Linda Roesner suggests Parallel forms to examine some selected piano pieces by Robert Schumann(1810-1856), which are deviated from classical normative forms. When her parallel form is applied to a movement, musical contents of the exposition, development, and retransition in the first half of the movement are restated in the second half. Curiously she calls the second half the recapitulation, thus the parallel form is presented centering around the recapitulation. However, Roesner`s parallel forms show some analytic problems so that they lead some obscure analytic results. Complementing and revising those problems, I reconsider parallel forms from Schumann`s three piano sonatas and Fantasy in C Major. Schumann`s parallel structure can be traced back to the 1st movement of No. 1 with symmetric relations within the traditional sonata form. In the other sonatas composed after No. 1, such as the 4th movements of No. 1 and 2, and the 1st and 4th movements of No. 3, the parallel structure is more obviously presented involving with a formal repetition: The exposition and development sections are repeated, and then truncated recapitulation is following. This is a crucial difference between the traditional sonata form and Schumann`s. In the 1st movement of Fantasy, it does not seem to have any logic in the piece, because the section of "Im Legenden-ton" is abruptly interrupted in the middle of the movement. However, it is interesting that the interruption makes even more clear to construct a parallel structure presented in the outer sections.