This is a long piece, taking over 10 minutes, but its structure is not overly complex. The number of basic thematic materials is not that large; the piece's density comes from variations. For the performer, grasping these basic materials and keeping the long-term goal in mind is helpful. Even a seemingly long piece becomes much clearer through analysis. And for both the performer and the listener, a "clear" performance is desirable. Let's look at the beginning.

Measures 1-8: The Opening

Measures 1-8 present Chopin's unique "ambiguous opening," where the key is not immediately clear. As seen in pieces like Scherzo No. 3 or Op. 10 No. 12, many of Chopin's works do not reveal their key until much later. These initial 8 measures ultimately feature C-sharp, the dominant of F-sharp minor, written as a pedal point. As in Scherzo No. 3, the crucial aspect here is the "recognition of the beat" and its precise execution. From measure 5, 16th notes appear at 12 timings per measure, which might seem straightforward, but in measures 1-4, a poor performance can obscure even the time signature. For the first 4 measures, play with metronomic precision, without any rubato. During these 4 measures, ensure that the second beat does not become louder than the first. And, of course, the first measure should be the softest, with a crescendo building towards measure 8.

Measures 9-16: Section A-1

Let's call the first thematic material A-1. It spans 8 measures, from 9-16. These 8 measures can be divided into two parts: 9-12 and 13-16. Furthermore, measures 9-12 are subdivided into 9-10 and 11-12. The melodic line in 11-12 progresses in thirds and rises in pitch compared to 9-10, so the volume increases.

Measure 13 is reached, where the D on the second beat of the melodic line serves as the goal. Looking at the next measure, the melodic line ascends further, reaching A on the second beat. As a simple approach, consider measure 13 as C-sharp - D - C-sharp, and measure 14 as C-sharp - A - G-sharp (the author is extracting only the important notes of the melodic line here). Following this approach, the next measure reveals G-sharp - E - D-sharp (this time extracting the notes on the first and third beats), and in the final measure 16, C-sharp - D - C-sharp. It becomes clear that as the piece progresses, the intervals widen and the notes become higher.

In other words, throughout measures 9-16 of A-1, the tension progressively increases measure by measure. Therefore, although measure 9 is marked forte, it is safer to begin around mezzo forte.

Measures 17-27: Section A-2

Next, let's designate measures 17-27 as A-2. In this A-2 section, the main melodic line begins in octaves in the left hand from measure 17. This part is already quite loud dynamically, but while A-1 builds tension in its third measure, A-2 briefly modulates to A major in its third measure (measures 19-20), changing the color. Measures 21-22 feature a dance-like progression, leading into a cadenza (cadential form) in measure 23. The chords in measures 24-26 are D-F-sharp-C, concluding with a dramatic augmented sixth chord, known as the Italian augmented sixth. Measures 24-26 can be the loudest dynamically within both A-1 and A-2.

Measures 53-60: Section A-3

Next, measures 53-60 will be designated as A-3. At measure 53, the key is B minor. These 8 measures are neatly divided into two 4-measure sections: 53-56 and 57-60. Personally, I believe 53-56 should be louder than 57-60, but this is for the performer to decide. In any case, differentiate these two sequences in terms of volume and timbre to avoid flatness.

Here are some points to note for A-3:

• The ascending right-hand octaves. In both measures 54 and 58, they must be played leggiero with about 1/4 of the usual force, avoiding any undue lingering or heaviness.
• As a practice method, try ascending the octaves using only fingers 4 and 5 of the right hand (omitting finger 1). This is quite challenging. Such practice helps strengthen fingers 4 and 5 of the right hand. As you may already know, using finger 4 on black keys allows for smoother scale playing. This is a very difficult section, requiring diligent practice.

Measures 61 onwards: Variations and B Section Introduction

From measure 61, a variation of A-1 begins. With scales introduced in the left hand, the volume increases, and the mood becomes less settled. From measure 69, A-2 returns. The only difference compared to the previous A-2 is the ornamental writing, as seen in measure 76; the fundamental approach remains the same.

Measures 79-102: Section B-1

From measure 79, the B section begins. Measures 79-102 will be designated as B-1. The musical interpretation of B-1 will be discussed later, but first, let's explain how to analyze the harmony. Let's take measure 83 as an example. The basic chord here is A-C-sharp-E, the tonic chord of A major. However, this measure also contains D-sharp and F-sharp in addition to A-C-sharp-E. These two must be considered separately. In this case, the latter two of the four 32nd notes on the off-beat of the first beat are considered chord tones, and the former two are considered non-chord tones. Thus, D-sharp and F-sharp are non-chord tones, while E and C-sharp are chord tones. Then, if you combine the note on the downbeat of the second beat with the last two 32nd notes of the preceding group, you get A-C-sharp-E.

Subsequently, follow this approach for all chords, considering the last two 32nd notes plus the next 8th note. The chord progression is then:

A C-sharp E → A D F → A D-sharp F-sharp → A D F → A B D → A D F → A C E → A C F → B D F → A C E-flat → A B D-sharp → A C E → A B D → A C E.

Consider where the tension increases and where it decreases within this progression. Then, apply dynamics to ensure a smooth progression.

Regarding the musical interpretation of this section, like the "Heroic" Polonaise, the B section is in a major key and is vibrant. While it might seem to express joy at first glance, I believe Chopin depicts the B section in a military fashion, similar to the "Heroic" Polonaise. In other words, I consider it a depiction of the fear of an unknown military attack.

Measures 103 onwards: Return of A-2, B-1, and B-2 Introduction

From measure 103, A-2 returns. Does it evoke a fleeting memory? This is indeed an interesting form. And as soon as A-2 ends, B-1 begins again. Measures 125-126 depict a scene gradually and slowly transforming in one's mind.

Measures 127-168: Section B-2

Measures 127 to the first beat of measure 168 will be designated as B-2. This B-2 section can be further divided into B-2A (127-140) and B-2B (141-147).

• In B-2A, despite the sotto voce at measure 129, this is the point of highest tension in the section, and from this peak, the mood gradually calms down. Measure 140 is the most tranquil part.
• In B-2B, one might describe it as a gentle conversation. However, a slightly more soloistic approach is also acceptable.

Subsequent Returns and Coda

After this, from measure 147, B2-A (147-160) returns, this time in E major. At measure 161, it becomes B2-B again (161-168), but this time the latter half differs from before. And from measure 169, a completely new melodic line appears. Let's call this B2-C (measures 169-184).

Following this, B2-A (186-200), B2-B (200-206), then B2-A (207-220), B2-B (220-227), and B2-C (228-248) continue. Measures 250-260 serve as a bridge for the return of A. Then, A returns at measure 261, and the Coda begins from measure 311.

Even this truly monumental Polonaise, through such analysis, clearly reveals the repetition of the same thematic material. For instance, even with the same material, the atmosphere and volume must be altered depending on the key, and variations also change the mood.