There are two important points to note when playing this Polonaise. First, consider the inherent character of the form known as "Polonaise." Listen to any "Polonaise" by other Romantic composers. You will come to understand the unique rhythm and timing characteristic of the Polonaise itself. A distinctive feature is the accent falling on the off-beat rather than the downbeat of the first beat. Instead of playing with metronomic precision, a free control of timing is desired.

Second, regarding non-harmonic tones. Among the types of non-harmonic tones, there is one called a "passing tone." Originally, to facilitate a smooth melodic line, this non-harmonic tone is placed between harmonic tones, creating a stepwise (second-degree) progression, and often appears on the off-beat. In this Polonaise, however, these passing tones are written on the downbeat, which, contrary to the purpose of creating a smooth flow, creates a certain "emphasis." An example is the C-sharp in the right hand on the first beat of measure 2. Measure 2 is originally composed of the chord E-G-B, but the C-sharp enters, becoming a non-harmonic tone (passing tone). Since non-harmonic tones always resolve to harmonic tones, in such passages, play the non-harmonic tone with less volume than the subsequent harmonic tone (in the case of measure 2, the B on the second beat), as if it is fading away. All subsequent similar passages should be treated in the same manner.