No. 8, Op. 27-2, D-flat Major

First, I would like you to observe the accompaniment pattern in the left hand of this nocturne. There is no single measure where the sixteenth-note accompaniment pattern is absent; it continues consistently until the very end. This means that maintaining the flow is crucial. However, when looking at the right hand, a remarkably large number of notes are written throughout, as if their very purpose is to intentionally halt that flow. The key to performing this piece lies in playing the right-hand passages smoothly and ensuring that the left-hand flow is maintained as much as possible.

On Rubato and Tempo Flexibility

However, it is important not to misunderstand: this does not mean proceeding blandly in tempo. Instead, one should take time where necessary, play the passages with small notes effortlessly, not too fast, and without sounding mechanical, while also ensuring that the left hand does not unduly prolong or stop on a single note. Therefore, rubato is essential, and free tempo adjustments within the basic flow are required. For example, in measure 20, beat 2, the right hand introduces thirty-second notes in octaves. If these are played strictly on time, they will sound very mechanical and stiff. Furthermore, the volume will increase only in this section. The stress falls on B-flat and A-flat in beat 1, while beat 2 must depict a decaying motion. To achieve this, it is almost impossible to play the thirty-second notes smoothly without taking a little time on beat 2.

Addressing Technical Challenges and Practice Strategies

Such passages are found throughout the piece. Performers should adapt flexibly to such passages, striving for a natural musical flow. Nevertheless, some passages are technically challenging. For instance, the right hand in measure 32, beat 2. If one is bound by the compulsion to play strictly on time, such passages tend to become sloppy. While thorough sectional practice is necessary, in this particular case, it is far more effective to extract and practice three notes starting from the note immediately preceding the triplet, rather than practicing each triplet individually. In other words, practice fingerings 1-2-5.

Detailed Practice Method for Wide Leaps (e.g., M. 32)

When practicing wide leaping passages spanning more than an octave, determine a central pivot note. In this case, since there are only three notes, the middle note played by finger 2 naturally becomes the pivot note. Let's try with A-flat, E-flat, C.

• 1. Keep finger 2 on E-flat. In this position, play A-flat.
• 2. Next, in the same position, play C. Then, return from C to A-flat (keeping finger 2 on E-flat, of course).
• 3. Now, from A-flat to C. Gradually increase the speed of this motion until it can be performed quickly. The notes will be a repetition of A-flat-C, C-A-flat, A-flat-C, C-A-flat.
• 4. Next, loop A-flat, E-flat, C, and try playing A-flat, E-flat, C, E-flat, A-flat, E-flat, C, E-flat. If you do not feel difficulty when performing this motion, you will be able to play this unit.

Further Practice Considerations

Once this is done, practice A, E, D-flat in the same manner. And after practicing all four units, divide them into two halves (first two, last two) for further practice. Many performers encounter trouble in the latter half when combining with the left hand. This is not due to the right hand, but because the left hand leaps to a low D-flat in measure 33, causing anxiety and a hurried feeling, leading to right-hand errors. During practice, try stopping at the last note of measure 32 instead of proceeding to measure 33. When practicing long, intricate passages like in measure 52, it is also advisable to divide them into, for example, a first half and a second half for practice.