Over the past four months, I’ve been practicing Chopin’s Nocturne in D♭ Major, Op. 27 No. 2. It’s a hauntingly beautiful piece—technically demanding, yet adorned with delicate poetry. Along the way, I’ve grown as a pianist—an enthusiast, admittedly—but also more curious. What makes this nocturne so captivating? In this analysis, I’ll explore the theory behind the music I’ve come to love, hoping it brings me closer to a deeper understanding.
The Structure
This nocturne can be divided into three themes and a coda:
- Theme A, with two parts: the main theme (bars 1–14) and a secondary section (bars 15–17).
- Theme B (bars 18–25).
- A return to Theme A: main theme (bars 26–33), followed by its second part (bars 34–40).
- Theme C (bars 41–45).
- Another return to Theme A: main theme (bars 46–53) and an extended version of the second part (bars 54–61).
- Finally, the coda (bars 62–77).
Theme A, A Love Story
Theme A introduces the signature motif of this nocturne. It’s easy to recognize the piece by the texture of this theme and the striking melody that begins in bar 2. So central is this theme that it structures the piece into three major sections—appearing in bars 1, 26, and again before the coda at bar 46.
The Background
The left hand sets the foundation with two groups of sixteenth notes, a pattern that persists throughout much of the piece. This creates the canvas upon which the melody unfolds. Like a color palette, four essential harmonic “colors” blend to form the atmosphere of the theme. Let’s explore them.
There are two essential aspects to note about the structure created by the left hand. First, it doesn’t change much, giving the piece a sense of continuous storytelling that some might interpret as monotony. However, I believe this consistency allows the melody to take center stage and fully unfold its narrative. Second, the background relies heavily on the sustain pedal. With leaps from D♭2 to F4, the sound endures thanks to the pedal being held across several bars—for example, in bars 1–4.
Storytelling
Now, let’s turn to the melody. I don’t think Chopin intended it to be predictably beautiful; instead, he crafted beauty from tension and semitonal neighbors. Let’s consider an example of a more predictable composition.
Now, Chopin’s take. Notice that he begins the melody not on D♭, but on the third note of the scale, creating a tension that seeks resolution toward D♭. In bar 5, he avoids the expected A♭ and instead introduces a note outside the D♭ major scale—A♮—sustaining it for an entire bar before resolving to B♭, a technique that intensifies the tension. Also, observe how he uses semitonal neighbors to create a more dramatic motion in bar 4, shifting from E♮ to F, and from C to D♭.
Where is the beauty of this unexpected A♮ resolving to B♭? In the upcoming bars 6 and 7. Here, Chopin crafts a stunning motion that reaches a high-pitched G♭6, preceded by a G♭5 acciaccatura—a full octave marked by a forzando and tied to a B♭♭ in the left hand. This then seeks resolution in an A♮, tied to a C in the right hand (please ignore the ugly set of grace notes, software issues).
Up to this point, the melody has been carried by a single voice. It’s a stunning introduction to Theme A—but what comes next is even more remarkable: the entrance of a second voice. Let’s hear them in the context of the piece.
At first, I struggled to understand why Chopin used parallel thirds and sixths. I had always been cautious with them—my professor constantly warned against their use. But I like to think of this as an intentional statement, where soprano and baritone voices intertwine and complement each other. Here’s what I make of them—listen to how different, yet harmoniously alike they sound.
Another impressive aspect of this second part of Theme A is its initial motif. I believe it held particular significance for Chopin. We encounter it four times throughout this section, and while each instance carries slight variations, the core idea remains unchanged. Let’s take a closer look at them.
Original motif.
First Variation.
Second Variation.
Third Variation.
Theme B - Rage and a Plea for Mercy
My favorite part. The fact that Theme B appears only once throughout the entire piece makes it all the more remarkable. For me, it’s one of the most beautiful passages ever written.
This section feels like a dialogue. I imagine something unsettling taking shape—built on octaves that reinforce an ominous message—emerging from a tense bridge that flows dramatically out of Theme A.
Now, a plea for mercy. We shift from a forte to a piano dynamic, evoking the image of someone crying out after a furious outburst. What fascinates me is how the initial shout moves from B♭♭ to A♭, while the subsequent plea mirrors this gesture through a delicate modulation that hovers around the same B♭♭—first moving to C♭, then to A♭, and finally returning to B♭♭. It’s as if the music is restating the emotional heart of the conversation.
And again, the raging shout is followed by the plea for mercy. This time, though, the plea feels even more pitiful—yet it gently bridges back to Theme A with a smile, as if evoking a distant memory: “Do you remember how it was?” This transition is achieved by brightening the dark background through a powerful bassline, using an enharmonic reinterpretation of A♮ as B♭♭ and C♯ as D♭.
Returning to Theme A, Hope and Joy
We return to Theme A, mirroring its original form. However, the transition into the second part of Theme A introduces a subtle change—it carries a hopeful tone, evoking a more joyful and optimistic experience.
As an anecdote, the part featuring the legerissimo marking on the group of four triplets at the end of bar 32 took me a serious amount of time. It forced me to loosen my right hand through rigorous metronome practice. I truly thought this would be one of the hardest sections of the piece, but I was far from the real harder ones ahead.
The New Second Part
Before diving into the new second part, let’s revisit the original.
Now, let’s listen to the new version. In bar 34, we’re introduced to more sharps, along with an enharmonic reinterpretation of D♭ as C♯. I’m not entirely sure, but A. Szklener suggests that from this point onward, the piece modulates toward A major, placing the new tonal focus on A♮ [1].
I’ve fallen prey to curiosity. I just went to the piano and analyzed that section, now I’m completely sure it’s A major.
Now, let’s indulge ourselves by listening to this section before moving on to Theme C. I think it’s important, as it gives us a sense of happiness and hope, just before the storm and climax introduced by Theme C.
Theme C, The Climax
Like Theme B, Theme C is unique. It marks the climax of the piece. We’ve journeyed from the romanticism of Theme A, through the fury and pleading of Theme B, and back to a romantic, yet hopeful and joyful, reprise of Theme A.
Many might interpret Theme C as something dark, but I see it more as a passionate climax. I can’t help but think of a Wagnerian opera. How extraordinary it would have been to witness an opera by Chopin. He had all the elements, and this Theme C is definite proof of the drama he infused into his music.
This drama unfolds clearly five times around G♭6: first in bar 42, again in bar 43, twice in bar 44, and finally a fifth time in bar 45, before dissolving into a cascade of triplets that lead us back to Theme A one last time.
Theme A, An Ethereal Conclusion
The return to Theme A is once again built on tension. This time, we don’t return to B♭, instead, we arrive at C♭ for the entirety of bar 49, delivered in a forte dynamic. It’s a statement in itself. Yet, the theme soon softens into an ethereal whisper, marked by a pianissimo, adorned with grace notes, a musical depiction of deep emotion, delicacy, love, and passion.
The final appearance of Theme A ends with a proclamation of freedom, expressed through a gentle rise and fall of grace notes. This could be a perfectly poetic conclusion.
After four months of practice, I’ve finally reached this part. I’m currently stuck on the grace notes in bar 52. As a non-professional pianist, this is beyond my current abilities, and I know I’ll be stuck here for a while. But am I beaten? No. I believe this is where time, patience, and discipline come in. Discipline built on repetition and metronome-based practice. I don’t know how long it will take, but I’m certain I’ll get there. I hold on to that hope.
The Coda: The Perfect Ending to an Epic Musical Love Story
This definitive conclusion unfolds as an exchange of messages: two voices revealed through timing and the leap between them. The slur is clear evidence of their connection. Yet, the leap marks a shift from how Theme A previously portrayed those voices, which once spoke together.
For pianist G. Niemczuk[2], this passage symbolizes lovers who have been separated. The leap in bar 65 representing the longing to reach a distant beloved until they are finally reunited in bars 69–74.
Niemczuk offers a poignant interpretation of the ending. In bar 75, the lovers ascend together to heaven—yes, he suggests they die, but as he puts it, “as all of us will.” Their love story concludes in peace, beautifully expressed by the gentle transition at the end of bar 76, leading into the fermata that holds bar 77 in timeless stillness.
Conclusion
I’m a musician drawn to minor scales. Whenever I think about music, my mind instinctively gravitates toward them. Maybe it’s just a personal phase. What captivates me about this nocturne is how Chopin takes a “happy” key and transforms it into something deeply emotive and dramatic. It takes a true genius to accomplish that.
This piece has challenged me, technically and musically. It’s taught me to appreciate the subtle beauty of major scales and the complexity of piano execution. At times, I feel like I won’t make it. But I try to remember: this is my journey. I’m not a professional pianist, just an enthusiast who finds joy in playing and analyzing music from a theoretical perspective.
I truly hope to keep making progress so I can share the final result in the not-so-distant future.
Bibliography
- A. Szklener, Eds., The sources of chopin’s creative style: Inspirations and contexts. Warsaw, Poland: Narodowy Instytut Fryderyka Chopina, 2005.
- G. Niemczuk,
F. Chopin - nocturne in d-flat major op. 27 no. 2- analysis - greg niemczuk’s lecture.,
2021. [Online]. Available: https://www.youtube.com/watch?v=BY7iNXKR2GI