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b. 218
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composition: Op. 44, Polonaise in F♯ minor
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In addition to the much more serious change of pitch – see the preceding note – Chopin also changed here the rhythm of the 1st beat of the bar from category imprint: Differences between sources |
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b. 220
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composition: Op. 44, Polonaise in F♯ minor
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The earlier start of the slur probably resulted from an inaccurate notation of [A]. A new phrase clearly begins on the 2nd quaver, which is confirmed by the slurring of all analogous places – b. 200 as well as 141, 143, 161, 163 and 202. category imprint: Differences between sources issues: Inaccurate slurs in A |
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b. 220-243
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composition: Op. 44, Polonaise in F♯ minor
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These bars – from the 2nd quaver in b. 220 – have their prototype in the second part of AImaz. In this autograph they were written down – as was the case with the first phrase corresponding to b. 200-206 – half a tone lower (from B category imprint: Corrections & alterations; Source & stylistic information |
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b. 220-242
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composition: Op. 44, Polonaise in F♯ minor
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The final version and AImaz differ in the use of dotted rhythms ( category imprint: Corrections & alterations; Source & stylistic information issues: Dotted or even rhythm |
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b. 221-222
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we include the pedal markings of FE, added by Chopin probably to the basis for FE. The missing markings in EE are probably the engraver's mistake. See also b. 223. category imprint: Differences between sources issues: Errors in EE |
to 2 quavers.
major in b. 220-226 to E
or similarly in twice as big rhythmic values). In two places the dotted rhythm was eventually replaced with even values – in b. 220 and 227. The opposite occurred five times – in b. 231, 234-235, 241 (the 2nd and 3rd beats) and 242 (the 1st beat).
