There are several ways to observe the styles Chopin employed in his piano works, but one possible classification is into lyrical and narrative. Representatives of the former are the Nocturnes and Mazurkas, while typical examples of the latter are the Ballades and Scherzos.

In lyrical compositions, phrases and motifs are often enumerative, with very loose connections, whereas in narrative compositions, one can perceive a sense of kishōtenketsu (introduction, development, turn, and conclusion) within a single piece. The reason for this clear dramatic quality is, firstly, the distinct harmonic progression, particularly the well-adhered-to dominant-tonic pattern (the part that moves from "turn" to "conclusion"). Furthermore, individual motifs may develop through techniques such as variation, inversion, repetition, and expansion; even without the elaborate workmanship seen in Viennese Classical sonatas, multiple themes are intricately combined to create the piece.

In other words, works with a narrative structure, such as the Ballades, Scherzos, and Bolero, create a dynamic and dramatic musical time that progresses inevitably from beginning to end, and these elements constitute key points for appreciation. (As an aside, in lyrical works, the listener's ear is allowed to wander within a musical space, so to speak, where the music subtly transforms but largely remains, with no clear sense of return or progression.)

Differences between Ballades and Scherzos

Now, where do the differences lie between the Ballades and Scherzos, of which four pieces each remain? It is most evident from the music itself that these genres are closely related within Chopin's oeuvre. Moreover, it seems almost impossible to clearly distinguish between the two genres based on their form. One reason is that these are genres unique to Chopin, and examining the traditions of the genres from which they are thought to originate yields no clues. However, even if they cannot be distinguished by their external musical form, their respective musical content, or the "story" they tell, differs somewhat.

The Scherzo

"Scherzo" means "joke" in Italian, and traditionally referred to short, light, and bright pieces in a simple form. Even when Beethoven incorporated it into the third movement of his sonatas, replacing the minuet, it was still given an extremely rapid and humorous character. Chopin's Scherzos, at first glance, seem to completely contradict this tradition, being dark, serious, and large-scale. However, when compared to the Ballades, it becomes clear how much humor the Scherzos actually contain. In all four Scherzos, more than one extremely rapid and leggiero motif appears, interjecting at various points. Furthermore, intense dynamic contrasts are specified in each section.

The Ballade

Such techniques are largely absent in the Ballades. Each motif and each note is bound by its preceding and succeeding context, allowing no deviation. Melancholy themes appear one after another, accumulating to form a torrent, ultimately leading to a catastrophic conclusion. This is in contrast to the Scherzos, which resolve this kind of stress with lighthearted motifs and even comical contrasts.

Incidentally, all four Ballades are written in compound duple meter, and the Scherzos in triple meter, which could be considered their only external distinguishing feature. However, since most of the Scherzos form one phrase every two measures throughout, they still contain the strong driving force of duple meter.

The Ballade was a name Chopin first used for his piano works, and it is said to have been directly inspired by the ballads of the Polish poet Adam Mickiewicz. While there are various theories as to which specific poem corresponds to which piece, none have been definitively confirmed and remain popular beliefs. However, even if Chopin did indeed compose based on a particular poem, it is unlikely that the composer's true intention was to confine such richly musical and accomplished works to a single storyline, thereby limiting the listener's imagination.

Taking a broader view, ballad-like songs were popular in and around Warsaw in the 1820s, and it is conceivable that this literary genre was familiar to Chopin's intellectual life. In addition, Schubert's ballads and ballad-like arias used in Parisian grand operas also greatly impressed Chopin. Therefore, it should be seen that all these experiences converged to give birth to Chopin's unique new genre, the Ballade.

Ballade No. 1

Ballade No. 1 largely adheres to "sonata-allegro form," that is, the form of the first movement of a sonata. After a 7.5-measure introduction, the Moderato section (from m. 8) presents the first theme with a dance-like triple meter rhythm and arpeggiated chords with appoggiaturas; the Meno mosso section (from m. 68) introduces a bright second theme sung broadly across a wide range; the development section begins a tempo (m. 94); and the recapitulation (m. 166) begins with the return of the second theme. The first theme (Meno mosso, m. 194) appears very briefly, serving merely as a bridge to the coda. The coda (from m. 208) is marked Presto con fuoco, and after short motifs are repeated with urgency, the piece concludes with magnificent passage work spanning the full width of the piano keyboard.

Thus, it can be said that in this work, Chopin borrowed the framework of the narrative—rather than from a literary genre—from traditional musical forms.

General Advice

The key point for this ballad is to never forget musical expression in any part. The technical demands range from easy to difficult, and the ability to play the difficult sections with technical ease is a prerequisite for enabling musical expression. Learners might benefit from tackling this piece after confirming that the coda section is technically feasible for them.

Let's now look at the beginning.

Measures 1-7: Pedaling

Measures 1-7 allow for a wide variety of performance approaches, differing among pianists. One aspect to consider in these measures is pedaling. I will tentatively write down the pedaling I use when performing this piece. For reference:

• Measure 1: None.
• Measure 2: From the A-flat on the off-beat of beat 1 to the next A-flat. From the A-flat on the off-beat of beat 3 to the B on the off-beat of beat 4, then none thereafter.
• Measure 3: None.
• Measure 4: From the last note E-flat in this measure to Measure 5: the first E-flat (because they are the same note and would be cut off), from the last D on beat 2 to the D on beat 3 (for the same reason).
• Measure 6: From beat 3 to Measure 7 (simply to connect the chords).

Measures 8-22: Main Theme and Phrasing

At Measure 8, the main theme begins with "moderato." The ability of the performer is revealed in how they express measures 8-22, making this a musically very challenging section. If this section is divided into two, the first part extends to the second beat of measure 16 (due to the 6/8 time signature). The eight measures up to this point (measures 8-16) can be divided into four phrases, each with a different character. Therefore, each requires distinct expression. In other words, all four should not be played in the same way. This is a difficult point to explain, whether in writing or by demonstrating the actual performance, but these four phrases must not be played blandly; each must be distinguished. However, losing the flow would also be problematic. This might sound contradictory, but it is a very difficult task to clarify each phrase without losing the overall flow.

Detailed Explanation of Phrasing (Measures 8-16)

Let me explain in more detail. For example, look at the last two melody notes of each phrase:

• Phrase 1: D C
• Phrase 2: E F#
• Phrase 3: G F
• Phrase 4: D C

From here on, this is my personal opinion, but I believe these two notes should decay regardless of whether they ascend or descend. In other words, an accent on the last note of a phrase would sound strange. And let's assume this is the correct approach. If the two notes decay, the tension also decreases. In that case, the two B D G chords when the melody line is D in measure 9 should be slightly slower than the speed of the A C E-flat G chord when the melody line is C in measure 10. By playing the accompaniment pattern on the first beat of measure 10 slightly slower, a sense of decay can be created, marking the end of a phrase. And the end of all four phrases should be decayed using the same method.

However, the point is not to stop the flow. For example, the second phrase should begin immediately after playing the chord on the first beat of measure 10, without taking any extra time. By doing so, measures 8-16 can be presented as a single "unit" without losing the flow.

Measures 33-67: Tempo and Pedaling

• Measure 33: Take ample time.
• Measure 36: Some performers suddenly increase the tempo upon entering this section, but there is no particular need to do so.
• The "agitato" from measure 40 does not necessarily mean to increase the tempo, but it is acceptable to make the music slightly more forward-moving.
• Since "sempre piu mosso" appears at measure 45, the tempo should be genuinely increased from this point.
• After changing the pedal at measure 64, continue to hold the F-A-C chord with the pedal until measure 67.

Measures 68-92: Second Theme and Pedaling

From measure 68, the second theme begins. There are various approaches, but I will write down the pedaling I agree with:

• Measure 68: Either hold the pedal for the entire measure or change it on the second beat; please choose one.
• Measure 69: Hold the pedal for the entire measure.
• Measure 70: Change the pedal on the second beat, but do so while sustaining the preceding note F with the 5th finger.
• Measure 71: Hold the pedal for the entire measure.
• Measure 72: Change the pedal on the second beat, but similarly continue to sustain the preceding F with the 5th finger.
• Measures 73-74: Same as measure 72.
• Measure 75: Release the pedal completely from the second beat. However, continue to sustain F, A, and E-flat with their respective fingers for the entire measure. This is a means to avoid muddiness in the right-hand melody line. The same applies thereafter.

Measures 93-106 onwards: Color and Dynamics

• Measure 93: Change the color.
• From measure 106 onwards, this section tends to produce harsh sounds. No matter how fortissimo it becomes, do not forget the phrasing. Even with a loud sound, play melodically, as in measure 68. Furthermore, with so many notes sustained by the pedal, the sound will inevitably become loud. Do not worry about the volume, and try not to exert too much force.

Coda (Measures 208 onwards)

Now, despite various challenges, the coda from measure 208 must be managed. This section must be practiced with extreme caution, but the important thing is not to rush into making it "musical." Rather than listening to the sound, proceed slowly, confirming the feel of the fingers and ensuring that each chord is struck precisely. For example, the right-hand F# A F# on the first beat of measure 217, which I believe uses fingerings 1-2-5, is a very difficult chord to grasp. Proceed while checking that fingers 2 and 5 are firmly gripping the depths of the keys. The key is to practice calmly and carefully, and absolutely not to increase the tempo at first. Measures 252-253: There are three chords, and ritenuto is applied. Some learners take extra time after playing the third half note, but here there is only one eighth rest. After counting one eighth rest, immediately enter the next forte. The same applies to measures 256-257.