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.

Unlike other ballades, this one has almost no tempo changes within the piece, meaning it proceeds without interruption. It also has a tendency to "decay in four-bar units," which will be discussed later. Let's look at the beginning.

Measures 1-2

While it's natural to bring out the top voice, a common cause for a harsh sound is when each of the three eighth notes in the second beat of measure 1 is played with excessive force. Including the eighth note on the upbeat of beat 1, these eighth notes should be played in a single, fluid motion. The rubato moves forward to the C in measure 2, then pulls back from the upbeat of beat 1 in measure 2, settling on beat 2.

Measure 9: The Four-Bar Decay

The score I use indicates a pedal change on beat 2. This is because combining the chord on the upbeat of beat 1 with the chord on the downbeat of beat 2 with the pedal would create muddiness. However, caution is needed here. If the pedal is completely changed on beat 2, the bass note A-flat from beat 1 will be lost. Losing the A-flat will make it sound dry and harsh. Here, use half-pedal on beat 2 to retain the A-flat while avoiding muddiness in the chord. It's not that difficult, so please try it. Now, these four measures, 9-12, illustrate the "four-bar decay" mentioned earlier. If you extract only the top notes of the chords from the upbeat of beat 1 to beat 2 within these measures, you'll notice a chromatic descent:

• Measure 9: E-flat D
• Measure 10: D-flat C
• Measure 11: C C-flat
• Measure 12: C-flat B

The dynamics also shift from f to p. As you proceed to the right, gradually decrease the tension, playing as if fading away by measure 12.

Measure 10: Rhythm and Decay

For example, at the end of measure 10, there's a sixteenth note + eighth note rhythm. Play measure 10 strictly in rhythm, but as you move forward, gradually and subtly relax the rhythm. This allows you to create a sense of decay. Subsequently, all four-bar sections with descending figures, such as measures 12-16, 17-20, 21-24, and 54-57, should be treated similarly.

Specific Measures and Techniques

• Measure 14: In measure 14, the left hand plays the lower notes of the eight-note group, taking a slight pause at the thirty-second rest.
• Measure 35: Extend the pedal in measure 35 to the D-flat in measure 36, creating a fantastical resonance.
• Measure 41: While a slightly agitato feel from measure 41 is good, some learners tend to apply accel. Since accel. or piu mosso are not indicated, avoid playing too fast here.
• Measure 54: From measure 54, sixths and sevenths appear in the right hand. Avoid using fingers 1 and 2 as much as possible, and bring out the top voice clearly. In this case too, the music decays in four-bar units as it progresses, so the C in measure 58 should be reached as the softest note.
• Measures 77-78: Between measures 77-78, the melody line is C D F E; therefore, the final E should be played ever so slightly softer than the F.
• Measure 88: Some performers abruptly switch to p as soon as they reach measure 88. The drama that unfolded from measure 80 does not simply change mood so suddenly. Human emotions do not switch instantaneously. The figure A-flat G G-flat F in measure 88 also appears in measures 90, 92, 93, and 94. When considering a gradual decrease, it should begin with a larger sound.
• Measure 102: In measure 102, change the color.
• Measure 118: From measure 118, the atmosphere changes, and a new section begins; the necessary practice here is arpeggios. The key challenge is how quickly, lightly, and pp the arpeggios in measures 118 and 122 can be played. The pp dynamic makes this an even stricter requirement. Additionally, the left hand in measure 122 is very difficult to play. The top notes of this left-hand chord, B and C-flat, can be played more easily with the right hand. The left-hand chord on beat 2 of measure 123 is a slightly emotional passage. mf might be appropriate. The left hand between measures 126-127 decays and fades away as it moves to the right. This occurs several more times.
• Measure 136: In measure 136, my score does not have a dynamic marking, but it is a very strong expression. f would be appropriate.
• Measure 173: From measure 173 onwards, this becomes the most technically challenging part of the ballade. It is important to firmly grasp the double stops (chords) with the right hand and to avoid mistakes in the left-hand bass.
• Measure 182: From measure 182, the music builds towards a peak. Keep the volume low here for now. Although A-sharp is present in the left hand, the bass note is B natural. In measure 194, this B changes to C. In measure 202, this C changes to D. In measure 205, this D changes to E-flat. This means the tension gradually increases, reaching its climax in measure 213.
• Measure 227: From measure 227, a stretto is indicated. Many observe this, but the bass in measure 229 is in a distant position, causing a loss of time here. If possible, do not stop the stretto; push forward regardless of where the bass is located.
• Measures 237-238: Some performers play the sixteenth notes between measures 237-238 unusually fast. The tempo of these two measures should be consistent with the surrounding tempo.