No. 2, Op. 9-2, E-flat Major

This is an extremely famous Nocturne, yet it is actually a "frightening" one, as merely listening to its performance reveals the depth of the pianist. Technically, it is not particularly difficult, but musically, it is a challenging piece. Chopin, as a composer, might at first glance seem to emphasize homophony, but he was in fact a master of polyphony. The left-hand accompaniment in this Nocturne is not merely a succession of chords; rather, the horizontal lines of the two-note and three-note chords flow with intricate precision. A detailed analysis here would be lengthy, but please be aware of its meticulous construction.

Analyzing only the melody line of the first measure, one can observe a simple descent from G, tracing the diatonic notes of this key: G, F, E-flat. If the first measure is G, F, E-flat, then the second measure is C, B, A-flat (I am currently picking out only the important notes). When considered broadly in this way, it is natural that the E-flat in the first measure should be weaker than F, and F should be weaker than G. While there might be debate regarding G and F, for E-flat, which is a complete chord resolution, no emphasis should be placed on this note. Similarly, no emphasis should be placed on the A-flat in the second measure.

Now, measures 3-4 can be treated as a single unit, or as two separate entities. If we consider them as a two-measure unit, it becomes clear that the piece is divided into three phrases: measure 1, measure 2, and measures 3-4. Since each phrase has a different mood, they should be differentiated by varying dynamics and tone quality. Measure 4 is the cadential section, so the tempo should be slightly slowed down. When leaping from the melody's B on the first beat to the D more than an octave above, take ample time. Then, on the second beat, Chopin writes a low B in the bass. Here too, never rush; take your time leisurely.

Technically, there are two important points to note within these four measures:

• One is the issue of balance: reduce the volume so that the left hand never becomes too loud. Rather than reducing the bass, reduce the inner voices.
• The other is the discussion of rubato. When the author heard the worst performance of this piece, it brought to mind radio calisthenics. Not only this Nocturne, but all of Chopin's pieces require rubato. In other words, the key to rubato is timing that goes against expectations. Be careful that the eighth notes in the left hand do not maintain the same timing under any circumstances. Always vary the timing.

Furthermore, what the performer must fundamentally perceive is the character of the chords. This changes the mood. For example, the chord on the second beat of measure 1 is B-natural-D-F-A-flat. The bass E-flat is a pedal point, so it is not counted. This chord on the second beat could perhaps also be B-flat-D-F-A-flat or E-flat-G-B-flat and still be musical. However, Chopin's use of B-natural-D-F-A-flat here creates a unique mood. On the fourth beat, the bass should ideally be E-flat. However, Chopin writes the passing tone D to lead to the C in the next measure. This D, coinciding with the melody's E-flat, creates a distinctive mood. Incidentally, try playing this D as E-flat. It will still be a piece, but you will find it remarkably bland.

In measure 2, following the dominant chord C-E-G-B-flat, a borrowed vii chord appears, resolving to ii on the fourth beat. This section is somewhat strong in expression mood-wise, but ultimately leads to the "joy" of measures 3-4.

From this point onward, it becomes necessary to consider the character of the chords and what mood Chopin intended to evoke.