Chopin borrowed from the ornamentation and melismatic style that was practiced by singers in Bel Canto repertory. This was something Chopin transplanted into piano writing from his Bel Canto experience. Secondly, the other innovation is, as Franz Liszt put it, вЂњsmall groups of grace notes, falling like tiny drops of speckled dew over the melodic figureвЂќ.

2 and op.55 no.2 there are groupings of five notes against three notes very easy to play alone, but incredibly difficult when played with both hands. First, (although this technique was already used by other composers but nowhere near the extent that Chopin incorporated it) playing two notes against three notes, each in a separate hand, which requires extreme independence of the hands for all the parts to fall harmoniously into place.

(Eigeldinger 18).Д¬hopinвЂ™s pianistic writing also reveals two other major innovations that were revolutionary in their time, involving an inspirational, very pianistic, element. This technique was not very effective in the older pianos of the time. The bass line is sustained while the left hand makes runs up and down the keyboard. 57, most of his Nocturnes, and the trio in the вЂњFuneral MarchвЂќ from the Sonata op. This is most effectively seen in pieces like the Spianato op. He took advantage of this to develop his writing for the left hand. One particular Chopin invention was the the elaboration over a bass note with could be held on the pedal without dwindling too rapidly. He expanded piano technique by developing a new dependence on pedal, therefore influencing his entire writing style. Chopin was one of the first composers who was able to work extensively with this new innovation. Both French and English manufacturers were continuously working and developing the piano, particularly focusing on the damper pedal by enabling the bass string vibrations to be substantially prolonged. Most of the his predecessors, such as Hummel, Field, and Weber, were not given the opportunity to work with the new piano instrument constructed during that time.

The new set of technical demands for piano also required a need for simplicity and effortlessness within the easiest and the most difficult passages to bring about the most beautiful tone quality one could manage, and to play with deep emotional expression at all times.ДЇredric Chopin was the first most important piano innovator at the start of the Romantic Era. The most important innovation brought out by these two composers was the importance (more appropriately worded as necessity) of musicality within virtuosity. However, the new school of pianists introduced a far more important aspect of technique into the new era other than increased virtuosic difficulties. Both composers stretched and redefined the limits of the piano. The Etudes were declared unplayable in their time. LisztвЂ™s twelve Grand Etudes feature multiples melodic lines played simultaneously forcing the performerвЂ™s hands to leap, run, and jump all over the piano. 25 Etudes introduced new techniques that were never heard of prior to that time. New innovations introduced by two of the greatest piano composers, Fredric Chopin and Franz Liszt, completely revolutionized the piano. Chopin and LisztвЂ™s Contribution to Piano TechniqueДuring the Romantic Period piano music was expanded into incredibly difficult and seemingly impossible new territories.