The E flat Nocturne, op. 9 no. 2 is possibly the most popular and well-known of Chopin’s nocturnes, and a quite characteristic example of how Chopin delicately mixes ear-caressing beauty with hints of despair and melancholy. It is the second in a set of three nocturnes written between 1830 and 1832, when Chopin was about twenty years old.
This Nocturne is composed of two themes that are repeated in what is known as a rounded binary form, or A-A-B-A-B-A. The themes become more elaborate each time they're played, with more trills, cadenzas and quick runs. After the last occurrence of the "A" theme, there follows a coda which at first seems bound to end the piece in a peaceful way, but instead builds up to a great, passionate climax marked fortissimo. After an intense trill the calm is restored and the piece ends very quietly.
The left hand provides the important foundation for the melody; without a flowing and balanced accompaniment, it is impossible to execute the cantabile line of the right hand beautifully. Play quickly enough to be able to feel four rather than twelve beats to every bar; this will help you shape the melody more naturally.Use graceful, flowing movements, and an elegantly flexible rubato, without ever losing sight of the underlying steady pulse. Finally find the correct balance between the hands: play the left hand softly enough to be able to make the right hand sing without using too much... Sign up for a Gold membership to read the practice tips.
And also, more generally, is there any technic, trick, ... to master these repeated left hand leaps (like "Fundamental"/Chord - "Fundamental"/Chord - etc.) that are very often encountered in Chopin works (but also in ragtime style, etc.).
I am looking for advices to improve their playing but also to avoid to get suddenly lost in the middle of them like it happens quite often to me... especially when I have a 'public' !
Some questions come to my mind, like should I avoid looking at my left hand ? ...
My daughter would like any advice on techniques for practicing the trill at the end of the Nocturne. So far her teacher has told her to "roll" the wrist and fingers and she has been trying do this everyday for five minutes or so, before it gets really tired. To her, it is still not achieving the sound that we've heard played by her teacher or by the recordings we have (Jeno Jando, Naxos). Any suggestions would be greatly appreciated. Thanks, Lani
I am still polishing the Nocturne Opus 9 N°2 (yes, I just love it !) and to do so, I listen to different interpretations of it. I listen more specifically (or more often) to the Rubinstein's version which, I believe, can be taken as a fairly good example !
Now, I have quite recently realized (better late than never !) that the left hand has not to be regular, especially during the rubato... I would tend to think that the right hand actually leads the music. One should let it sing freely, and the left hand will follow.
I really really want to learn Chopin Nocturne Op9-2. But I just started piano for about less than 5 months. I'm trying for the Grade 3 ABRSM exam this year. I can play the pieces for the Grade 3 exam. But when I try playing Op9-2, I always stumble. (even for the first few bars). The problem is that my brain cannot process whether this note that I am going to play shld be played as a flat or a natural.
Can some kind soul give me some advice on how to start learning this piece? I really really really really want to learn it.
Hi everyone, I thougt I'd put up one of my repertoire pieces instead of nothing but improvisations. Please give me feedback!
Disclaimer: this is the first time I've successfully recorded a repertoire piece and had it sound half decent. So go easy on me. lol. Oh, and the reason the volume sounds uniform is because I compressed it in Cool Edit. Makes my piano sound bigger.
I'm currently learning this, but have a couple of problems...
My left hand sounds at the correct speed during most of the piece, but during the trills, it seems to drag on for far too long, making the trill stupidly long. Is the trill meant to be quite long, or should I speed up the left hand?
Also, the grace notes at the end: When I try to play them quickly, I seem to lose control of my fingers, and the notes keep coming out in the wrong order... Is there any way to combat this?
I'm working on the above nocturne and would like some advice on how to better my playing of measure 32 (cadenza-like right hand writtten in small notes). The preceding arpeggioed chord is the dominant seventh on B flat. The small notes are embroideries of the B flat of the chord.
Not counting the first C flat, the run can be broken up into 4 groups of 12 notes and the remainder could be seen as preparation of the final two measures of the piece and not part of the "run" proper.
I've always found it useful to practice notes that are grouped in 4's (such as groupes of four 16ths) in groups of three notes and viceversa to avoid always stressing the beginning of each group as written.
So I've practiced in groups of three notes starting from each different note (there are 4 obviously), starting with one group of three, then 2 groups of three, etc. lowering the wrist at the start of each practice unit and raising it at the end of the same.
After this practice, I launch the whole run at full speed and have then found it difficult to remember where I am in all the repetitions. So, I play the first group of 12 (not counting the initial Cflat) piano, crescendo on the 2nd group, forte for the 3rd group, decrescendo on the 4th group with the same but minimal lowering and raising of the wrist without leaving the keyboard.
Would anyone else have some light to shed on this subject ?
I'm learning this piece but having some problems with the pedalling. Page 1 and 3 of the Urtext copy shows all the pedalling in great detail. However page 2 has no pedalling signs until the last bar. Does this mean no pedalling. It seems nigh on impossible to play smoothly without some pedalling. Any one else out there had this problem?
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