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, each phrase and melodic figure is often presented in a list-like manner, with very loose connections between them, whereas in narrative compositions, one can perceive a clear dramatic arc 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 section moving 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, 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 kind of musical space, where the music remains, subtly transforming, without clear progression or return.)

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 for this is that these are genres unique to Chopin; examining the traditions of genres from which they might have originated yields no clues. However, even if they cannot be distinguished by their external musical form, their musical content—their 'narrative content,' so to speak—differs somewhat.

The term Scherzo means 'joke' in Italian, and traditionally referred to bright, light, small-scale 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 motive appears, interjecting at various points. Furthermore, contrasts in dynamics are specified, alternating in short cycles within each section.

Such techniques are largely 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 stands in contrast to the Scherzos, which alleviate this kind of stress with light-hearted figures and even comical contrasts.

It is also 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 the Scherzos largely form phrases of two measures throughout, they still contain the strong driving force of a 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 poems correspond to which pieces, none have been definitively confirmed and remain popular beliefs. However, even if Chopin did indeed compose based on certain poems, it is unlikely that the composer's true intention was to confine works that blossomed with such rich musicality to a single storyline, thereby limiting the listener's imagination.

Taking a broader view, ballads as a song genre were popular around Warsaw in the 1820s, and it is conceivable that this literary genre was familiar to Chopin's intellectual life. Furthermore, 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.

Ballade No. 2 is structured as an alternation between an Andantino in the rhythm of a Siciliana and a Presto con fuoco accompanied by furious sixteenth-note arpeggios. Each section is varied upon its reappearance. Moreover, the sections gradually begin to alternate in shorter cycles. Here, one can easily perceive a struggle between 'stillness' and 'motion,' 'sanity' and 'madness.' However, it is a stillness that is invaded, a sanity that is eroded. The second Agitato theme is recapitulated with interruptions and digressions, gradually revealing that the true madness lies not in the Presto theme, but in the Andantino theme. Particularly significant is the Andantino theme that appears at measure 115 under the designation Tempo I. Dissonant notes are grotesquely intertwined with this theme, making it profoundly unsettling. Meanwhile, the Presto theme and the Agitato coda that ultimately takes over, while accelerating, maintain an almost exact 6/8 meter; even with variations, the harmonic rhythm is fast and simple, without significant digressions. They merely increase in volume and intensity. The Andantino theme, returning for only four measures at the end, is left unfinished and powerless, and the fierce struggle concludes with a short, feeble three-note cadence. The momentary tranquility regained here is, in fact, a semblance of sanity already tainted by madness.

Viewed in this way, Ballade No. 2 offers almost no redemption. However, according to Schumann's testimony, when Chopin played it for him in 1836, it ended in F major. Chopin apparently continued to revise it until its publication in 1840, and also played various versions for others. This indicates that the work was one of Chopin's cherished masterpieces, and its seemingly simple structure was chosen after careful consideration.