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dating bechstein pianos

Retrieved January 26, Musical keyboards and instruments. The MIDI file records the physics of a note rather than its resulting sound and recreates the sounds from its physical properties e. Alternatively, a person can practice an electronic piano with headphones to avoid disturbing others.


The first string instruments with struck strings were the hammered dulcimers , [5] which were used since the Middle Ages in Europe. Pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches. Every high-profile composer who came to London bought one, from Haydn to Chopin. Stage, Standard or Pro. The piano hammer is "thrown" against the strings. The Orchestral pedal produced a sound similar to a tremolo feel by bouncing a set of small beads dangling against the strings, enabling the piano to mimic a mandolin, guitar, banjo, zither and harp, thus the name Orchestral. Culture stars who died in

The transition to pianos made Broadwood a fortune. By , the company was hand-making a piano a day in its workshop in Soho.

Every high-profile composer who came to London bought one, from Haydn to Chopin. One was even sent to Beethoven in Vienna, although that was not a happy tale. Sent in to Trieste, in Italy, it was then taken over the Alps in a horse and cart and did not arrive in Austria until the following year, by which time it was, unsurprisingly, damaged and had to be repaired by craftsmen in Vienna. At its height, in , the company employed people and was making 40 uprights and 12 grands a week.

Not just in middle-class homes, but in every family. It was the fashion. In , the British Piano Manufacturing Company, which made pianos under brand names such as Bentley, Knight, Welmar and Woodchester, went into liquidation; and in , Kemble Pianos near Milton Keynes closed its gates for the last time.

The company makes 75 per cent of its money through restoration work. And it makes it a much more boring place to live in. When this article was first posted it said there were only two piano manufacturers in Britain but omitted to mention a third, Hurstwood Farm Piano Studios. The article has been amended accordingly. Tom Hanks's varied career includes playing detectives, gay lawyers, castaways, cartoon cowboys and gangsters.

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We tried to be as close as possible to the original instrument, including some small "defaults" in the bass strings. The instrument suits naturally well for Liszt who loved playing on Erard.

This is a physically modelled virtual copy of an electro-acoustic Yamaha CP , serial number The CP was a very popular stage piano at the time with a unique sound and with an authentic grand piano action.

It was marketed by Yamaha as a touring friendly and electronically amplified variant of a grand piano. It was famous for its rock solid quality and considered by many as the "Rolls Royce" of the electro-acoustic pianos. The add-on is modelled after a Bergerault 18 Note concert chimes which is made of brass tubes of graded length that are tuned to a chromatic scale.

The instrument appeared for the first time in England in the late 19th Century and is ever since part of major symphonic orchestras.

The add-on includes 3 variants and has an extended note range: This is a virtual copy of bells and a carillons that were recorded at the European Bell Institute. The use of bells in the Christian church goes back to the early Middle Ages. A bell is an idiophone, that is, a musical instrument which produces a vibration. The bell is in fact one of the loudest of musical instruments. The sound has the power to bring many mixed feelings derived from our experiences connected to it: Listen by instrument Listen by music style Compare v5 versus v6 Piano-e-competition performances Pianoteq videos.

References Reviews in media User testimonials Awards. Activation help Hardware hookup Contact support. For example, a digital piano's 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 multi-gigabyte piano sample sets with as many as ninety recordings, each lasting many seconds, for each key under different conditions e. 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. The MIDI file records the physics of a note rather than its resulting sound and recreates the sounds from its physical properties e.

Computer based software, such as Modartt's Pianoteq , can be used to manipulate the MIDI stream in real time or subsequently to edit it. This type of software may use no samples but synthesize a sound based on aspects of the physics that went into the creation of a played note. In the s, some pianos include an acoustic grand piano or upright piano combined with MIDI electronic features. Such a piano can be played acoustically, or the keyboard can be used as a MIDI controller , which can trigger a synthesizer module or music sampler.

Some electronic feature-equipped pianos such as the Yamaha Disklavier electronic player piano , introduced in , are outfitted with electronic sensors for recording and electromechanical solenoids for player piano -style playback. On playback, the solenoids move the keys and pedals and thus reproduce the original performance. Disklaviers have been manufactured in the form of upright, baby grand, and grand piano styles including a nine-foot concert grand.

Reproducing systems have ranged from relatively simple, playback-only models to professional models that can record performance data at resolutions that exceed the limits of normal MIDI data. Pianos can have upwards of 12, individual parts, [23] supporting six functional features: This is especially true of the outer rim.

It is most commonly made of hardwood , typically hard maple or beech , and its massiveness serves as an essentially immobile object from which the flexible soundboard can best vibrate.

According to Harold A. Conklin, [25] the purpose of a sturdy rim is so that, " Hardwood rims are commonly made by laminating thin, hence flexible, strips of hardwood, bending them to the desired shape immediately after the application of glue. Theodore Steinway in to reduce manufacturing time and costs. Previously, the rim was constructed from several pieces of solid wood, joined and veneered, and European makers used this method well into the 20th century.

The thick wooden posts on the underside grands or back uprights of the piano stabilize the rim structure, and are made of softwood for stability. The requirement of structural strength, fulfilled by stout hardwood and thick metal, makes a piano heavy. The pinblock, which holds the tuning pins in place, is another area where toughness is important.

It is made of hardwood typically hard maple or beech , and is laminated for strength, stability and longevity. Piano strings also called piano wire , which must endure years of extreme tension and hard blows, are made of high carbon steel.

They are manufactured to vary as little as possible in diameter, since all deviations from uniformity introduce tonal distortion. The bass strings of a piano are made of a steel core wrapped with copper wire, to increase their mass whilst retaining flexibility.

If all strings throughout the piano's compass were individual monochord , the massive bass strings would overpower the upper ranges. Makers compensate for this with the use of double bichord strings in the tenor and triple trichord strings throughout the treble. The plate harp , or metal frame, of a piano is usually made of cast iron. A massive plate is advantageous. Since the strings vibrate from the plate at both ends, an insufficiently massive plate would absorb too much of the vibrational energy that should go through the bridge to the soundboard.

While some manufacturers use cast steel in their plates, most prefer cast iron. Cast iron is easy to cast and machine, has flexibility sufficient for piano use, is much more resistant to deformation than steel, and is especially tolerant of compression.

Plate casting is an art, since dimensions are crucial and the iron shrinks about one percent during cooling. 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 manufacturer's ornamental medallion.

In an effort to make pianos lighter, Alcoa worked with Winter and Company piano manufacturers to make pianos using an aluminum plate during the s. 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 s and s, proved disastrous when they lost strength after a few decades of use. Beginning in , the New York branch of the Steinway firm incorporated Teflon , a synthetic material developed by DuPont , for some parts of its Permafree grand action in place of cloth bushings, but abandoned the experiment in due to excessive friction and a "clicking" that developed over time; Teflon is "humidity stable" whereas the wood adjacent to the Teflon swells and shrinks with humidity changes, causing problems.

More recently, the Kawai firm built pianos with action parts made of more modern materials such as carbon fiber reinforced plastic , and the piano parts manufacturer Wessell, Nickel and Gross has launched a new line of carefully engineered composite parts. Thus far these parts have performed reasonably, but it will take decades to know if they equal the longevity of wood. In all but the lowest quality pianos the soundboard is made of solid spruce that is, spruce boards glued together along the side grain.

Spruce's high ratio of strength to weight minimizes acoustic impedance while offering strength sufficient to withstand the downward force of the strings. The best piano makers use quarter-sawn, defect-free spruce of close annular grain, carefully seasoning it over a long period before fabricating the soundboards.

This is the identical material that is used in quality acoustic guitar soundboards. Cheap pianos often have plywood soundboards. The design of the piano hammers requires having the hammer felt be soft enough so that it will not create loud, very high harmonics that a hard hammer will cause. The hammer must be lightweight enough to move swiftly when a key is pressed; yet at the same time, it must be strong enough so that it can hit strings hard when the player strikes the keys forcefully for fortissimo playing or sforzando accents.

In the early years of piano construction, keys were commonly made from sugar pine. In the s, they are usually made of spruce or basswood.

Spruce is typically used in high-quality pianos. Black keys were traditionally made of ebony , and the white keys were covered with strips of ivory. However, since ivory-yielding species are now endangered and protected by treaty, or are illegal in some countries, makers use plastics almost exclusively. Also, ivory tends to chip more easily than plastic. Legal ivory can still be obtained in limited quantities. The Yamaha firm invented a plastic called Ivorite that they claim mimics the look and feel of ivory.

It has since been imitated by other makers. Almost every modern piano has 52 white keys and 36 black keys for a total of 88 keys seven octaves plus a minor third, from A 0 to C 8. Many older pianos only have 85 keys seven octaves from A 0 to A 7. Some piano manufacturers have extended the range further in one or both directions.

These extra keys are sometimes hidden under a small hinged lid that can cover the keys to prevent visual disorientation for pianists unfamiliar with the extra keys, or the colours of the extra white keys are reversed black instead of white.

The extra keys are the same as the other keys in appearance. The extra keys are added primarily for increased resonance from the associated strings; that is, they vibrate sympathetically with other strings whenever the damper pedal is depressed and thus give a fuller tone. Only a very small number of works composed for piano actually use these notes.

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. 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 internal mechanism pulls down the corresponding key on the lower keyboard, but an octave higher.

This lets a pianist reach two octaves with one hand, impossible on a conventional piano. Due to its double keyboard musical work that were originally created for double-manual harpsichord such as Goldberg Variations by Bach become much easier to play, since playing on a conventional single keyboard piano involve complex and hand-tangling cross-hand movements.

The design also featured a special fourth pedal that coupled the lower and upper keyboard, so when playing on the lower keyboard the note one octave higher also played. Pianos have been built with alternative keyboard systems, e. Pianos have had pedals, or some close equivalent, since the earliest days. In the 18th century, some pianos used levers pressed upward by the player's knee instead of pedals. Most grand pianos in the US have three pedals: Most modern upright pianos also have three pedals: In Europe the standard for upright pianos is two pedals: 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.

The soft pedal or una corda pedal is placed leftmost in the row of pedals. In the earliest pianos whose unisons were bichords rather than trichords, the action shifted so that hammers hit a single string, hence the name una corda , or 'one string'.

The effect is to soften the note as well as change the tone. In uprights this action is not possible; instead the pedal moves the hammers closer to the strings, allowing the hammers to strike with less kinetic energy.

This produces a slightly softer sound, but no change in timbre. On grand pianos, the middle pedal is a sostenuto pedal. This pedal keeps raised any damper already raised at the moment the pedal is depressed.

This makes it possible to sustain selected notes by depressing the sostenuto pedal before those notes are released while the player's hands are free to play additional notes which don't sustain.

This can be useful for musical passages with low bass pedal points , in which a bass note is sustained while a series of chords changes over top of it, and other otherwise tricky parts. On many upright pianos, the middle pedal is called the "practice" or celeste pedal. This drops a piece of felt between the hammers and strings, greatly muting the sounds. This pedal can be shifted while depressed, into a "locking" position. There are also non-standard variants.

On some pianos grands and verticals , the middle pedal can be a bass sustain pedal: Players use this pedal to sustain a single bass note or chord over many measures, while playing the melody in the treble section.

The rare transposing piano an example of which was owned by Irving Berlin has a middle pedal that functions 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 action so the pianist can play music written in one key so that it sounds in a different key. Some piano companies have included extra pedals other than the standard two or three. On the Stuart and Sons pianos as well as the largest Fazioli piano, there is a fourth pedal to the left of the principal three.

This fourth pedal works in the same way as the soft pedal of an upright piano, moving the hammers closer to the strings. Wing and Son of New York offered a five-pedal piano from approximately through the s. There is no mention of the company past the s.

The Orchestral pedal produced a sound similar to a tremolo feel by bouncing a set of small beads dangling against the strings, enabling the piano to mimic a mandolin, guitar, banjo, zither and harp, thus the name Orchestral.

The Mandolin pedal used a similar approach, lowering a set of felt strips with metal rings in between the hammers and the strings aka rinky-tink effect. This extended the life of the hammers when the Orch pedal was used, a good idea for practicing, and created an echo-like sound that mimicked playing in an orchestral hall.

The pedalier piano, or pedal piano , is a rare type of piano that includes a pedalboard so players can user their feet to play bass register notes, as on an organ. There are two types of pedal piano.

On one, the pedal board is an integral part of the instrument, using the same strings and mechanism as the manual keyboard. The other, rarer type, consists of two independent pianos each with separate mechanics and strings placed one above the other—one for the hands and one for the feet.

This was developed primarily as a practice instrument for organists, though there is a small repertoire written specifically for the instrument. 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. The irregular shape and off-center placement of the bridge ensure that the soundboard vibrates strongly at all frequencies. The piano hammer is "thrown" against the strings. This means that once a pianist has pressed or struck a key, and the hammer is set in motion towards the strings, the pressure on the key no longer leads to the player controlling the hammer.

A vibrating wire subdivides itself into many parts vibrating at the same time. Each part produces a pitch of its own, called a partial. A vibrating string has one fundamental and a series of partials. The most pure combination of two pitches is when one is double the frequency of the other. On the piano string, waves reflect from both ends. Timbre is largely determined by the content of these harmonics. Different instruments have different harmonic content for the same pitch. A real string vibrates at harmonics that are not perfect multiples of the fundamental.

This results in a little inharmonicity , which gives richness to the tone but causes significant tuning challenges throughout the compass of the instrument. Striking the piano key with greater velocity increases the amplitude of the waves and therefore the volume. From pianissimo pp to fortissimo ff the hammer velocity changes by almost a factor of a hundred. If one wire vibrates out of synchronization with the other, they subtract from each other and produce a softer tone of longer duration.

Pianos are heavy and powerful, yet delicate instruments.

Iamges: dating bechstein pianos

dating bechstein pianos

Zu Beginn des

dating bechstein pianos

Als besonders innovativ erwies sich Christian Ernst Friederici. A large number of composers and songwriters are proficient pianists because the piano keyboard offers an effective means of experimenting with complex melodic and harmonic interplay and trying out multiple, independent melody lines that are played at the same time. Its two registers can be played separately or combined together.

dating bechstein pianos

The psaltery was later developed into different variants which differed in sound but were similar in their constructive concept. For the Professional, the dating bechstein pianos, and the pianod Problems playing pians files? The strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. Makers compensate for this with the use of double bichord strings in the tenor and triple trichord strings throughout the treble. The Graf pianofortes were held in high esteem, and soon were considered the greatest and most renowned in Vienna and throughout the empire. The Metropolitan Museum of Art.