=Improvement in the Piano=.—In this connection, it is important to note that Beethoven’s resources were greatly increased by the improvements which had been made in piano manufacture. The demand for instruments, created by the growing popularity of the pianoforte, stimulated manufacturers to redoubled energy in perfecting them; and, conversely, the added resources thus developed were an instigation to composers to test their abilities in the invention of new effects. Thus Beethoven was placed in command of a piano of much greater power than Mozart’s; and the work of technicians, like Clementi, for whom he had great respect, was already hinting at new and marvelous possibilities. =Added Sonority and Sustaining Power=.—This strength of construction resulted in greater sonority. Hence we find full chord progressions and rich floods of tone in Beethoven’s works, in place of the dainty harmonic accompaniment of former writers. Moreover, the increase in sustaining force, enhanced by the use of the pedal, made possible a sustained legato tone for singing passages, which had formerly to be merely hinted at through shakes and other embellishments. A consequent tone variety made it possible to emphasize a single voice in this way, while the accompanying harmonies could be kept well in the background. Again, this range of tone proved an incentive for long crescendos, from the softest suspicion of sound to an overwhelming tonal climax. =Increased Compass=.—The added range which the keyboard developed also enhanced such effects, by the chance for brilliancy in the treble, and for profundity in the bass; moreover, Beethoven was quick to make use of the variety of effects caused by _playing in the different registers_; sometimes suggesting in this way the contrast in the orchestra between different groups of instruments, such as the strings and woodwind.