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|← The Sonata 178||Robert Schumann →|
The indiscretion of the rhythmic patterns is one feature of Chopin’s style of the piano enhancement in the Nocturne in B – flat. This Nocturne entails a music development in a piano that consists of a rhythmic flow. The left part of the B flat major consists of a rigid and firm series of eight musical notes that are less complex arpeggios in an entire piece of music. On the other hand, left part of the Nocturne consists of method in which there is a movement of notes in a more systematic manner of parts of either eleven of twenties and of twenty fours (Frederick, 2004). In the opening of the Nocturne in B-flat minor, Op. 9, No. 1, there comprises a section that moves into differing section that is in the central area, that flows back to the starting element in an intermediary passage whereby the melody hangs above the seventeen bars that are arranged in a consecutive manner to develop the bars of the D-flat key chords. The reprise of the initial segment nurtures out of this melody development and as a result the nocturne is concluded in a calm mode with a Picardy third (Frederick, 2004).
The nocturnes in B are romantic patterns that are composed in a melancholic style and a more pensive melody that is more communicative. Most of the nocturnes in B assume a less complex A-B-A structure. The A part is generally in a dreamy melody that is referred to as the bel canto style, whereas the B element is a more dramatic mode. In the difference of melody, prosperity of harmony in music and the uniqueness of piano style, the nocturnes in B are noticed in most of the performances despite the fact there is little or no evidence of the direct influence of rhythm in the tone of the piano (Frederick, 2004).