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

In lyrical compositions, phrases and melodic figures are often presented in a list-like manner, with very loose connections, whereas in narrative compositions, one can perceive a sense of “kishōtenketsu” (introduction, development, turn, conclusion) within a single piece. The reason for the emergence of clear dramatic qualities is, firstly, the distinct harmonic progression, particularly the well-adhered-to dominant-tonic pattern (the section moving from “turn” to “conclusion”). Furthermore, individual motives may develop through techniques such as variation, inversion, repetition, and expansion; even without the elaborate structures found in Viennese Classical sonatas, multiple themes are intricately combined to form 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 serve as key points for appreciation. (As an aside, in lyrical works, the listener's ear is allowed to wander within a kind of musical space, where the music lingers while subtly transforming, with no clear sense of return or progression.)

Now, where lies the difference 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 rather, the content of their “narratives,” differs somewhat.

Scherzo means “joke” in Italian, and traditionally referred to a bright, light, small-scale piece in a simple form.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 motive appears, interjecting at various points. Furthermore, contrasts in dynamics, alternating in short cycles, are specified in each section.

Such techniques are almost absent in the Ballades. Each motive and each note is bound by its preceding and succeeding context, allowing no deviation. Somber 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 light-hearted figures and almost 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.

Ballade No. 3

Ballade No. 3 possesses qualities generally closer to a Scherzo. Particularly in the opening section, it is full of lightness and ease, with phrases repeated in different registers, motives transforming through a “spinning out” technique, and short motives suddenly appearing in unexpected registers.

Formally, it is a rondo with an introduction. The rondo theme begins at measure 52. The first reprise (from measure 66) varies the rondo theme, and the second reprise (from measure 116) is filled with brilliant passage work. The third reprise (from measure 157) takes on a somewhat different character, adding sixteenth notes to the motive found in the first reprise—that is, a variation of the rondo theme—and gradually increasing the volume. This also affects the fourth appearance of the rondo theme (measure 194). The theme no longer possesses the lightness of cascading from the high register; it repeatedly attempts to rise from the low register but is thwarted. However, at measure 213, it finally breaks free, and as the opening melody reappears, it is adorned with brilliant runs, bringing the piece to a close.

The term “Ballade” was first used by Chopin for a piano work, 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 a work that blossomed with such rich musicality to a single storyline, thereby limiting the listener's imagination.

Taking a broader view, ballads as songs were popular around Warsaw in the 1820s, and it is conceivable that this literary genre was familiar to Chopin's spiritual 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 the unique new genre of the Ballade.