The entire art of modern piano playing is indebted to Schumann for some of its most impressive elements. He was fond of playing with the dampers raised, and might well contest the honor with Liszt of having originated the modern style of pedal legato as distinguished from the finger legato of Chopin and all the early writers. He seems to have discovered the touch which Mason called elastic; that made by shutting the hand and at the same allowing the wrist to remain flexible. In quite a number of his pieces this effect is very marked, as the first number of "_Kreisleriana_," the first of the "Night Pieces," and especially the fourth of these, where the chords are purposely spread beyond the octave, in order to necessitate their being struck with the finger and arm touch combined, in the same manner as that illustrated on a larger scale in the eleventh study of Chopin's, Opus 10. Indeed, if one were to attempt to characterize the Schumann technique by some one of its more prominent features, the free use of the arm would be, perhaps, the one best representing the depth and sonority of tone required for these effects. But while Schumann demands broad, deep, elastic tone color for the stronger moments in his work, there is no other writer so desirous as he of the soft, full, mysterious tone representing what he was fond of calling _Innigkeit_ ("inwardness"). There are many minor mannerisms which have been diligently cultivated by later composers, the most prominent among them being perhaps what might be called the accompaniment upon the off beat. In many of his works Schumann occupies the middle ground of the piano with soft chords which are felt rather than heard, and which always come in upon the half beat or the quarter beat, and rarely or never upon the full accented part of a measure. The differentiation of the melody from its harmonic and rhythmic background is accomplished by this great master in a beautiful manner. Take for instance, the romanze in F sharp, Opus 28, No. 2. The melody of the first strophe of this exquisite music might have been written for Church. It is a duet for baritones, the voices being represented by the thumbs of the player. Against this melody in quarter notes and eighths, there is an accompaniment in sixteenths, covering two octaves and a third, the entire effect being soft and distant. In the second strophe the soprano voice takes the melody, which is supported by rare harmonies and a lovely figuration in the alto. The third strophe brings back again the principal subject, and a splendid climax is made, after which an elaborate coda concludes the work. It is impossible to play this lovely piece with good effect without the Schumann technique. Played with the Mozart technique it would be simply insipid, and with a Beethoven technique it would still be dry and harsh. It is only by the combination of the arm touch for the melody, the very obscure, unobtrusive finger touch