epeated, and so at length the end.

The name "scherzo" in this connection is to be taken as signifying a
play of fancy, rather than an especially playful mood in the sense of
mirthfulness; in fact, it is not easy to find a rational explanation of
the grounds upon which Chopin named his pieces, especially as between
the ballad and the scherzo. Probably, however, he called those ballads
which begin with a lyric melody and depend for their interest mainly
upon the development of lyric melodies, reaching at times a tragic
elevation; but even with this explanation the line between the
nocturnes and ballads will be very difficult to draw, since the
Nocturne in G major, of which we shall speak presently, lacks only a
more brilliant treatment in the middle part to raise it to the grade of
a ballad. On the whole, we may as well confess that all these names
are more or less fanciful and perhaps applied without any very deep
reason, but simply because it was necessary to call the pieces by some
title in particular.

The Nocturne in G major is one of the most pleasing of all the
compositions of this kind in the works of Chopin. It is also rather
difficult, since the principal subject runs in thirds and sixths more
or less chromatic and in the course of the treatment these figures are
carried into a large number of keys, in all of which they have to
retain a singing quality of tone in the soprano and a very clean and
legato style of performance; but when adequately done the effect is
very charming indeed. The middle part again consists of a very
beautiful digression, something like a cradle song, or a barcarolle,--a
gentle, peaceful, rocking motion,--and then again the principal subject
returns. It will be seen that in spite of the quite considerable
length to which this nocturne is developed, it never rises to the
impassioned diversification which Chopin seems to have considered as
belonging to the ballad. For all his ballads, no matter how quiet
their opening subject, become more or less dramatic before they are
completed.

The Ballad in A-flat is one of the most frequently played compositions
of Chopin. It opens with a very pleasing and melodious subject, which,
by the aid of various subordinate ideas, is carried out to the extent
of fifty-two measures. At this point a new motion begins and a very
pleasing second subject, of a more playful character, perhaps, than the
first. Later on, in measure 115, some very pretty