It's that light and airy texture you see on a page of Spencerian which I adore: someone here likened the shades to wildflowers in a meadow and I really wish I'd thought of that. But each to their own. Another thing which is nice is that you can write a few lines without dipping if you shade infrequently and pick the right nib!
However, there are established shading options for most letters, so if you want to copperplate the hell of it, you sort of can. (And Louis Madarasz sort of did, sometimes). Schin has exercised a good deal of restraint but there are quite a few very light shades scattered about in there, on the top of a and g, the final downstroke of m and n, and on r for instance - but you have to go hunting for them.