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Op. 22, Polonaise

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 176

composition: Op. 22, Polonaise

..

In the main text we suggest an accent, written by Chopin in analogous b. 32. The need to accentuate this syncopation, co-creating a characteristic, polonaise cadence, goes without saying.

category imprint: Editorial revisions

b. 176

composition: Op. 22, Polonaise

Wedge in FE (→EE)

No mark in GE
..

The missing wedge in GE may be an oversight.

category imprint: Differences between sources

issues: Errors in GE

b. 185

composition: Op. 22, Polonaise

No mark in FE (→GE,EE)

Wedge suggested by the editors
..

In the main text we suggest adding a wedge over the e2-d3 seventh (optionally), present in analogous b. 51.

category imprint: Editorial revisions

b. 187

composition: Op. 22, Polonaise

No mark in FE (→GE)

Wedge on b2 in EE
..

Like in b. 43, of which the discussed bar is a literal repetition, in the main text we add a wedge next to b2. The mark was also added in EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 195-197

composition: Op. 22, Polonaise

Staccato dot in FE (→GE)

3 wedges in EE

3 dots suggested by the editors
..

Like in b. 51-53, of which the discussed bars are a literal repetition, the staccato dot under the bass B1 note is present in FE (→GE) only the first time (in b. 51). In the main text we add the two remaining dots. The marks were also added in EE, yet the dots were arbitrarily changed to wedges.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions