There are several ways to observe the styles Chopin employed in his piano works, but one possible classification is into lyrical and narrative categories. 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 motifs 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, 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 progression from 'turn' to 'conclusion'). Furthermore, individual motives may develop through techniques such as variation, inversion, repetition, and expansion; even without the elaborate workmanship found in Viennese Classical sonatas, multiple themes are intricately combined to construct the piece.

In other words, works with a narrative structure, such as the Ballades, Scherzos, Barcarolle, 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 musical space, as it were, 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 are adjacent genres within Chopin's oeuvre. Furthermore, it seems almost impossible to clearly distinguish between the two genres based on their form. This is partly because they are genres unique to Chopin; even examining the traditions of the genres from which they are thought to derive reveals no clear connection between them. However, even if they cannot be distinguished by their external musical form, their musical content, or rather, the content of their 'narrative,' differs somewhat.

The term Scherzo means 'joke' in Italian, and traditionally referred to a bright, light, and small-scale piece in a simple form.Beethoven incorporated it into the third movement of his sonatas as a substitute for the minuet, it was also given an extremely rapid and humorous character. Chopin's Scherzos, at first glance, seem to completely contradict this tradition, being dark, serious, and large in 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.

Such techniques are largely absent in the Ballades. Each motif 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 stands in contrast to the Scherzos, which resolve this kind of stress with lighthearted motifs and even comical contrasts.

It is worth noting that all four Ballades are written in compound duple meter, while the Scherzos are in triple meter, which could be considered their only external distinguishing feature. However, since most of the Scherzos form a phrase in two measures throughout, they still contain the strong driving force of a duple meter.

Scherzo Form and Chopin's Sonatas

The Scherzo takes an A-B-A form. This follows the tradition of the scherzo as a substitute for the minuet movement, as used by Haydn and Beethoven. However, the appearance of two contrasting themes in the A section, and the almost complete repetition of the first half in the second half of the A section, indicate an inclination towards sonata form. Furthermore, a brilliant coda, including a stretto, further increases the scale and elevates the dignity of the piece.

Viewed in this way, Chopin's Scherzos can be considered as inheriting and elaborating upon the formal stature of the third movement of piano sonatas perfected by Beethoven. On the other hand, in his own Piano Sonatas No. 2 and No. 3, he took a step away from the Viennese Classical tradition by placing the scherzo in the second movement. Particularly in No. 2, Op. 35, a large-scale scherzo with multiple themes is employed. Chopin likely did not write the Scherzos as character pieces and name them as such. Rather, they were a stepping stone for his own sonatas.

Scherzo No. 2

The Second Scherzo begins in B-flat minor, a key Chopin favored for serious or profound works, yet it consistently maintains a touch of brightness. In the coda, it modulates to the parallel major, D-flat major, and concludes brilliantly.

The reason this piece does not lose its brightness is the abundant insertion of delicate ornamental motifs, such as the opening unison triplets, the chromatic scale just before the second theme, the figuration at the end of the second theme, and the right-hand arpeggios in the middle section marked 'delicatissimo' (with utmost delicacy). However, these are not merely discarded as means of technical display; they function as parts of an elaborate motivic development. That is, every motif and figuration has some relation to the themes in other sections. Consequently, even a lengthy piece approaching 800 measures does not become diffuse.

However, it is also true that despite the complete repetition of the first and second themes in the outer sections, the piece never bores the listener, largely due to the unparalleled beauty of its melodies. This somewhat persistent repetition is likely an expression of Chopin's pride and confidence as a masterful melodist.