Chopin nocturne 9-1

[jono]

Hi!   
I wonder how I'm supposed to play the big 11:iols and 22:iols (or whatever you would call them). How am I exactly going to play those notes together with the notes in the bass? I mean in order to make they sound correctly. Please tell me!      Have fun everyone! /Jono

[Kassaa]

My teacher has written it all down, but its pretty useless. You really have to feel it.  It doesn't matter which note is on which bass note, it just has to fit.

[greyrune]

Kassa's right it is mostly about feel.  I just worked it out very slowly.  What i did was play the first eight notes as straight semiquavers then slow down a little and play the chromatic run with semiquavers and a kind of four against five thing for the last five notes.  The middle bit the timing can get a bit odd, but just play it really slowly and don't think the bass always has to have a note played at the same time.  Don't be discouraged by this little passage though, the peice is gorgeous.

[robert]

Hi!   
I wonder how I'm supposed to play the big 11:iols and 22:iols (or whatever you would call them). How am I exactly going to play those notes together with the notes in the bass? I mean in order to make they sound correctly. Please tell me!      Have fun everyone! /Jono

Not only you have to feel it, you should also be able to do tempo rubato on the right hand as starting a bit slower than catching up with the left hand and finish at exactly the same time. To ba able to do so, you must learn to play left hand in your sleep and focus 90-95% on what right hand is doing. Some people playing jazz a lot have easier to do this than classical piano players and the skill needed is named "hand separation".
Some "showy" piano players can even play two different pieces, one with each hand.
The feel can be described as "start at the same time and then just aim for the end and let right hand catch up".
This is so hard to describe in words...

[celticqt]

Ditto what greyrune said.    It felt really wierd at first, but once you get the sound in your head, it'll be easier to reproduce.

[sonatainfsharp]

I have been playing this piece for years and years; you just have to feel it. Play them slow, play them fast, accelerando, measured, etc. Play rubato with the L.H. as well (depends which school of thought on "rubato" you come from).

[nanabush]

I don't think you're supposed to actually mechanically fit the notes perfectly so that if you're playing 12 notes and 22 notes that each fraction is perfect.  Chopin's music uses tons of rubato, you have to feel it, not play it like a robot..

[galonia]

It's true you have to feel it and there's no exact division that you should adhere to, but when I first learnt this piece, I had a lot of problems making sure I didn't run out of notes in one hand - so the way my teacher got me to learn 11 against six is this:

there are 11 notes in the RH, 6 in the LH - play the first 8 RH notes with the first 4 LH notes, as a straight quaver/semi-quaver rhythm, then for the final third of the beat, play it as a standard 2-against-3.

This sounds completely mechanical and unmusical and stupid, but it gives you an initial feel for how many notes should appear in approximately how much time, and you can loosen it up once you've learnt the notes.

PS 22 against 12 is just two lots of 11 against six.