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#NOCTURNE OP.9 NO.2 TINY PIANO FULL#
The young pianist, full of forward momentum and emotional longing, exists on the front side of the beat in a forward-moving, seemingly perpetual accelerando. The wise pianist lives on the back side of the beat, constantly offering reflections and commentaries. Countless modern musicians interpret everything in only one of these three dimensions. The Future is the front side of the beat, the Present, on the beat, and the Past, after the beat. One useful way to divide the beat is into three dimensions – the Future, the Present, and the Past. Play it through this way until it becomes comfortable and you’re able to freely sing the melody. The excerpt we will be studying is the first four bars of one of Chopin’s earliest and most beloved works, the Nocturne in E-flat, Op. Learn to play one of them well and you’ll have unlocked many of the secrets to interpreting the Polish Tone-Poet. The Nocturnes represent the zenith of his Operatic approach. I think we could all admit that we need Chopin. Arrau spoke of needing certain composers at different times in his life. It takes on your mood as its own, chameleon-like. The music gives you much interpretational freedom and also seems to accept you as you are. This technique applies to all music, but Chopin’s kicks it up a notch because the phrases are so long.Ī particularly satisfying feature of interpreting Chopin is that it accepts all sorts of interpreters and interpretations. You don’t stop or pause, you simply spin and redirect according to the energy surrounding you. Learning to come off one Energy Pillar, the energy receding, and gradually feel the increasing pull of the subsequent Pillar, gives you the feeling of briefly floating, then being spun around gently in a new direction by the pull of fresh energy. In Chopin’s long lines, the energy turns and spins, but doesn’t break or pause. Careful ~ you may occasionally find yourself forgetting to actually breathe. The mind seeks for something to hold on to, a slight pause or break, to re-balance itself. Singing a long line on a long breath is also mentally and psychologically challenging. Chopin challenges you to extend your pianistic vocal range to include the entire keyboard.
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Experiment and see if this isn’t true for yourself. Most pianists, men and women, seem to possess a vocal range of about three octaves, from the C below middle C to High C. As soon as they leave their range, they begin imitating singing, but don’t actually directly connecting to the notes emotionally. Pianists usually find it easiest to sing within their own vocal range, or something resembling it.
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The challenge of singing on super-long breaths with an abnormally wide range is that as human beings, we feel certain vocal limitations out of habit, perhaps even genetically. It’s often as if an entire composition were one long phrase, separated by commas and slight pauses, but with a single period at the very end. The concept of Super-Melody is always easy to understand with Chopin because the principal line is so easy to define. Instead, the form was created by the Irish composer John Field, a man whose influence on Chopin can be heard clearly, not just in his solo piano music but also in his two piano concertos.It spans six full octaves! Look how long it takes before the singer’s first breath! And this is only the beginning of the phrase. 9 are a set of three nocturnes written by Frederic Chopin between 18 and dedicated to Madame Camille Pleyel.ĭespite being forever associated with the nocturne, (essentially a piece of particularly wistful, dreamy music, often intended to evoke images of the night) Chopin was not actually its inventor. A great Romantic composer, who nevertheless wrote absolute music with formal titles such as Mazurkas, Impromptus, Waltzes, Nocturnes. Polish composer renowned for his piano works.