The purpose of this final article is to offer a complete analysis of the Ballade in G minor op. 23., n. 1 edited by G. Henle USA. This article will discuss the general elements of Chopin's Ballade in G Minor and will consider issues of form and tonal patterns. Said to have been inspired by the poet Adam Mickiewicz, 1 Chopin composed the Ballade in G minor between 1835 and 1836, during his first assignment in Paris. Chopin's Ballade in G Minor was one of his four most popular and frequently programmed Ballades and exists as a staple for many of today's greatest pianists. The opening statement of the Ballad in G minor is a good example for comparing the elements that follow in the rest of the ballad. Example 1 Largo - Chopin Ballade in G minor, op. 23., n. 1In the ballad's opening, marked Largo in 4/4, a low C2 octave claimed by both hands rises rhythmically by eighth notes through the Neapolitan (A flat) of the intended key of G minor to high C6 and descends through a diminuendo written in F sharp, the main tone of G minor. As the opening statement descends, its message is interrupted by a three-bar rest that lands on a dubious E-flat major 7 chord. This chord is brought to the start of the moderato section as a low D2 evokes the quality of bottom of the moderate now in 6/4. The 6/4 meter rhythm suggests a latent waltz-like quality that is only strengthened by the unusual chords. Further evidence of this waltz-like quality exists in the portamento-style writing of the unusual chords. While the 6/4 meter rhythm suggests a latent waltz-like quality, in each unusual chord, the quarter notes are blurred under the portame... in the center of the card... r by his contemporaries. Although Chopin is considered an early pioneer of the ballad as a musical form, various studies on the musical form of his ballads debate whether the musical structure of these works derives from the sonata form or whether they are inherently exclusive, departing from the musical form. traditional categories more pervasive in the period; for example, allegro sonata form, rondo form, theme and variation. Given the obvious presence of theme, second theme, and variations on the second theme, it can be suggested that Chopin's ideas for the ballad form are similar to the structure of a theme and a variation; however, as stated in many studies of this ballad, further analysis is needed to answer the question of whether the ballad is a new musical form, a variant of the sonata form, or theme and variation, cannot be fully answered.