Chopin - Nocturne Op.9 No.2

[stylerpiano]

Hello all!

This is my 3. time, that I post this piece on this forum, but now I play on an acoustic piano in conservatorie.

I will take an exam in next week (2. and 3. class) in conservatorie, I will play this, Pathetique 2nd movement, and Moonlight sonata 3rd movement (the last is just for fun). Because I'm adult, I can play anything on exam, and there is not "must be played piece".

I have been playing piano nearly for 3 years now.

[adodd81802]

Hello.

Nice playing and good luck in your exam.

My only thoughts, something that I noticed both visually and hearing, is that your touch is quite heavy, maybe that's just the acoustics of the piano, but there's definitely some parts here where you can get away with using the una corda pedal for more sound / colour.

The problem with this piece (not your particular performance) is that it has been heard to death by anybody that knows who Chopin is and so it is much easier to pick up on little things.

[briansaddleback]

Hello.

Nice playing and good luck in your exam.

My only thoughts, something that I noticed both visually and hearing, is that your touch is quite heavy, maybe that's just the acoustics of the piano, but there's definitely some parts here where you can get away with using the una corda pedal for more sound / colour.

The problem with this piece (not your particular performance) is that it has been heard to death by anybody that knows who Chopin is and so it is much easier to pick up on little things.

yeah adodd nailed it for me.

I didnt watch your video at all bc I have heard this too many times & that from just reading adodd's comment I know exactly how you played it.

Well played. Keep working at the touch. that is the highest requirement on the nocturnes. And the skill to adjust from piano to piano when you specialize in nocturnes.

Good luck.

[ronde_des_sylphes]

The fundamentals are sound - very few wrong notes, rhythm is almost all accurate (I heard a few slight rushes).

What you do need to work on:

(I would however seriously consider leaving it as it is until after your exam; if it's only a week away you may throw yourself by trying to incorporate such ideas. I leave it up to your judgement as to whether you wish to deal with these issues at this specific point in time..)

a. Touch. It is too in your face - it is a very "square" sound when what you require here is a rounder sound. The impression given is of a rather prim classical era piece, when what we want to hear is an expressive and nuanced, romantic era sound.

b. Related to this: dynamics and balance. The dynamic level is rather same-y throughout (it is possible this is a recording device issue, if you're used a phone to record it, they often flatten the ff and boost the pp). There needs to be more foreground - background distinction, by which I mean that you need to do a bit of analysis and identify which notes are accompaniment and which notes are melodic. Then be sure to play the accompaniment more quietly than the melody.

c. It is overly metronomic. You should think in terms of speech, or even better, in terms of how a singer would phrase it. This means not only thinking about how inflections improve phrasing and expression, but also how a singer takes breaths (even subtly elongating certain important notes), and how certain notes are more important than others. As a generalisation, often melodic passing notes which produce tension by dint of being contradictory to the prevailing harmony should be louder than the resolution. You do need to apply the "anti-metronome" with subtlety - knowledge as to what works and what doesn't is largely a metter of either: experience, or having a good and understanding teacher.

The foundations are in place, it is a matter now of when you wish to try for the next level. Good luck in your exam!

[chomaninoff1]

Rondo said basically what I was thinking. You got the notes; good job! You should add more color to your playing though

-switch up the dynamics. You played this all at the same volume, and doesn't sound very interesting. Working on this will really make it sound great.
-make you ornaments sound more natural. They should flow with the notes that come right after it. They are a part of the melody. 
-use rubato! If any piece was made for rubato, it would be a Chopin nocturne. At the beginning of the song is says to play it sweetly, so start off a tad bit slower, and then jump into the rest of the piece. The descending part in the 5th (I think) measure should be a bit slower.

Also the actual score has markings for change in tempo (ritardando, rallentando, poco rubato, sends tempre) Follow them!!