Welcome to LivingPianos.com. I’m Robert Estrin. Today you’re going to get a deep dive into how to play the Chopin Ballade in G minor. This is a piece that I absolutely love, and so many of you have asked for a tutorial on it. I thought, yes, let’s do it. I even have a complete performance that I’ll reference throughout this discussion. You can find the full performance here.
There are many brilliant performances of this piece available online. I was fortunate enough to hear Vladimir Horowitz perform the Chopin G minor Ballade live on more than one occasion. You can also listen to great interpretations by Arthur Rubinstein and countless others throughout history. Today we’re going to go bit by bit through the first section of the piece. This will be the first installment of a three-part series. As always, feel free to share in the comments which pieces you’d like to see covered in future videos like this.
Let’s get right into it. I’ll start at the beginning and talk about how to approach each of the unique sections in the opening part of the Ballade.
Understanding the Opening Harmony
Right at the beginning there is something fascinating harmonically. The Ballade is, of course, in G minor. So what is that A-flat major chord in first inversion doing there? If you know some music theory, you’ll recognize it as a Neapolitan sixth chord. This is a major triad built on the flatted second degree of the scale. In G minor, you go to the second note of the scale which is A, flatten it to A-flat, build a major triad, A-flat-C-E-flat, and place it in first inversion with C on the bottom, C-E-flat-A-flat. That gives you the Neapolitan sixth. It’s a brilliant harmonic idea. When you consider that Chopin was in his early twenties when he composed this piece, it becomes even more impressive that he completed this work around the time of his twenty-fifth birthday.
Establishing the Pulse and Using Rubato
It is very important to have a steady beat in this piece, but there is also plenty of room for rubato. Rubato is the give and take of tempo. You never gain or lose time overall, but there is subtle speeding up and slowing down, almost like a car cresting a hill. It creates a wonderful expressive effect. The secret to effective rubato is thinking in terms of the long beat. If you try to think of every eighth note individually, rubato would be impossible. Even thinking in quarter notes can feel restrictive. But if you think in larger units such as half notes, you create a slower underlying pulse that allows freedom within the beat. When you maintain that broader pulse, you can shape the tempo expressively without losing the listener. In fact, a good test is this: if someone cannot tap along to your playing, you are probably using too much rubato. There must always be a pulse or the music dies.
Shaping the Opening Phrase
The opening section ends with a long note that must be held long enough to sustain the tension before the tempo change that follows. Count it carefully so the phrase breathes naturally. When the new section begins, it is important not to stretch the rhythm excessively. Sometimes you hear performances where the timing becomes overly flexible, and the music loses its majesty. If you listen to Arthur Rubinstein’s performance, you’ll hear the grandeur that comes from maintaining rhythmic integrity. Let the story unfold naturally. You don’t have to manipulate the theme too much. When played with a strong underlying pulse, the melody reveals its beauty on its own.
Learning the Piece: Memorization First
This tutorial is not about the basic mechanics of learning a piece, since I have many videos devoted to that topic. But I do want to give a brief overview.
You will never play the Chopin G minor Ballade comfortably if you are constantly reading the score. There are enormous jumps later in the piece, particularly in the coda. It is nearly impossible to look at the music and your hands at the same time during passages like that. Instead, read through the piece once or twice to become familiar with it. Because it is so long and complex, you may not read it all in one sitting. This initial reading will also help you decide whether it is the right time for you to tackle this work. If you have not played much Chopin yet, such as preludes, waltzes, or mazurkas, this may not be the best place to start. The Ballade is a monumental and virtuosic composition.
When you begin learning it, take very small sections. Work hands separately first. Learn every detail: notes, rhythm, fingering, phrasing, and expression. Memorize the right hand, then the left hand, and only then put them together. Memorize that as well before moving on. Do not practice the entire piece repeatedly and then try to memorize it later. That approach often ingrains mistakes that are extremely difficult to undo. Study the score carefully from the start.
Bringing Out the Melody
In the next section, the melody must clearly sing above the accompaniment. One excellent practice technique is to play everything staccato except the melody notes. This helps train your hands and ears to distinguish the melodic line. However, if there are half notes in the tenor voice of the left hand, those should be held because they form an important counterline. Practicing in this way creates clarity so that when you return to normal playing, the melody naturally stands out.
Another useful method for bringing out the melody is to practice the accompaniment with a light finger staccato while playing the melody legato. This contrast trains your hands to separate the musical layers. Later you can control dynamics more effectively, allowing the melody to project while the accompaniment remains supportive.
Measuring Your Trills
Even though a trill may sound like a flurry of notes, it must still be measured. Decide exactly how many notes you will play. It does not need to be an enormous number. Choose something comfortable, but make sure you know precisely how many notes there are. That is far better than leaving it to chance and risking an awkward ending to the trill.
Achieving Legato Without Overusing Pedal
Whenever possible, connect notes with your fingers rather than relying on the pedal. For example, when playing octaves, change fingers on black keys. Use the fourth finger, or even the third if your hand is big enough. This enables a smoother legato. Remember that you do not have to connect both notes of the octave. If you connect just one note, the ear will perceive it as legato. Using your fingers to connect notes allows the pedal to serve its true purpose: adding color, not compensating for incomplete technique.
Practicing Fast Passagework
Eventually you encounter the first fast cadenza passage that appears almost suddenly. This can feel intimidating if you are not prepared. There are several effective practice approaches. First, practice only the notes that coincide with the beat, particularly where the hands play together. If that is still difficult, practice the finger patterns within each hand position. Ultimately, piano technique is largely about hand positions and finger patterns. Once these are secure, fluency becomes much easier.
Building Strength and Relaxation
A strong technique requires both strength and relaxation. Sometimes it is beneficial to practice very slowly with a metronome, without pedal, articulating every note clearly from the fingers. This builds strength and awareness of the keyboard. At the same time, you must practice relaxation. Work in note groups, pausing momentarily so your hands are relaxed and positioned over the notes of the next hand position. Gradually reduce the pause until the passage flows smoothly. By working on both strength and relaxation, you build the foundation for a confident performance.
Practicing Without Pedal
Practicing without pedal is incredibly valuable. It removes the veil from your playing and reveals exactly what your fingers are doing. When you work this way, you discover whether your fingering truly connects the notes and if your technique is secure. Many great pianists practice extensively without pedal, including every teacher I have studied with over the years. Slow practice with the score and a metronome is one of the best ways to reinforce accurate playing.
Exploring the Expressive Theme
Later in the section, a stunningly beautiful theme appears. This theme returns later in the Ballade in different forms. Here it is poetic and delicate. Later it reappears heroically in A major. At the repeat of the theme, using the una corda pedal can help create a softer, more intimate tone. Maintain the larger pulse, even if the tempo flexes slightly. The audience should always feel that underlying beat.
Expressive Freedom in Chopin
Chopin’s music allows tremendous interpretive freedom. Some pianists emphasize certain inner voices more than others. Some play the passage very subtly, while others bring those notes out more strongly. There is no single correct approach. Chopin himself did not play his works the same way every time. In fact, he even had different versions of some of his pieces when performing in different countries. So rather than worrying about playing exactly what the composer intended, think of the music as a palette for emotional and sonic exploration.
Wrapping Up the First Section
As this section concludes, the pulse returns clearly. A slight ritardando and the use of the soft pedal can help shape the transition beautifully.
This brings us to the end of the first installment of this lesson.
Recap of Key Practice Strategies
Let’s summarize the main ideas from this first part.
First, read through the piece briefly, then begin memorizing right away in very small sections.
Second, think in terms of the long beat. This gives you freedom for rubato while maintaining a clear pulse.
Third, practice technical passages slowly with the metronome and without pedal to build strength and accuracy.
Fourth, work in note groups and practice relaxation before each time the hands play together.
Finally, isolate hand positions and finger patterns when tackling fast passages.
These methods will help you develop the speed, power, and relaxation necessary to play the Chopin Ballade in G minor successfully.
I hope you’re enjoying this exploration. It’s one of my favorite pieces, and I look forward to hearing your thoughts in the comments here at LivingPianos.com, Your Online Piano Store.
