(...) First, you have two very different problems: m. 2 (11 x 6) and m.3 (22 x twice 6). Notice that although matematically 22 x 12 is the same of two times 11 x 6, musically it's not. Chopin was not the first to use rubato, but he used it a lot, and that's what we are talking about. The basic idea is keep a regular, steady left hand in the arpeggio, and let the melody flow above it. Forget about something like "this note is together with this one, and that is in between this and that, and the other is here". The result of such is poor, and sounds very bad. So what you need is this steady arpeggio and this flowing melody. The question that arise (and that's your real question, forgive me for the introductory words) is how to get there. The principle is very simple, but sometimes it takes a long time to render. Study hands separate this way: - LH with metronome, and - very important - with a strong sensation of beat, of rhythm and of regularity. Basically, start reinforcing the bass, and playing as even as you can the arpeggio figuration. - RH: when you get the proper idea of the arpeggio, and have a clear sensation of the frame of time that you have, start playing RH alone, without metronome. It's very important to say that you are not trying to play regular: you must play with great freedom and flexibility. How will you phrase this is upon you. It could be helpful to play always slightly different. Of course that, before this stage, you must be able to play this very quickly. When you have an idea of the phrase, use the metronome. Although the quarter is not the beat, use it as a reference. So, you will have three quarters plus six quarters to end your phrase, and in this practice one thing must be achieved: the b-flat (m.2, second beat), the f (m.3, first beat) and the d-flat (m.3, first beat) have to be played exactly with the metronome. Then, and only then, you will join hands. The goal is absolute independence. However, if this is your first time around with such a situation, it can keep a very long time indeed. Don't worry if you have to work on this passage for a couple of months. Anyway, it depends on the individual: maybe in your first week of practice you will be playing this smooth and controled. (...)
Topic: Chopin Op 9 No 1 