My Original Analysis of Chopin's op. 9 no. 2 Nocturne in E-flat

Hello everyone! Several days ago, I uploaded my performance of Chopin's op. 9 no. 2 Nocturne in E-flat Major. I suggested that I would laater upload an original analysis of that piece. This article is me fulfilling my word. Here is my analysis of Chopin's op. 9 no. 2 Nocturne in E-flat major:

Analysis

Form

This piece utilizes a balanced binary form for its structure; meaning that there is an A section, and B section which contains the A section within it. Both sections repeat with variations. These two (repeated) sections are then followed by a coda which finishes the piece off.

Things to note

In this piece, Chopin seems to emphasize the third (compounded) beat of the measure above all other beats. You will notice that almost every significant cadence (the exception being measure 12, and its analagous counterpart in the repeated B section) leads to beat three (for example: measure 4). On top of this, you will also notice that Chopin marks several notes which occur on beat three with some form of accent (for example: in measure 5, and also measure 6 [which has a crescendo leading to beat three]).

One thing which I'd like to point out is the night and day difference between listening to the computer perform this (as I had to do when implementing it), and an actual performance (or performing it yourself). Chopin's use of articulations, expression markings, dynamics, and tempo changes in this piece is noteable. This music was written to express through live performance, and these things are all Chopin's way of specifically addressing what he wants sounded (and, through deduction, what he doesn't want sounded). This use of these things really is ingenious on Chopin's part.

Harmonic Emphasis

One thing I find interesting is Chopin's use (and apparent emphasis) of the minor iv chord (I write iv/i to signify that it is borrowed from the parallel minor). This iv/i appears first in the B section (predecesed by IV), and is then utilized much more in the coda. It is as if Chopin experimented with it in the B section, realized he liked it, then decided to expand upon it heavily in the coda. I am quite fond of this emphasis. Though I was at first skeptical of Chopin's pedaling (blending the IV and the iv/i), I have come to appreciate the genius behind it.

Something you may notice about this piece harmonically is the suspensions which occur on V7's. I have labeled these V7/4 followed by V7/3 (illustrating the suspension as well as its resolution). This piece also makes much use of appogiaturas as well as neighbor tones, dissonant tones, and passing tones. This use really demonstrates Chopin's complex understanding of notes as well as their tendencies. Generally, if a 7th doesn't appear to resolve at first, you eventually find a point where it resolves. This is part of the genius of Chopin.

Also noteable is Chopin's meticulous use of counterpoint between the melody, the bass, and the other parts. Chopin's voice leading is strict yet creative, which is one of the main components of his style (on top of use of expression through the things which I previously listed).

Here is a video of my analysis of Chopin's op. 9 no. 2 Nocturne (performed by me):

Thanks for reading/watching this! I hope you enjoyed this analysis! I might upload the other analyses I've done of pieces that I have played. Please remember that feedback is always appreciated. Hopefully I will see you in tomorrow's post!

(Note) In order to encourage meaningful feedback on the platform, I will check comment trails of users who leave superficial comments (ie "Awesome post," or "Upvoted.") and will mute any users who exhibit a pattern of leaving "spammy" comments.