Dear Henrik! Despite being an enemy for simplified editions of masterpieces your argumentation convinced me so much so I just purchased your edtion. Thank you very much and keep doing this wonderful series!
Thank you for purchasing it! I do understand the reaction of resistance, and I think it's only possible to do any sort of justice for a small subset of repertoire where the value lies mostly in slow melodies that can be kept intact.
Dear Henrik! Many thanks for your musical advice on how to play this piece. It was of great help. Regarding the nonmusical contents of the music I have the following impressions. The Nocturne Op. 9 No. 1 is a truly captivating piece of music. In this work, Chopin shows many characteristics typical of impressionism in the music. It begins with him half-asleep, as a melody from his youth comes to mind (part 1). As part 1 concludes, he falls into a deeper sleep and starts dreaming. The memories become less distinct than in part 1, making the music more mysterious and primarily in the bass and tenor ranges since they are not so clear. Different harmonies represent different memories, appearing randomly without a clear musical direction, as the memories spontaneously come into mind. There are recollections of mazurka dances, sometimes vivid, sometimes faint, like echoes. Memories of horns (and horses) also emerge. Eventually, the memories fade, and the melody from part 1 returns. At this point, he has finished dreaming. Chopin masterfully illustrates the nature of dreams and memories in this nocturne.
I have not regretted my subscription to this channel. As both an amature composer and a performer, I always find these analysis videos incredibly inspiring and fascinating! Thank you!
A small point that I would have added is that the switch to Bb major at the very end sets up the transition to the second Nocturne in Eb perfectly. I imagine that this was a deliberate move by Chopin.
I remember first discovering this channel about a year ago and binging so many of your videos on Chopin and Scriabin. I was surprised to find that you'd hadn't yet made a video about the Bb minor nocturne, so it's nice to finally see a vid on this!
This is incredible. Having bought your 'easier' version of this, having difficulty playing it, I thought I would search to see if you gave any pointers and I found this. Voila!!!!! As always, you are such a tremendous source of help. I have more confidence now to tackle this fabulous nocturne.
Yes, this was one where I did the arrangement before the analysis (there are a few left without analysis but I have done for most by now!) I understand, in general the Volume 3 isn't the easiest since it's all quite big pieces. I don't know which version you're using but I would recommend the "Easy Key" in A minor as a first tip. I think you'll get used to the tonality while playing it, but of course the chords here will be wrong... Otherwise it's just like learning any other piece, break it up into smaller sections and having patience with practice over time might still be needed for such pieces, even in my Intermediate arrangements.
this is so great. i'm not a pianist myself, unfortunately; and i actually don't know and listen to a lot of classical music. but i have loved chopin's nocturnes for half of my life, i am now 30. as a highly sensitive person music like this hits hard and deep, too, so this was very captivating and moving. actually seeing what's being played as well as the sheet music is a wonderful addition. you're a great performer and presenter, i love your calm and warm energy. i really need to hear some of chopin's nocturnes live some day. but i'm afraid i will be crying my heart out then (as i did when i saw lord of the rings with the orchestra and choir) ...
I've been playing the first polyrythms for smth like 2 hours back to back. Got just a little bit better at it, but now i play everything else with ease comparing to how hard they feel. I just decided to move on and now I'm learning the next pages while still sometimes practicing polyrythms, i hope to get them some day
Truly phenomenal harmonic analysis- very helpful and not like anything you’ll find anywhere else!! Thank you so so much! I very much appreciate the detailed teaching and instruction especially on the minor key harmonics.
we'll see about that.... in the meantime, I can give you a recording of it from a really long time ago (when I was still a student...) czcams.com/video/164rRG5QGOM/video.html
Bars 3, 11 and 73 are easy if your hands are sufficiently independent. Otherwise, read a Chopin book about it. Chopin seldom played left and right synchronously. One pupil reported that once Chopin's right hand was HALF a bar behind his left hand. However, Chopin said that the left hand is the stable rhythm "like a metronome". He also talks about pivot fingers which makes playing the left hand much easier. You see, this first nocturne is an easy one, only its interpretation, i.e. to make it really sing, is the hard part.
Another great video. The problem with this nocturne for me aside from overly complicated polyrhythms at the beginning is that the most beautiful part - d flat major theme is played once and then the most of the piece is taken by the quite repetitive passage lasting too long.
when i first started learning this piece I was a beginner, i learnt the polyrhythms very quickly i found the hardest part was the B section with the octaves
that's interesting! I was also young when I first played it, but I suppose I had got the hang of some octave technique then, becuase I remember the outer parts as harder.
I have to agree with you. If you practise the left hand to the extent that it becomes automatic, playing the 11-note right hand freely over the top isn't so hard. Conversely, the right hand octaves in the middle section are a technical challenge to those of us with smaller hands. You need to play them legato (without relying on the pedal of course, which is articulating the bass), so you're always working the fourth and fifth fingers to make a smooth slur of the top notes. But this piece is so beautiful that you soon forget the discomfort.
One of my favorite sneaky bits in this nocturne is the “coda” of the B section with the horn fifths. The left hand is exactly the same figuration that Chopin used for op 27 no 1, but an octave lower and a completely different effect and feeling
Very nice analysis, thank you, it's the nocturne I'm always coming back to playing. I wouldn't say smorzando and morendo are the same though. I understand morendo as the slow dying out, usually at the end of a piece (Grieg has many of these), while smorzando is more of a quenching, like how you use it in modern Italian where it has no connotation with dying despite the etymology. I'd say smorzando has much less ritardando and is mostly about "turning down the volume".
Thanks for the input, interesting to hear the perspective of an Italian speaker. There might be differences in nuances I haven't considered enough, but the general idea is often clear in the musical context where they are used. Also calando strikes me as yet another similar phrase, what's your take on that?
@@SonataSecrets It's actually my wife who is the native speaker.. and I think it was with this nocturne that I asked her about the precise meaning of smorzando (because it appears several times), to which she responded with the above. Calando I would interpret as something in-between. But yeah, it's all nuances and up to context and interpretation, and who knows how these expressions were meant/used 200 years ago..
Thank you very much for sharing your insight on this nocturne. It is much appreciated. Do you have tutorials on Schumann's Des Abends and Von fremden Ländern und Menschen?
Thia like attempting the recapitulation in the Op. 48, No 1. There is no way to justify its intended form if all of the notes and subtlities if the aren't all represented. I'm sorry about being critical. You are a wonderful guy!
re 08:19 The flat sixth, here the G flat, is known as the church note or church chord. It never fails to evoke some sentimental emotion. Like the flat third and flat fifth in blues, the flat sixth is necessary to get to that emotion. Chopin uses it here. Debussy uses it in Gradus ad Parnassum liberally and it never fails to evoke some melancholic sentiment. It is a trick any professional composer and improviser should know. I wonder how they found it. It never encountered it with Mozart or Beethoven so it must be something found around 1830.
Cool. You have so few videos and your quality years ago was not up to modern. Typing this before I watch it. So I'd like to say I'm a fan. And this is a Big work. So let's see what you got for us.
Yes, sorry, since I cut up the pages into two lines at a time there isn't really a natural way to keep it. Often it's quite clear, but unfortunately in this middle section it can be hard to orient oneself in all the repetitions!
Thank you as always. It's amazing that I could learn from you in my own home without flying 5000+ miles! I thought I was signed up for patronage.... Am I able to use super thank you for a contribution for your work? Suk Holmes, from California
Thank you Suk! Of course, a Super thanks is always deeply appreciated! You did join the Patreon program too, but after some time it said "declined", and I tried to send an e-mail in late spring, but it seems Patreon is not too good at dealing with these issues since I've had several of them. Might be due to an expired bank card or some other reason, I'm not sure... Anyway, appreciate that you are here!
I don't understand why everyone seems to ommit the middle b flat in the final arpeggiated chord, even though the score clearly shows it (i.e., everyone seems to play only 5 of the notes, not all 6).
Why does everyone seem to ommit the middle b flat in the final arpeggiated chord, even though the score clearly shows it (i.e., everyone seems to play only 5 of the notes, not all 6).
Chopin does away with old-school harmonic minor where the descending scale differs from the ascending. The major seventh becomes a minor seventh. For Bbm upward you get a and downward a flat. That was the traditional theory. But who cares for that except the buffs of music before 1820?
Chpoin is rolling over in his grave. The indicated nuances are both indicated and intended, Your teaching and touch are lovely, but please don't dumb-down Chopin for those without the skill to play this.
Dear Henrik! Despite being an enemy for simplified editions of masterpieces your argumentation convinced me so much so I just purchased your edtion. Thank you very much and keep doing this wonderful series!
Thank you for purchasing it!
I do understand the reaction of resistance, and I think it's only possible to do any sort of justice for a small subset of repertoire where the value lies mostly in slow melodies that can be kept intact.
I think Chopin’s use of IVm chord in this piece is one of the most beautiful modal interchange chords in music history.
And to think I hadn't bothered to listen to Op.9 No.1 (because of No.2's immense popularity) until now. Excellent stuff
Dear Henrik! Many thanks for your musical advice on how to play this piece. It was of great help. Regarding the nonmusical contents of the music I have the following impressions.
The Nocturne Op. 9 No. 1 is a truly captivating piece of music. In this work, Chopin shows many characteristics typical of impressionism in the music. It begins with him half-asleep, as a melody from his youth comes to mind (part 1). As part 1 concludes, he falls into a deeper sleep and starts dreaming. The memories become less distinct than in part 1, making the music more mysterious and primarily in the bass and tenor ranges since they are not so clear. Different harmonies represent different memories, appearing randomly without a clear musical direction, as the memories spontaneously come into mind. There are recollections of mazurka dances, sometimes vivid, sometimes faint, like echoes. Memories of horns (and horses) also emerge. Eventually, the memories fade, and the melody from part 1 returns. At this point, he has finished dreaming. Chopin masterfully illustrates the nature of dreams and memories in this nocturne.
I have not regretted my subscription to this channel. As both an amature composer and a performer, I always find these analysis videos incredibly inspiring and fascinating! Thank you!
Thasnk you so much!
A small point that I would have added is that the switch to Bb major at the very end sets up the transition to the second Nocturne in Eb perfectly. I imagine that this was a deliberate move by Chopin.
You've made me remind why I loved Chopin when I listened to this nocturne for the first time. What a sensitive playing. Very tasteful, Henrik
Oh, I was waiting for Chopin on the channel again! :D
I remember first discovering this channel about a year ago and binging so many of your videos on Chopin and Scriabin. I was surprised to find that you'd hadn't yet made a video about the Bb minor nocturne, so it's nice to finally see a vid on this!
My Favorite Nocturne from Chopin
Now THIS is a nocturne that I like from Chopin.
Dude, all his nocturnes are godlike, what are you on?
@@d3l_nev Usually, I don't like Chopin.
@@yuk_notkim7658😟
@@skrjabe_ Sorry, he's just one of my least favorite composers, despite what people say about him.
Haha
One of the first pieces I've learned, maybe it's time to revisit and polish it back up again. I always appreciate the harmonic analysis!
This is incredible. Having bought your 'easier' version of this, having difficulty playing it, I thought I would search to see if you gave any pointers and I found this. Voila!!!!! As always, you are such a tremendous source of help. I have more confidence now to tackle this fabulous nocturne.
Yes, this was one where I did the arrangement before the analysis (there are a few left without analysis but I have done for most by now!)
I understand, in general the Volume 3 isn't the easiest since it's all quite big pieces. I don't know which version you're using but I would recommend the "Easy Key" in A minor as a first tip. I think you'll get used to the tonality while playing it, but of course the chords here will be wrong...
Otherwise it's just like learning any other piece, break it up into smaller sections and having patience with practice over time might still be needed for such pieces, even in my Intermediate arrangements.
this is so great. i'm not a pianist myself, unfortunately; and i actually don't know and listen to a lot of classical music. but i have loved chopin's nocturnes for half of my life, i am now 30. as a highly sensitive person music like this hits hard and deep, too, so this was very captivating and moving. actually seeing what's being played as well as the sheet music is a wonderful addition. you're a great performer and presenter, i love your calm and warm energy. i really need to hear some of chopin's nocturnes live some day. but i'm afraid i will be crying my heart out then (as i did when i saw lord of the rings with the orchestra and choir) ...
Thank you so much for the comment!
I've been playing the first polyrythms for smth like 2 hours back to back. Got just a little bit better at it, but now i play everything else with ease comparing to how hard they feel. I just decided to move on and now I'm learning the next pages while still sometimes practicing polyrythms, i hope to get them some day
Truly phenomenal harmonic analysis- very helpful and not like anything you’ll find anywhere else!! Thank you so so much! I very much appreciate the detailed teaching and instruction especially on the minor key harmonics.
You should try to analyze Chopins 3rd ballade. I absolutely love that piece.
and the second, and the 4th
@@gnomulous5544I second you thirding this
we'll see about that....
in the meantime, I can give you a recording of it from a really long time ago (when I was still a student...)
czcams.com/video/164rRG5QGOM/video.html
Yeah, so would I! There is no "easy" way of getting out of that last coda...no way. You must have the technique to play it.
Been waiting for this one from you for a while, thank you kindly. Keep up the great work!
I may now try to tackle this piece I have long admired. Thanks for the detailed lesson.
Marvelous ❤as always your work analysing these beautiful nocturnes! Thank you so much👏👏👏
What a great analysis of a stunning composition. I love how Chopin twists and turns through the melody. Surprises abound.
This is the only channel that I DON'T skip commercials!!!
❤❤❤❤❤❤❤
luv ya heinrich....been waiting for this one... best one yet...and they are all amazing
Love the new setup you have!
Excellent analysis, as always. Thank you so much🙂
These videos are entertaining, educational, and inspirational! Thank you!
Disfruto mucho tus videos, me alegran la vida. Muchas gracias!
Thank you, even my piano teacher who has been teaching for 60 years told me to watch this.
I am studying this, and this video has help me. Thank you so much
Bars 3, 11 and 73 are easy if your hands are sufficiently independent. Otherwise, read a Chopin book about it. Chopin seldom played left and right synchronously. One pupil reported that once Chopin's right hand was HALF a bar behind his left hand. However, Chopin said that the left hand is the stable rhythm "like a metronome". He also talks about pivot fingers which makes playing the left hand much easier. You see, this first nocturne is an easy one, only its interpretation, i.e. to make it really sing, is the hard part.
Another great video. The problem with this nocturne for me aside from overly complicated polyrhythms at the beginning is that the most beautiful part - d flat major theme is played once and then the most of the piece is taken by the quite repetitive passage lasting too long.
Super ,thanks a lot❤
These cords are straight from heaven.
when i first started learning this piece I was a beginner, i learnt the polyrhythms very quickly i found the hardest part was the B section with the octaves
that's interesting! I was also young when I first played it, but I suppose I had got the hang of some octave technique then, becuase I remember the outer parts as harder.
I have to agree with you. If you practise the left hand to the extent that it becomes automatic, playing the 11-note right hand freely over the top isn't so hard. Conversely, the right hand octaves in the middle section are a technical challenge to those of us with smaller hands. You need to play them legato (without relying on the pedal of course, which is articulating the bass), so you're always working the fourth and fifth fingers to make a smooth slur of the top notes. But this piece is so beautiful that you soon forget the discomfort.
thank you great stuff
One of my favorite sneaky bits in this nocturne is the “coda” of the B section with the horn fifths. The left hand is exactly the same figuration that Chopin used for op 27 no 1, but an octave lower and a completely different effect and feeling
So good thank you very very much
Very thoughtful.
Very useful and helpful video, it helps me a lot 😊By any chance would you do an analysis on Debussy Arabesque no.2?
Great analysis. Do you think you could do Op. 27 No.2 next?
Thanks!
Very nice analysis, thank you, it's the nocturne I'm always coming back to playing. I wouldn't say smorzando and morendo are the same though. I understand morendo as the slow dying out, usually at the end of a piece (Grieg has many of these), while smorzando is more of a quenching, like how you use it in modern Italian where it has no connotation with dying despite the etymology. I'd say smorzando has much less ritardando and is mostly about "turning down the volume".
Thanks for the input, interesting to hear the perspective of an Italian speaker. There might be differences in nuances I haven't considered enough, but the general idea is often clear in the musical context where they are used. Also calando strikes me as yet another similar phrase, what's your take on that?
@@SonataSecrets It's actually my wife who is the native speaker.. and I think it was with this nocturne that I asked her about the precise meaning of smorzando (because it appears several times), to which she responded with the above. Calando I would interpret as something in-between. But yeah, it's all nuances and up to context and interpretation, and who knows how these expressions were meant/used 200 years ago..
It would be wonderful a vídeo about Nocturne Op 27 No 2 In D Flat Minor, it's a masterpiece! Can you do it?
Thank you very much for sharing your insight on this nocturne. It is much appreciated. Do you have tutorials on Schumann's Des Abends and Von fremden Ländern und Menschen?
Thanks! I cover Ländern und Menschen briefly in this: czcams.com/video/zSvot57Ahmk/video.html
Haven't done Des Abends unfortunately.
Excellent
Thia like attempting the recapitulation in the Op. 48, No 1. There is no way to justify its intended form if all of the notes and subtlities if the aren't all represented. I'm sorry about being critical. You are a wonderful guy!
re 08:19 The flat sixth, here the G flat, is known as the church note or church chord. It never fails to evoke some sentimental emotion. Like the flat third and flat fifth in blues, the flat sixth is necessary to get to that emotion. Chopin uses it here. Debussy uses it in Gradus ad Parnassum liberally and it never fails to evoke some melancholic sentiment. It is a trick any professional composer and improviser should know. I wonder how they found it. It never encountered it with Mozart or Beethoven so it must be something found around 1830.
KING i can't wait till f minor nocturne XD. IF this is a keyboard sounds great is this a vst?
Cool. You have so few videos and your quality years ago was not up to modern. Typing this before I watch it. So I'd like to say I'm a fan. And this is a Big work. So let's see what you got for us.
the pressure...
Great reading and interpreting!
Can you show the page #'s in the videos?
Would be great;
thank you tons for the sound.
Pages can vary from one edition to another.
Yes, sorry, since I cut up the pages into two lines at a time there isn't really a natural way to keep it. Often it's quite clear, but unfortunately in this middle section it can be hard to orient oneself in all the repetitions!
Henrik ❤❤❤❤❤❤❤❤
Thank you as always.
It's amazing that I could learn from you in my own home without flying 5000+ miles!
I thought I was signed up for patronage....
Am I able to use super thank you for a contribution for your work?
Suk Holmes, from California
Thank you Suk!
Of course, a Super thanks is always deeply appreciated!
You did join the Patreon program too, but after some time it said "declined", and I tried to send an e-mail in late spring, but it seems Patreon is not too good at dealing with these issues since I've had several of them. Might be due to an expired bank card or some other reason, I'm not sure...
Anyway, appreciate that you are here!
@@SonataSecrets
I'm not sure how to find
super thanks....
It should be the heart with the $ sign underneath the video.
Able to use PayPal for monthly contribution.
Thank you for your great work!
❤❤❤❤❤
I see that, thanks again! ❤️
I don't understand why everyone seems to ommit the middle b flat in the final arpeggiated chord, even though the score clearly shows it (i.e., everyone seems to play only 5 of the notes, not all 6).
12:28 I usually play this F4 with right hand. To you is this recommended?
I don't see a problem with that. Personally I prefer to have the whole figure in one hand there, but in general that's not a rule written in stone.
🙏🙏🙏
Why does everyone seem to ommit the middle b flat in the final arpeggiated chord, even though the score clearly shows it (i.e., everyone seems to play only 5 of the notes, not all 6).
good initiative but why alter perfection as a Chopin nocturne?
a
This middle aged beginner can confirm the polyrhythm is difficult 😂
'close of a chapter'?
mm, I wrote a long update about it in May: czcams.com/users/postUgkxn1OjmIvDWvFwtLX_UBxodQ0NaZpdhum5
Chopin does away with old-school harmonic minor where the descending scale differs from the ascending. The major seventh becomes a minor seventh. For Bbm upward you get a and downward a flat. That was the traditional theory. But who cares for that except the buffs of music before 1820?
Chpoin is rolling over in his grave. The indicated nuances are both indicated and intended, Your teaching and touch are lovely, but please don't dumb-down Chopin for those without the skill to play this.