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Any individual poster can only answer for himself or herself, so I think the most important thing is whether you find it to be a valuable exercise. A great many people read this forum without actively participating at all, and it is without question a suitable place for you to post such an analysis. I think it goes without saying that someone, somewhere and at some point in time will find it useful.
I started a thread once for the sole purpose of documenting, along with supporting illustrations, the typographical errors in the Joseffy edition of Chopin's Allegro de Concert published by Schirmer. It went unacknowledged except by BruceD, but it was fun for me and may be helpful one day to someone who's searching for such information.
I once requested an analysis of the harmonic progression of a piece as straightforward as Chopin's Etude Op. 10 No. 1, and found that no one was interested in providing one. Needless to say, I would have been grateful if it had been this Nocturne I had asked about.
Even though 27/1 isn't my favorite Nocturne and I would dispute statements in Wikipedia—namely that it's one of the most famous Nocturnes or one of the best pieces (!) written by Chopin—I do find your analysis interesting, and your own interest in the piece is admirable.
I enjoy reading analyses of pieces, particularly of those that I know well and play or have played. For my tastes, however, I find a note-by-note analysis such as this one a little bit of over-kill. I can't speak how others will view such a detailed analysis - and other reactions will be interesting to read - but for me a more comprehensive over-view of the Nocturne would be more meaningful. Harmonic analysis is helpful, yes, but I don't think we need to be told what individual notes are played unless there is some relation established to the overall structure or unless some specific reason is given to highlight individual notes in a composition.
I would suggest a reading of some of the analyses of individual Chopin works in Eleanor Bailie's The Pianist's Repertoire : Chopin, A Graded Practical Guide (Kahn and Averill, London, 1998) where a detailed analysis relates to an overal concept of the work, combined with practical performance suggestions.
Taking you at your word and responding to your last two questions : This analysis is too much "trees" and too little "forest" for my interest.
With sincere respect Betsalel, obviously deep into admiration of Chopin ... and in particular Nocturne Opus 27-1.
Interesting poetic analysis, describing the work in terms of harmonic intervals ... accurate, but inevitably getting bogged down a mire of words.
“It starts with the note C# in the bass and creates a wind like motion going up a perfect 5th and then up an octave, down a 5th a perfect 4th another 5th and then back up a 5th, 4th, 5th, (down a) 5th, 4th, 5th†.
It goes without saying that the harmonies reflect the genius of Chopin (par for the course) ... but what is much more to the point is the overall structure ... use of a rippling rhythmic sextuplet LH note pattern (quite tricky) ... provides a regular pulse on which to mount the opening poignant single note RH outline .
But in making an analysis of the LH sextuplets, it can prove useful to list the notes in terms of DEGREES OF MINOR SCALE ... and follow the flow ... here’s how I see the notes to the opening 10 measures.
I’m presently fascinated by the D-naturals in LH measures 9 and 10 ... instinctively Chopin chimes in with your 4th and 5th intervals.
I enjoy reading analyses of pieces, particularly of those that I know well and play or have played. For my tastes, however, I find a note-by-note analysis such as this one a little bit of over-kill. I can't speak how others will view such a detailed analysis - and other reactions will be interesting to read - but for me a more comprehensive over-view of the Nocturne would be more meaningful. Harmonic analysis is helpful, yes, but I don't think we need to be told what individual notes are played unless there is some relation established to the overall structure or unless some specific reason is given to highlight individual notes in a composition.
I would suggest a reading of some of the analyses of individual Chopin works in Eleanor Bailie's The Pianist's Repertoire : Chopin, A Graded Practical Guide (Kahn and Averill, London, 1998) where a detailed analysis relates to an overal concept of the work, combined with practical performance suggestions.
Taking you at your word and responding to your last two questions : This analysis is too much "trees" and too little "forest" for my interest.
Regards,
Thanks, I think that I'll write about the forest and then the trees, it helps knowing the overall picture before getting into the details.
With sincere respect Betsalel, obviously deep into admiration of Chopin ... and in particular Nocturne Opus 27-1.
Interesting poetic analysis, describing the work in terms of harmonic intervals ... accurate, but inevitably getting bogged down a mire of words.
“It starts with the note C# in the bass and creates a wind like motion going up a perfect 5th and then up an octave, down a 5th a perfect 4th another 5th and then back up a 5th, 4th, 5th, (down a) 5th, 4th, 5th†.
It goes without saying that the harmonies reflect the genius of Chopin (par for the course) ... but what is much more to the point is the overall structure ... use of a rippling rhythmic sextuplet LH note pattern (quite tricky) ... provides a regular pulse on which to mount the opening poignant single note RH outline .
But in making an analysis of the LH sextuplets, it can prove useful to list the notes in terms of DEGREES OF MINOR SCALE ... and follow the flow ... here’s how I see the notes to the opening 10 measures.
I’m presently fascinated by the D-naturals in LH measures 9 and 10 ... instinctively Chopin chimes in with your 4th and 5th intervals.
The table is merely a patient analysis of each of the LH notes in the first 10 measures of the Chopin Nocturne Opus 27-1.
One of the advantages of developing a MIDI diagram is to see an accurate relationship of the pitch and duration of every note ... and their bonding to the overall shape of music ... a tapestry of sound.
Here’s what a MIDI of the first 20 measures of the Nocturne 27-1 looks like ... note the dual sextuplet ripples to each measure of the LH, surmounted by the single-note outline of the RH ... the result is sheer poetic beauty of form (like the weave of a Persian carpet).
The horizontal lines mark the C octaves ... notice how often the bass keynote C# initiates the LH ripples ... from the diagram it becomes too easy to list the various sextuplet note patterns.
[...]One of the advantages of developing a MIDI diagram is to see an accurate relationship of the pitch and duration of every note ... and their bonding to the overall shape of music ... a tapestry of sound. [...]
I found the analysis interesting. However, as mentioned before it is kinda overkill (I got bored with it a little ). This is an amazing nocturne and, as a matter of fact, I am learning it right now; the middle section is absolutely badazz !!! I think an analysis of your emotions or a story (like the one in the introduction of the book) will be more interesting, even if it is overly sentimental . I prefer the Mikuli edition of the Nocturnes.
![[Linked Image]](https://www.pianoworld.com/Uploads/files/fc27-1nocturneLHanalysism1-10.JPG)
![[Linked Image]](https://www.pianoworld.com/Uploads/files/fc27-1nocturneMIDIp1.JPG)
). This is an amazing nocturne and, as a matter of fact, I am learning it right now; the middle section is absolutely badazz 
!!! I think an analysis of your emotions or a story (like the one in the introduction of the book) will be more interesting, even if it is overly sentimental 
. I prefer the Mikuli edition of the Nocturnes.