st quaver of the bar to be valid up until this place, thus regarding the aforementioned notes as c
2 and c
before a1 at the beginning of the 2nd triplet and before a3 at the end of the bar. It is a consequence of the then rule of validity of accidentals in an octave resulting from the notation, and not from the actual pitch. 
. In the corrected version, the variants of the rhythm including demisemiquavers are introduced gradually, which makes this sequence more varied and related to the harmonic changes.