The paper studies the structural and expressive motivation behind Chopin’s use of parallel, transposed passages in the middle section (B1 and B2) of two of his ternary-form nocturnes: Op. 32/2 in A-flat major and Op. 62/2 in E major. Analogous to the use of juxtaposition—a technique that places two elements side by side in order to show a contrast or a new relationship between them—such organization in these two nocturnes enhances harmonic conflicts that are specific and fundamental to both tonal and expressive design. In Op. 32/2, the literal transposition B1 by a half-step in B2 creates an oppositional stance. But underneath this intense chromaticism lies an inter-sectional connection: B1 and B2 respectively presents in new context elements from the two and only two chromatic events in Section A; Section B is a composing out of a chromatic motive that affects one of such events in Section A.
Modal contrast constitutes the expressive drama in Op. 62/2, with each section presenting a different manner of interaction between the opposite modes. B1 and B2 are related by a third, respectively featuring G# and G. B1 maximizes the harmonic potential of G#, traversing C# minor, E major, and G# minor; G dominates B2, receiving middleground harmonization from E minor and G major. But the motion towards B minor at the end of B2 makes a problematic restoration of E major for the oncoming reprise. Section A’ takes on an unconventional role of sustaining the harmonic tension, delaying the tonic arrival.