No. 1 in E-flat major

This romance, likely the last of the three to be composed, is the shortest at only 49 measures and serves a preludial role. It is in ternary form. In section A, short motifs repeatedly emerge from the harmony, set against a consistent foundation of flowing sixteenth-note accompaniment. In section B, the melody, now featuring sixteenth notes, flows refreshingly amidst chromatic modulations from G-flat major to A major, and back to G-flat major.

No. 2 in G minor

Clara described this romance as “a small, melancholic romance,” adding in a letter to Robert, “While composing it, I was constantly thinking of you.” She then sent him the score with the following words, which are still useful for anyone attempting to play this piece today, yet concluding with her characteristic humility: “You must play it very freely—sometimes passionately, and then again sadly. I am very fond of the piece. Send it back to me soon. Do not be afraid to look for its faults; it will be for my benefit.” In response, Robert replied, “Every one of your musical ideas springs from my heart. In fact, you are the one I must thank for all my music. There is nothing to change in the romance. This piece must remain as it is.” It is said that this romance may have inspired Robert's Humoreske, Op. 20.

It is in ternary form. As Clara described, sections A and A' are dominated by a melancholic atmosphere in G minor. Section B, in the relative major of B-flat, is passionate and lively. While these two sections are contrasting, they transition naturally through carefully marked tempo changes (such as Nach und nach schneller and Tempo wie zu Anfang) and rhythmic similarities, like the repeated eighth-note figures. In the coda, where the opening theme is recalled with pp chords, it gradually fades away as if continuing indefinitely.

No. 3 in A-flat major

Several distinctive and charming sections, each with different expressions and atmospheres, are structured in a rondo-like fashion. Overall, it is in ABA' ternary form. Section A consists of seven subsections: a Chopin-esque 'a' (very similar to the opening harmony of Ballade No. 3), a polyphonic 'b', a waltz-like 'c', and a lively 'd' marked Animato with dotted rhythms. These are arranged as a b a' c d c' a''. The bass line is also ingeniously crafted: in 'a', 'b', and 'd', the tonic is generally sustained, while in 'c', it ascends step by step. Section B, in D-flat major, develops its opening motif. Although the accompaniment is waltz-like, somewhat similar to the earlier 'c', the eighth-note rest on the first beat creates a unique rhythmic feel. In A', 'c' and 'd' are not recapitulated, and the section is considerably simplified to a''' b a''''.