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HISTORY
1.1 Invention
See also: Bartolomeo Cristofori
Grand piano by Louis Bas of Villeneuve-ls-Avignon, France,
1781. Earliest French grand piano known to survive; includes
an inverted wrestplank and action derived from the work of Bartolomeo Cristofori (ca. 1700) with ornately decorated soundboard.
ment of pipe organs enabled instrument builders to Cristoforis great success was solving, with no known
learn about creating keyboard mechanisms for sounding prior example, the fundamental mechanical problem of
1.3
Modern piano
3
the Viennese school, which included Johann Andreas
Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Streicher (daughter of Stein)
and Anton Walter. Viennese-style pianos were built with
wood frames, two strings per note, and leather-covered
hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were
black and the accidental keys white.[11] It was for such
instruments that Wolfgang Amadeus Mozart composed
his concertos and sonatas, and replicas of them are built
in the 2000s for use in authentic-instrument performance
of his music. The pianos of Mozarts day had a softer,
more ethereal tone than 2000-era pianos or English pianos, with less sustaining power. The term fortepiano
has in modern times come to be used to distinguish these
early instruments (and modern re-creations of them) from
later pianos.
Early fortepiano
9b
11
10
HISTORY
5
Some piano makers developed schemes to enhance the
tone of each note. Julius Blthner developed Aliquot
stringing in 1893 as well as Pascal Taskin (1788),[15]
and Collard & Collard (1821). These systems were
used to strengthen the tone of the highest register of
notes on the piano, which up till this time were viewed
as being too weak-sounding. Each used more distinctly ringing, undamped vibrations of sympathetically
vibrating strings to add to the tone, except the Blthner
Aliquot stringing, which uses an additional fourth string
in the upper two treble sections. While the hitchpins
of these separately suspended Aliquot strings are raised
slightly above the level of the usual tri-choir strings, they
are not struck by the hammers but rather are damped
by attachments of the usual dampers. Eager to copy
these eects, Theodore Steinway invented duplex scaling,
which used short lengths of non-speaking wire bridged
by the aliquot throughout much of upper the range of
the piano, always in locations that caused them to vibrate sympathetically in conformity with their respective overtonestypically in doubled octaves and twelfths.
The mechanical action structure of the upright piano was
invented in London, England in 1826 by Robert Wornum,
and upright models became the most popular model.[16]
Upright pianos took less space than a grand piano, and as
such they were a better size for use in private homes for
domestic music-making and practice.
1.4
2 Types
Modern acoustic pianos have two basic congurations,
the grand piano and the upright piano, with various styles
of each. There are also specialized and novelty pianos, electric pianos based on electromechanical designs,
electronic pianos that synthesize piano-like tones using
oscillators, and digital pianos using digital samples of
acoustic piano sounds.
2.1 Grand
In grand pianos, the frame and strings are horizontal, with
the strings extending away from the keyboard. The action
lies beneath the strings, and uses gravity as its means of
TYPES
Upright pianos, also called vertical pianos, are more compact because the frame and strings are vertical. Upright
pianos are generally less expensive than grand pianos.
Upright pianos are widely used in churches, community
centers, elementary schools, high schools, music conservatories and university music programs as rehearsal and
practice instruments and they are popular models for inhome purchase. The hammers move horizontally, and
return to their resting position via springs, which are susceptible to degradation. Upright pianos with unusually
tall frames and long strings are sometimes called upright
grand pianos. Some authors classify modern pianos according to their height and to modications of the action
that are necessary to accommodate the height.
Studio pianos are around 42 to 45 inches (106 to
114 cm) tall. This is the shortest cabinet that can
accommodate a full-sized action located above the
keyboard.
Console pianos have a compact action (shorter hammers), and are a few inches shorter than studio models.
The top of a spinet model barely rises above the keyboard. The action is located below, operated by vertical wires that are attached to the backs of the keys.
Anything taller than a studio piano is called an upright.
2.3 Specialized
The toy piano, introduced in the 19th century, is a
small piano-like instrument, that generally uses round
metal rods to produce sound, rather than strings. The
2.4
7
meaning that long metal rods pulled on the levers to make
the hammers strike the strings. The rst model, known as
the Pianette,' was unique in that the tuning pins extended
through the instrument, so it could be tuned at the front.
The rst electric pianos from the late 1920s used metal
strings with a magnetic pickup, an amplier and a
loudspeaker. The electric pianos that became most popular in pop and rock music in the 1960s and 1970s, such
as the Fender Rhodes use metal tines in place of strings
and use electromagnetic pickups similar to those on an
electric guitar. The resulting electrical, analogue signal
can then be amplied with a keyboard amplier or electronically manipulated with eects units. Electric pianos
are rarely used in classical music, where the main usage of
them is as inexpensive rehearsal or practice instruments in
music schools. However, electric pianos, particularly the
8
Fender Rhodes, became important instruments in funk,
jazz fusion and some rock music genres.
Electronic pianos are non-acoustic; they do not have
strings, tines or hammers, but are a type of synthesizer
that simulates or imitates piano sounds using oscillators
and lters that synthesize the sound of an acoustic
piano.[21] They need to be connected to a keyboard amplier and speaker to produce sound (however, some electronic keyboards have a built-in amp and speaker). Alternatively, a person can practice an electronic piano with
headphones to avoid disturbing others.
Digital pianos are also non-acoustic and do not have
strings or hammers. They use digital sampling technology to accurately reproduce the acoustic sound of each
piano note. They also need to be connected to a keyboard
amplier and speaker to produce sound (however, most
digital pianos have a built-in amp and speaker). Alternatively, a person can practice with headphones to avoid
disturbing others. Digital pianos can include sustain pedals, weighted keys, multiple voice options (e.g., sampled
or synthesized imitations of electric piano, Hammond organ, violin, etc.), and MIDI interfaces. MIDI inputs and
outputs allow a digital piano to be connected to other electronic instruments or musical devices. For example, a
digital pianos MIDI out signal could be connected by a
patch cord to a synth module, which would allow the performer to use the keyboard of the digital piano to play
modern synthesizer sounds. Early digital pianos tended to
lack a full set of pedals but the synthesis software of later
models such as the Yamaha Clavinova series synthesised
the sympathetic vibration of the other strings (such as
when the sustain pedal is depressed) and full pedal sets
can now be replicated. The processing power of digital pianos has enabled highly realistic pianos using multigigabyte piano sample sets with as many as ninety recordings, each lasting many seconds, for each key under different conditions (e.g., there are samples of each note being struck softly, loudly, with a sharp attack, etc.). Additional samples emulate sympathetic resonance of the
strings when the sustain pedal is depressed, key release,
the drop of the dampers, and simulations of techniques
such as re-pedalling.
(1) frame (2) lid, front part (3) capo bar (4) damper (5) lid, back
part (6) damper mechanism (7) sostenuto rail (8) pedal mechanism, rods (9, 10,11) pedals: right (sustain/damper), middle
(sostenuto), left (soft/una-corda) (12) bridge (13) hitch pin (14)
frame (15) sound board (16) string
9
to bend; rather than isolating the rim from vibration, their
resonance case principle allows the framework to more
freely resonate with the soundboard, creating additional
coloration and complexity of the overall sound.[28]
Including an extremely large piece of metal in a piano is potentially an aesthetic handicap. Piano makers
overcome this by polishing, painting, and decorating the
plate. Plates often include the manufacturers ornamental medallion. In an eort to make pianos lighter, Alcoa
worked with Winter and Company piano manufacturers to make pianos using an aluminum plate during the
1940s. Aluminum piano plates were not widely accepted,
and were discontinued.
The numerous parts of a piano action are generally made
from hardwood, such as maple, beech, and hornbeam,
however, since World War II, makers have also incorporated plastics. Early plastics used in some pianos in
the late 1940s and 1950s, proved disastrous when they
lost strength after a few decades of use. Beginning in
1961, the New York branch of the Steinway rm incorporated Teon, a synthetic material developed by DuPont,
for some parts of its Permafree grand action in place of
cloth bushings, but abandoned the experiment in 1982
due to excessive friction and a clicking that developed
over time; Teon is humidity stable whereas the wood
adjacent to the Teon swells and shrinks with humidity
10
The toy piano manufacturer Schoenhut started manufacturing both grands and uprights with only 44 or 49 keys,
and shorter distance between the keyboard and the pedals.
These pianos are true pianos with action and strings. The
pianos were introduced to their product line in response
to numerous requests in favor of it.
There is a rare variants of piano that has double keyboards
called the Emnuel Mor Pianoforte. It was invented
by Hungarian composer and pianist, Emnuel Mor (19
February 1863 20 October 1931). It consisted of two
keyboards lying one above each other. The lower keyboard has the usual 88 keys and the upper keyboard has
76 keys. When pressing the upper keyboard the interKeyboard of a grand piano
nal mechanism pulls down the corresponding key on the
monly made from sugar pine. Today they are usually lower keyboard, but an octave higher. This lets a pi-
3.2
Pedals
11
The sustain pedal (or, damper pedal) is often simply
called the pedal, since it is the most frequently used.
It is placed as the rightmost pedal in the group. It lifts
the dampers from all keys, sustaining all played notes. In
addition, it alters the overall tone by allowing all strings,
including those not directly played, to reverberate. When
all of the other strings on the piano can vibrate, this allows
sympathetic vibration of strings that are harmonically related to the sounded pitches. For example, if the pianist
plays the 440 Hz A note, the higher octave A notes
will also sound sympathetically.
the earliest days. (In the 18th century, some pianos used
levers pressed upward by the players knee instead of pedals.) Most grand pianos in the US have three pedals: the
soft pedal (una corda), sostenuto, and sustain pedal (from
left to right, respectively), while in Europe, the standard
is two pedals: the soft pedal and the sustain pedal. Most
modern upright pianos also have three pedals: soft pedal,
practice pedal and sustain pedal, though older or cheaper
models may lack the practice pedal. In Europe the standard for upright pianos is two pedals: the soft and the The rare transposing piano (an example of which was
owned by Irving Berlin) has a middle pedal that funcsustain pedals.
tions as a clutch that disengages the keyboard from the
mechanism, so the player can move the keyboard to the
left or right with a lever. This shifts the entire piano acNotations used for the sustain tion so the pianist can play music written in one key so
pedal in sheet music
that it sounds in a dierent key. Some piano companies
12
4 MECHANICS
4 Mechanics
When the key is struck, a chain reaction occurs to produce the sound. First, the key raises the wippen mechanism, which forces the jack against the hammer roller (or
knuckle). The hammer roller then lifts the lever carrying
the hammer. The key also raises the damper; and immediately after the hammer strikes the wire it falls back,
allowing the wire to resonate and thus produce sound.
When the key is released the damper falls back onto the
strings, stopping the wire from vibrating, and thus stopping the sound.[36] The vibrating piano strings themselves
are not very loud, but their vibrations are transmitted to a
large soundboard that moves air and thus converts the energy to sound. The irregular shape and o-center placement of the bridge ensure that the soundboard vibrates
strongly at all frequencies.[37] (See Piano action for a diagram and detailed description of piano parts.)
5.1
Tuning
13
5.1 Tuning
Main article: Piano tuning
Piano tuning involves adjusting the tensions of the pianos
strings, thereby aligning the intervals among their tones
so that the instrument is in tune. While guitar and violin
players tune their own instruments, a pianist usually hires
a piano tuner, a specialized technician, to tune her or his
piano. The piano tuner uses special tools. The meaning
of the term in tune in the context of piano tuning is not
simply a particular xed set of pitches. Fine piano tuning
carefully assesses the interaction among all notes of the
chromatic scale, dierent for every piano, and thus requires slightly dierent pitches from any theoretical standard. Pianos are usually tuned to a modied version of
the system called equal temperament (see Piano key frequencies for the theoretical piano tuning). In all systems
of tuning, each pitch is derived from its relationship to a
chosen xed pitch, usually the internationally recognized
standard concert pitch of A4 (the A above middle C). The
term A440 refers to a widely accepted frequency of this
pitch - 440 Hz.
Maintenance
A piano tuner
The piano at the social center in the 19th century (Moritz von
Schwind, 1868). The man at the piano is composer Franz Schubert (1797-1828).
years, professional piano movers have developed special techniques for transporting both grands and uprights,
which prevent damage to the case and to the pianos mechanical elements. Pianos need regular tuning to keep
them on pitch. The hammers of pianos are voiced to compensate for gradual hardening, and other parts also need
periodic regulation. Pianos need regular maintenance to
ensure the felt hammers and key mechanisms are functioning properly. Aged and worn pianos can be rebuilt
or reconditioned by piano rebuilders. Often, by replacing a great number of their parts, and adjusting them, old
instrumnets can perform as well as new pianos.
14
7 ROLE
6.1
Performance styles
working-class audiences in small pubs and bars, particularly African-American composers, developed new musical genres based on the modern piano. Ragtime music,
popularized by composers such as Scott Joplin, reached
a broader audience by 1900. The popularity of ragtime music was quickly succeeded by Jazz piano. New
techniques and rhythms were invented for the piano, including ostinato for boogie-woogie, and Shearing voicing. George Gershwin's Rhapsody in Blue broke new
musical ground by combining American jazz piano with
symphonic sounds. Comping, a technique for accompanying jazz vocalists on piano, was exemplied by Duke
Ellington's technique. Honky-tonk music, featuring yet
another style of piano rhythm, became popular during the
same era. Bebop techniques grew out of jazz, with leading composer-pianists such as Thelonious Monk and Bud
Powell. In the late 20th century, Bill Evans composed
pieces combining classical techniques with his jazz experimentation. Herbie Hancock was one of the rst jazz
xomposer-pianists to nd mainstream popularity working
with newer urban music techniques such as jazz-funk.
15
scoring, and many other Western musical genres. A
Melodica
large number of composers and songwriters are pro Organ
cient pianists because the piano keyboard oers an effective means of experimenting with complex melodic
Orphica
and harmonic interplay and trying out multiple, independent melody lines that are played at the same time.
Piano accordion
Bandleaders often learn the piano, as it is an excellent in Pipe organ
strument upon which to learn new pieces and songs which
one will be leading during a performance. The piano is an
Player piano
essential tool in music education in elementary and secondary schools and universities and colleges. Most music classrooms and practice rooms have a piano. Pianos Other
are used to help teach music theory, music history and
Chiroplast
music appreciation classes. Many conductors are trained
in piano, because it allows them to play parts of the sym Pianist
phonies they are conducting (using a piano reduction or
doing a reduction from the full score), so that they can
List of classical pianists
develop their interpretation.
List of lms about pianists
See also
General
Jazz piano
Piano extended technique
Piano transcription
Piano trio
9 References
[1] Denition of pianoforte in the Oxford Dictionary..
Oxford University Press.
PianoForte Foundation
Street piano
String piano
Technical
Agrae
Aliquot stringing
Piano acoustics
Related instruments
[4] Scholes, Percy A.; John Owen Ward (1970). The Oxford
Companion to Music (10th ed.). Oxford and New York:
Oxford University Press. pp. lvi.
[5] David R. Peterson (1994), Acoustics of the hammered
dulcimer, its history, and recent developments, Journal
of the Acoustical Society of America 95 (5), p. 3002.
[6] Pollens (1995, Ch.1)
[7] Erlich, Cyril (1990). The Piano: A History. Oxford University Press, USA; Revised edition. ISBN 0-19-8161719.
Electronic keyboard
Electronic piano
Digital piano
Electric piano
Harmonichord
Keyboard instruments
Keytar
[10] Palmieri, Bob & Meg (2003). The Piano: An Encyclopedia. Taylor & Francis. ISBN 978-0-415-93796-2..
Instrument: piano et forte genandt [was] an expression Bach also used when acting as Silbermanns agent in
1749.
16
REFERENCES
[34] Piano with instrumental attachments. Musica Viva. Retrieved 27 August 2010.
[35] Wing & Son. Antique Piano Shop. Retrieved 27 August
2010.
[38] Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. For the Professional, the Student, and the Hobbyist.
Vestal Press, Lanham Maryland. 1993. ISBN 1-87951103-7 Pp. 203215.
[39] Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. For the Professional, the student, and the Hobbyist.
Vestal Press, Lanham Maryland. 1993. ISBN 1-87951103-7 Pp. 203215.
[40] Edwin M. Ripin; et al. Pianoforte. Grove Music Online
(Oxford University Press). Retrieved 17 November 2014.
[41] Matthay, Tobias (1947). The Visible and Invisible in Pianoforte Technique : Being a Digest of the Authors Technical Teachings Up to Date. London: Oxford University
Press. p. 3.
[42] Harrison, Sidney (1953). Piano Technique. London: I.
Pitman. p. 57.
[43] Fielden, Thomas (1934). The Science of Pianoforte Technique. London: Macmillan. p. 162.
[44] Boulanger, Nadia. Sayings of Great Teachers. The Piano Quarterly. Winter 19581959: 26.
9.1 General
Most of the information in this article can be found in the
following published works:
Fine, Larry; Gilbert, Douglas R (2001). The Piano
Book: Buying and Owning a New or Used Piano (4th
ed.). Jamaica Plain, MA: Brookside Press. ISBN 1929145-01-2. Gives the basics of how pianos work,
and a thorough evaluative survey of current pianos
and their manufacturers. It also includes advice on
buying and owning pianos.
17
Good, Edwin M. (2001). Giraes, black dragons, and other pianos: a technological history from
Cristofori to the modern concert grand (2nd ed.).
Stanford, CA: Stanford University Press. ISBN 08047-4549-8. is a standard reference on the history
of the piano.
Pollens, Stewart (1995). The Early Pianoforte.
Cambridge, MA: Cambridge University Press.
ISBN 978-0-521-11155-3. is an authoritative work
covering the ancestry of the piano, its invention by
Cristofori, and the early stages of its subsequent evolution.
Sadie, Stanley; John Tyrrell, ed. (2001). The
New Grove Dictionary of Music and Musicians (2nd
ed.). London: Macmillan Publishers. ISBN 0-19517067-9. contains a wealth of information. Main
article: Edwin M. Ripin, Stewart Pollens, Philip
R. Belt, Maribel Meisel, Alfons Huber, Michael
Cole, Gert Hecher, Beryl Kenyon de Pascual, Cynthia Adams Hoover, Cyril Ehrlich, Edwin M. Good,
Robert Winter, and J. Bradford Robinson. Pianoforte.
10
Further reading
11 External links
History of the Piano Forte, Association of Blind Piano Tuners, UK
Section Table of Music Pitches of the Virginia
Tech Multimedia Music Dictionary
The Frederick Historical Piano Collection
The Pianofortes of Bartolomeo Cristofori, Heilbrunn Timeline of Art History, The Metropolitan
Museum of Art
Five lectures on the Acoustics of the piano
The Piano in Polish Collections (historical instruments)
18
12
12
12.1
Piano Source: https://en.wikipedia.org/wiki/Piano?oldid=741111692 Contributors: Tarquin, Rmhermen, Christian List, William Avery,
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Entity Not Found, Huynn59, Agata Mierzejewska, Courtneypianos, JLzkSchr and Anonymous: 2035
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