Analysis of Frederic Chopins Op. 9, No.

2 (Nocturne In E Flat Major)

Published in 1833 and dedicated to French pianist and teacher Camilla Pleyel, Nocturne in E flat major (Op. 9
No. 2) is often considered one of his best nocturnes, as well as a far superior follow-up to those of John Fields,
an Irish composer and pianist who first realized the concept of the nocturne in 1814 along with its common
characteristics: a somewhat melancholy style, with an expressive, dreamy melody over broken-chord
accompaniment (Berkeley 173). Chopin improved upon the foundations laid by Field through his distinct
dreamy bel canto style melodies inspired by the large melodic spans and potent emotional content of the
Bellini operas (173). Victor Lederer describes how Chopin incorporated those operatic qualities in his
nocturnes: Chopins profound sympathy with the Italian operatic style allowed him to transfer its large
melodic spans and potent emotional content to the piano, which cannot sing but for which Chopin devised a
sound that evokes a voice (54). These unique melodic tendencies, according to Frank Liszt, are poetic in
nature and sing not only the harmonies which are the source of our most ineffable delights, but likewise the
restless, agitating bewilderment to which they often give rise; this emotional density is what Liszt believes
could be realized only by a genius who saw the potential of the movement and ardour inherent within the
Field nocturnes (54). Thus, the Chopin nocturnes can easily be considered as historical landmarks of
compositional masterpieces, and Chopin himself as the father of the nocturne in its fully-realized form.
Before delving into the analysis, it is necessary to establish a basic outline of Op. 9, No. 2. The overall form is a
binary structure, where both A and B sections equate to four-bar phrases. Chopin introduces the main phrase,
section A, at the beginning of the nocturne (mm. 1-4), the following phrases alternating between progressive
variations of A (labeled as A) and a static B section up to measure 25, after which a 10-bar coda closes the
piecemore concisely, A A B A B A coda. Other interpretations of the form also exist: Hugo Leichtenritt
outlines a rondolike contructionA B A B A C C in which the coda functions as an extension of the
alternating A and B sections (5-6), and Lennox Berkeley considers an A1 A2 B1 A3 B2 A4 coda layout, where
the A sections are considered as separate entities rather than a unified yet steadily evolving variation (173).
However, both of these opinions fall short in certain respects. {The Leightenritt analysis is rooted in a pseudo-
rondo structure that implies more speculation than certainty}, nor does he consider the A variations. The
Lennox analysis fails to recognize the distinctive major 6th upward leap at the beginning of the A sections that
justifies them as a unified whole (the A section also begins with this leap, but it is still distinguished from A as
the main theme).
It is also important to note that the time signature of Op. 9, No. 2 is in 12/8, and that this analysis refers to
individual beats relative to the 12 8th note divisions per bar (e.g.- beat 7 of bar 1 features a dotted quarter F
note in the treble clef).
This analysis of Op. 9, No. 2 will focus on two key characteristics of the Nocturne: the melodic chromaticism
and the rhythmic contrast between the treble and bass parts. Together these two elements propel the dense,
heavy melancholy onward while accumulating emotional anxiety as the melodic line develops more instability
with every chromatic addition. The end of this gradual build results in a climactic hold and release toward the
end of the coda, where all the anxiety and suspense dissipates into a tranquil tonicization that finally resolves
the Nocturne.
Section A (mm. 1-4) establishes the main theme in its skeletal form, which slowly becomes harder to
distinguish as the composer gradually restates and densifies the melody with heavily chromatic incrustation
in the following A sections (Operatic Reveries 55). Through this thickening process, Chopin slowly unveils
the full extent of his bel canto style, as the developing chromaticism gives way to greater depth of expression.
More importantly, though, he develops what can be termed as anticipatory momentuma gestural pull that
leads the listener through the evolutionary process of the ever-chromaticizing melodic line. This concept is
distinct from structural momentum, which involves the forward impulse or dynamic shape at a
fundamental level rather than the gestural effect of the melody (113). The remainder of this analysis reveals
the surprisingly effective combination of two contradictory elements within the Nocturne: anticipatory
momentum and emotional melancholy. The bel canto voicing evokes sad and gloomy sentiments propelled
forward by the increasingly chromatic embellishments.
As stated in the previous paragraph, the first four measures establish a basic outline of the main melody,
shown below:

mm. 1-2

mm. 3-4

The melodic line in the treble clef omits the chromatic ornamentation that later develops throughout the
Nocturne, analogous to the framework of a house that will eventually be fully constructed. Also established is
the static eighth note rhythm (in groups of three) that provides a sense of fluidity (especially indicated
by express. dolce.) as well as a harmonic structure. Continuing with the analogy of the house, it is the solid
foundation upon which the framework can rest so that the builder (in this case, Chopin) is free to add as much
detail as desired.
Chopin establishes a feeling of melancholy by various means throughout the first four measures, the most
notable one involving the second inversion iv outlined in the 4th beat of measure 1. Its placement nearly in the
beginning of the phrase strengthens its presence, while its bass note relationship with the tonic root smoothes
the I-second inversion iv-I movement through measure 1. Coupled with the express. dolce. indication, this
mixture evokes a tender, gloomy mood. These emotions extend to the V/ii to ii motion beginning in measure 2;
the transition from measure 1 is facilitated by the descending stepwise motion in the bass line, E flat - D - C.
The secondary dominant harmonic motion creates slight anticipation, suggesting the intention of Chopin to
keep the attention of, but not yet overwhelm his audience. The trill in the melodic line further fuels the
suspense, which is then dissipated by the B flat escape tone. The 6-4 motion of the ii in the bass clef also builds
upon the dissipation.
Measure 3 heightens the already apparent sense of fluidity through chromatic movement in the bass line, i.e.-
B flat - B natural - C - A natural; this bass motive provides a smooth predominant progression of alternating
applied chord tonicizations, i.e.- V - V65/vi - vi - vii dim/V, and also exists in the following A sections and the
coda. At this point, it should be noted that the melodic line has remained quite docile, the most expressive
density occurring at the trill in measure 2. However, measure 4 disturbs the calm by introducing 16th notes for
the first time, as the B flat on beat 1 leaps upward a tenth and then busily (but still gracefully) descends down
diatonically to the E flat on beat 7, all happening over a V - I motion that completes the 4-bar phrase.
From a broad perspective, section B (mm. 9-12) acts as a break between the constantly evolving A sections
that tranquilizes and then heightens the sense of emotion. The v-shaped contour of the chromatic bass
movement throughout the phrase, shown below, reveals this process:

mm. 9-11

m. 12

From mm. 9-10 (i.e.- during the descent of the bass line), Chopin first establishes the sense of respite through
the diminishing of dynamics and tempo: p to pp to poco ritard. As this happens, the harmonic progression
through mm. 9-10 falls from V to I. The iv reappears on beat 4 in measure 10 as a result of downward
chromatic motion from the 3rd of the IV chord outlined on beat 1 of measure 10, dramatizing the falling V to I
progression. The tension built up by the previous A sections has now disappeared, but Chopin does not dwell
on this moment. Indeed, doing so would disturb the flow of the entire phrase too much, as well as the entire
Nocturne, which has already gained ample anticipatory momentum through chromatic thickening.
Furthermore, the fact that mm. 9-10 have already diminished to such a far extent implies that mm. 11-12 can
only regather what has been dissipated. Logically, then, the bass line changes direction, outlining a PD-D
motion starting from the vii dim/V7 chord established on beat 1 of measure 11. At this point, the sudden jump
to forte also rallies the ongoing push to V7, which officially establishes itself through beats 7-12 in measure 12.
Now anticipation has been regained, and has potentially reached a climax relative to the previous 11 measures,
suggesting another diminishing of the emotional momentum to facilitate a fluid, graceful transition into the
following A section. Chopin confirms this through chromatic movement, with syncopated rhythm, in both the
treble and bass lines from beats 7-12. The composer also indicates poco rall. to further emphasize a
decelerated transition. The resulting effect expands the dominant, making it linger with harmonic ambiguity
until the arrival of A.
The coda (mm. 25-36) reveals what John Rink defines as the inherent structural momentum: a sense of
process, an underlying dynamic impulse propelling the [Nocturne] beyond the ostensible close in bar 24 to
the double bar at the end (Structural Momentum 117). An interesting implication emerges from this
quote: Is the coda necessary? If the Nocturne can technically end on bar 24 (which the harmonic cadential
motion makes possible), then why lengthen the piece further? Or rather, has Chopin said everything he needs
to say up to that point? The answer, in fact, also lies within another question based on the words of Rink: Does
there exist a propelling, dynamic impulse within bar 24 that wills the Nocturne to extend its
compositional journey? An answer to this question requires an evaluation of the continuity of chromatic
ornamentation in the melodic line, and of rhythmic consistency in the bass clef. Up until this point, those two
factors have served as the driving force behind the Nocturne, developing melodic density/variety (effectively
leading on the audience) while maintaining a rhythmic foundation. For the Nocturne properly end at bar 24,
both of those elements cannot be presentin other words, a train has not yet reached its destination if it is still
in motion. When analyzing bar 24 (shown below), it is apparent that the momentum of chromatic movement
in the treble clef and the consistency of rhythm in the bass clef are still in-tact, and furthermore that no
indication of definite closure exists:

m. 24

Bar 24, therefore, is not a finished statement; Chopin still has more to say.

The harmonic/dynamic contour of the coda is similar to that of section B, where mm. 25-28 descend to the
tonic (although this time with diatonic instead of chromatic movement in the bass line) from the initial second
inversion iv established on beat 1 of measure 25, and mm. 29-32 ascend up to the V in measure 33. In bar 25,
the sudden disappearance of chromatic ornamentation in the melodic line foreshadows the approaching
slowdown of the dynamic impulse imminent within the coda. Of course, the unchanging nature of the
rhythmic bass clef through mm. 25-28 implies that Chopin will not end on 28in other words, it indicates no
definite sense of closure. Chopin confirms this through mm. 26-28 by re-developing the melodic line,
gradually adding bits of chromatic movement to subtly rekindle melodic interest. The word subtly is key to
preserving the effectiveness of the harmonic/dynamic contour, as Chopin music save ample dynamic range to
heighten the sense of structural momentum through the last 6 bars. He ensures this preservation
through poco rubato sempre and dolcissimo markings that request a delicate, airy performance, trickling
down to the tonic that closes bar 29.
The turning point of the harmonic/dynamic contour at measure 29 marks the official push toward the
discontinuity of structural momentum (i.e.- definite ending of the Nocturne). Considering the entire piece
thus far gradually increases melodic expression through chromaticism, it is only appropriate for Chopin to
establish a climactic build through the ascending contourto condense all the anticipation and emotion into a
magnificent flourish that guides the work to its conclusion (Operatic Reveries 55-56). Measure 29 begins
this build by restating the initial melodic idea from measure 25 with more flourish. Compare the two below:

m. 25

m. 28

Chopin also adds a crescendo to indicate a propelling force into the con forza of measure 30, where the
melodic expression drastically and forcefully increases. Starting on an accented E flat, the melodic line reveals
frantic movement as it dips down a 5th into a sea of neighbor tones and trills, immediately followed by a rapid
upward arpeggiation that reaches the highest note in the Nocturne: the E flat in the 6th octave on beat 9. It is
here that the piece reaches its ultimate climax; Chopin nails this point home by making the note a quarter
note, thus holding it longer than any other note in measure 30. Soon after this high point begins the final PD
motion in measure 31, characterized by contrasting chromatic motion between the melodic and bass lines,
alternating applied chord tonicizations, and a stretto indication to further dramatize the plethora of dramatic
expression.
At the end of measure 31, Chopin is ready to abandon structural momentum, as he begins to abandon the
propelling forces behind the Nocturne. Measure 32 immediately eliminates the rhythmic continuity of 8th
notes in groups of three, replacing them with an arpeggiating arch of eight 8th notes outlining the dominant
chord. The f and senza tempo markings indicate complete freedom of expressionan encouragement to
unleash all the built-up suspense of the PD motion (and possibly everything else before that) before reaching
the final tonic. But Chopin fuels this urge for release by creating even more suspense with the dissonant C flat
octave in the treble clef that cannot resolve downward until the arpeggiated bass has concluded its gestural
arch. And even after that, the actual dominant function is in second inversion, all the while held out by the
fermata; Chopin still continues to build emotional tension and the desire for its complete dissipation. But
finally, after the second inversion dominant has sustained long enough, the bass line disappears, leaving only a
completely gestural run of tonally ambiguous embellishments that express nothing but emotional/anticipatory
release:

excerpt of embellishment from m. 33

Accompanying crescendo and decrescendo symbols seem to indicate a prolonged inhale-exhale gesture to
ensure full expressive relief. The rallent. smorz. at the end of measure 33 gradually disintegrates these
expressive embellishments, which gracefully divert from the static, chromatic pattern into stepwise motion
toward the tonic in measure 34. Measure 34-35 express utter tranquility and finality, as both treble and bass
parts gently elongate the I chord with a syncopated, rocking-like rhythmsynonymous with a delicate lullaby
that gradually disintegrates into dotted quarter chords and a final dotted half chord to quietly conclude the
roller-coaster ride of emotions in Op. 9, No. 2.
Works Cited

Berkeley, Lennox. Nocturnes, Berceuse, Barcarolle. Frederic Chopin: Profiles of the Man and the
Musician. ed. Alan Walker. London: Barrie & Rockliff. 1966. p. 173.
Chopin, Frederic. Nocturne Op. 9, No. 2. Chopin: Complete Works for the Piano, Book IV:
Nocturnes. ed. Carl Mikuli. New York: G. Schirmer. 1967.
Lederer, Victor. Operatic Reveries: The Nocturnes. Chopin: A Listeners Guide to the Master of the
Piano. ed. Idil Biret. New Jersey: Amadeus Press. 2006.p. 54.
Leichtentritt, Hugo. Knostruktion rondoartig. Analyse der Chopin'schen Klavierwerke. Berlin: Max
Hesse. 1921-22. Vol. 1. pp. 5-6.
Marie-Flicit-Denise Pleyel. Encyclopdia Britannica. 2010. Encyclopdia Britannica Online. 19 Dec.
2010 <http://www.britannica.com/EBchecked/topic/464783/Marie-Felicite-Denise- Pleyel>.
Paul, Nico. Chopin Music: Nocturnes. Chopin Music. 6 Jan. 2006. Web. 19 Dec.
2010. <http://www.chopinmusic.net/works/nocturnes/>.
Rink, John. Structural momentum and closure in Chopins Op. 9, No. 2. Schenker Studies 2. ed. Carl
Schachter and Hedi Siegel. New York: Cambridge University Press. 1999. pp. 109-126.
Schenker, Heinrich. "Further Consideration of the Urlinie: II. Masterwork II. trans. John Rothgeb. p. 5.