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chord progression analysis and a "jazz" found in Chopin's Nocturne No. 2

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Chopin's Nocturne No. 2 is one of the most well-known classic piano tunes. Here we find a jazz like modern modulation technique. In the 12th stave,  the preceding phrase ends as the key of Bb at the fourth note of D of the melody. The composer needs to modulate the key immediately to the original Eb. If we analyse the chord progression as jazz musicians do, the interpretation would be like this. Bb-F7(#11)-Emaj-C7-F7-Bb7-Fmaj (I-V7-#IVmaj-II7-I7-Vmaj7, if we write in the key of Bb) F7(#11) (#Vmaj) is interpreted as a alternate dominant chord for the cadence resolving to the tonic chord of E; the progression from Emaj(#IVmaj) to C7(II7) sounds a little abrupt but quite familiar to popular music fans today; consequent C7-F7-Bb7-Fmaj is very common progression called "6-2-5-1" pattern of jazz tunes. Here, the chord sequence that is not very common in jazz is "Emaj-C7" sequence. A question is, if we have Emaj chord in the tune written
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How about starting jazz piano lessons with "Blue Monk" in C?

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Thank you for visiting my blog. Here is the very first article. "Blue Monk" by Thelonious Monk, one of the greatest jazz pianist and composer in the history of jazz, is very well known and favourite tune among jazz fans worldwide. Although many of  Monk's music may sound a little weird,  the characteristics is actually his charm. "Blue Monk" itself uses very straightforward notes in terms of jazz music, i.e., the major scale plus the blue note scale. So today it occurred to me that the tune might be a good example when starting jazz piano lessons even for first time learners of the piano. However, by listening to the tune professionals play, we notice two difficulties playing the tune. The first one is the rhythm. The original Monk's tune is played with is his distinctive rhythm and we only use the simple "shuffle" or "swing" rhythm. The other one is the key. The original key is Bb (B-flat), which the first time learners would no
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