Piano

Background

The piano may be the best known and loved of all musical instruments. It also has the broadest range of any instrument, so music for all other instruments can be composed on it. It can be played solo, but most other instruments, including the voice, use the piano for accompaniment. Technically, the piano may also be the most complicated musical instrument with over 2,500 parts.

The piano is a stringed instrument. Its many parts are organized into five general structural and mechanical areas of either grand or vertical pianos. These are: the case of the wing-shaped grand piano (or the cabinet of the vertical or upright piano); the soundboard and the ribs and bridges that are its components; the cast iron plate; the strings; and, collectively, the keys, hammers, and piano action or mechanism. The case has many structural parts for attaching legs and tuning pins, but perhaps the rim and the keybed or shelf where the keys and piano action will be installed are most important. The soundboard amplifies the vibrations of the strings, which are transmitted through bridges.

The cast iron plate is installed over the soundboard and pinblock (part of the case), and it provides the strength to anchor the strings under tension. Nose bolts and perimeter bolts anchor the plate to the braces and inner rim of the case. The 220 to 240 strings of the piano are attached to hitch pins along the curved edge of the cast iron plate and to tuning pins across the front of the piano, roughly parallel to the keyboard. The piano action is still more complicated and includes the keys, hammers, and mechanism or action.

Names for pianos usually indicate their sizes. Grand (wing-shaped) pianos range in length from 4 ft 7 in-9 ft 6 in (1.4-2.9 m) from the front of the keyboard to end of the bend. The "baby" grand is 5 ft-S ft 2 in (1.52-1.57 m) in length; smaller grand pianos are called "apartment size." The larger sizes are the medium grand and concert grand. Modern vertical piano design has changed little since 1935. Verticals range in height from 36-52 in (91-132 cm) with small variations in width and depth. The five standard sizes from smallest to tallest are the spinet, consolette, console, studio, and professional pianos. Pianos are frequently chosen for appearance, and cabinets are available in most furniture styles and finishes.

History

The piano's ancestors are the first stringed instruments. Plucking, striking, and bowing of strings was known among all ancient civilizations; the harp is mentioned in the Book of Genesis in the Bible. The psaltery was an ancient box-type instrument with strings that were plucked with a pick. Keys were added to stringed instruments to make the family of instruments led by the harpsichord, but keys are used to pluck strings in the harpsichord, the most popular instrument of the seventeenth century. A parallel development was the dulcimer, another stringed box with strings that are struck. Keys and strings were paired in a striking instrument in the clavichord, which led directly to the invention of the pianoforte or fortepiano.

Bartolomeo de Francesco Cristofori made harpsichords in Padua, Italy. He is credited with having invented the piano in 1700. Cristofori's piano had hammers that struck the strings by falling by momentum, after having been moved by the action parts linking the hammers to the keys. The hammers were caught by back checks or hammer checks to keep them from bouncing up and down on the strings after the initial strike. This method allowed the strings to continue to vibrate and make sound and for them to be struck loudly or softly, unlike the harpsichord. Johann Andreas Silbermann of Strasbourg, France, continued Cristofori's interest in the pianoforte, and the instrument became popular in Germany after Frederick the Great purchased several. Johann Sebastian Bach approved of it in 1747.

The piano had replaced the harpsichord in importance by the end of the eighteenth century. Cabinetmakers built beautiful cases for them. The square piano was built mid-century, and more musicians began writing music specific to the piano, rather than borrowing harpsichord tunes. Piano building began in America in 1775, and changes to the design of the hammers and to the playing mechanism or action improved the sound and responsiveness of the instrument. Jean Henri Pape of Paris patented 137 improvements for the piano during his life (1789-1875). In England, John Broadwood developed machines to manufacture pianos and reduce their cost.

Improvements continued from 1825 to 1851 with over 1,000 patents in Europe and the United States for stronger, more deft pianos with greater control and repetitive motion. By the mid-nineteenth century, the modern piano had emerged based on the development of the cast iron plate for structural strength and cross-stringing by fanning bass strings over trebles. By 1870, Steinway & Sons had developed this fanning method called the over-strung scale, so that the strings crossed most closely in the center of the soundboard where the best sound is produced.

In the early twentieth century, the player piano achieved great popularity, allowing people to feel artistic and produce music in their homes without having to invest endless hours in practice. The pianos, equipped with a built-in player mechanism, were activated by foot pedals or electricity and used perforated paper rolls to play a variety of music.

Manufacturers advertised their player pianos as good family entertainment and a source of cultural enrichment. An eager public responded with enthusiasm, purchasing over two million pianos by the end of the 1920s. Parents hoped that the pianos would interest their children in attaining musical skills—although they often had the opposite effect, since player pianos offered, as one manufacturer described it, "perfection without practice."

Dealers offered music rolls for a broad range of age groups, musical tastes, and interests. Young adults sang along with the latest tunes, while musical versions of nursery rhymes enchanted toddlers. Classical music enthusiasts listened to sonatas or operatic melodies. Many Greek, Italian, and Polish-Americans purchased song rolls with words printed in their native language.

Coin-operated player pianos were popular among hotel, dance hall, and restaurant owners, who purchased them to serenade customers and increase profits. Fitted with rolls that played several tunes, these pianos poured forth music at the drop of a coin. Customers glided across dance floors to waltzes and fox trots, dined in restaurants to popular melodies, or drank in speakeasies to uptempo tunes.

The enthusiasm for player pianos began to wane in the late 1920s, however, as phonographs and radio provided keen competition for leisure time and entertainment dollars.

Jeanine Head Miller

C. F. Theodore Steinway also developed the continuous bent rim for the case, which enhanced sound transmission by using the acoustic properties of long wood fibers. These improvements were adapted to all styles of pianos including grand, upright, and square pianos. By 1911, there were 301 piano builders in the United States. Production peaked in the 1920s and declined greatly because of the Great Depression in the 1930s. Today, there are approximately 15 piano manufacturers in the United States, and Japan is the world's largest producer of pianos.

The design of the piano has not changed appreciably since the late 1800s, although manufacturers may use different materials or approaches to the manufacturing process. The manufacturing process for the grand piano is described below; there are some differences in manufacturing the vertical or upright piano and in operation methods, particularly the angle at which the hammers strike the strings.

Raw Materials

Pianos are made of the finest materials, not only for appearances but for excellent sound production. The long fibers of maple wood are strong and supple for construction of the rim, but long fibers of spruce are needed for the strength of the braces. Wood is also needed for making patterns of other parts. Metal is used for a variety of parts, including the cast iron plate. Sand is needed for casting molds. The character of the sand is modified by using additives and binders such as bentonite (a type of clay) and coal dust. Molten iron for the casting is made of pig iron with some steel and scrap iron to add strength. Strings are made of high tensile steel wire that is manufactured at specialized piano string mills.

Design

Pianos are designed by specially trained and educated engineers called scale engineers. Scale engineers choose the materials, create the designs and specifications, and develop the interactions of the parts of the piano. Perhaps the most important aspect of design relates to the structural strength of the piano. About 160-200 lb per sq in (11.2-14 kg per sq cm) of tension is exerted on each of the 220 or more strings in the piano. The piano must perform well, but it also must remain stable over time as changing conditions affect the many materials in the piano differently.

The cast iron plate must support the tension of the stringing scale, covering the sound-board very little; it must have maximum mass for strength, but minimum mass for sound quality. Its shape is unique to the design of the piano because it conforms to the string layout, the placement of the bridges on the soundboard, and the paths of the strings. Because the material is brittle, it must be supported in places where the strings apply tension. Holes are designed in the curved side to prevent the plate from cracking due to thermal stress after it is poured and cooled, and this design allows sound to rise from the soundboard too. The scale engineer first sketches a proposed plate, draws it to scale, and makes a wood pattern; this design is later used for manufacture.

The Manufacturing
Process

Bending the rim of the case

• 1 Steinway's method of rim bending is still used and is the first step in assembling the grand piano. Layers of long-fiber maple wood are glued together and bent in a metal press to form a continuous rim; both the inner and outer rim are made this way. Up to 22 layers form each piano rim, and the layers may be up to 25 ft (7.62 m) long. Resin glue is applied by machine, then the layers are carried to the press where they are shaped. The rims are stored in braces to keep them from changing shape. They are seasoned in controlled temperature and humidity conditions until the wood meets a specific moisture content where it will hold its contour. The bent inner rim is then fitted with other wood components, including the cross block, the pinblock, the cross braces, the keybed, and the backbottom. These are glued and doweled in place.
• 2 The cabinet is finished to improve sound properties as well as for appearance. The cabinet is sanded so stain is absorbed properly, wood is bleached to equalize appearance of the veneer, prestaining and staining are done next, wood fillers (sometimes with a washcoat) are added, and a first coat of sealer or lacquer is applied. The surface is sanded again, special glazes (for antiquing or other effects) are added followed by two more coats of lacquer, sanding is done again, special trims are added, and two final coats of lacquer are used. The cabinet is dried for up to 21 days before it is hand-rubbed to its final finish.

Making the structural components

• 3 The wood components of the piano (collectively called the framework)—the pinblock and the cast iron plate—are the parts of the piano that support the tension of the strings. Braces are made of select spruce, and the pinblock or wrestplank is constructed of bonded layers of rock maple. The pinblock is quarter-sawn or rotary cut to maximize the grain structure's grip on the tuning pins. The laminated layers are also glued at different angles to each other so that the pins are surrounded with end grain wood. The pinblock has one hole per string, or up to 240 holes, drilled in it.
• 4 The cast iron plate is made in a piano plate foundry. Match-plates are made of metal from the wood pattern designed by the engineer with top and bottom pieces to match. Sand molds are made from the match-plates, and these are used to cast the plate. Molten iron is poured through the molds and allowed to harden during the founding process (a controlled cooling process) to produce a plate weighing about 600 lb (272.4 kg). After the plate is cooled and removed from the molds, sand is blasted off the plate with steel grit. The plate is transported on overhead conveyors to a drill room where holes are drilled for the tuning pins, nosebolts, bolts to the frame, and hitch pins. The hitch pins are inserted next; then the casting imperfections are removed from the plate by grinding and drilling. Oils are also removed. The plate is hand-sanded and rubbed, primed, and painted.
• 5 The cast iron plate is suspended above its piano during the process of fitting. The plate will be lowered and raised in and out of the piano several times as the pinblock, seal against the rim, and the sound-board and bridges are fitted.

Creating the soundboard

• 6 The soundboard is a thin panel of spruce that underlies the strings and the cast iron plate and rests on the rim braces. Its parts are the board itself, supporting ribs on the underside of the board, and the two bridges over which the strings are stretched. The soundboard is made of spruce that is 0.25-0.375 in (0.635-0.95 cm) thick; it acts as a natural resonator, is strong for its weight, and can be vibrated by the strings because of its lightness. Spruce is air dried then kiln dried to a specific moisture content. It is then cut into strips that are 2-5 in (5.08-12.7 cm) wide, the edges are glued, and the strips are pressed together and dried. A pattern is superimposed, and the soundboard is trimmed to grand piano size.
• 7 The soundboard is curved to produce the right sound. The curve is called a crown that arches upward toward the strings. The arch is made by fitting ribs of lightweight spruce or sugar pine wood to the underside of the board. The ribs are carefully cut from patterns, then fitted and glued to the sound-board using a rib press that accurately positions the ribs, then forces the board into the proper curvature. The ribs are cut along the wood's lengthwise grain and fitted at right angles to the lengthwise grain of the sound-board, so that vibrations are evenly transmitted. The ends of the ribs are feathered, then fitted into notches in the framework of the piano that will exactly support the arch of the crown; the pianomakers use special patterns to guide these cuts in the frame.
• 8 The two soundboard bridges transfer the vibrations of the strings along their lengths to the soundboard. The long bridge is crossed by treble strings, and the bass strings that fan across the trebles cross the short bridge. The bridges are complicated because they must parallel the grain of the soundboard closely, curve with the crown, and support the strings, which exert a down-bearing pressure on the bridges and therefore on the soundboard. This pressure must be supported by the strength of the bridges and the arch of the crown, or the tone of the strings will drop. The bridges are made of solid blocks of wood or of laminated wood. Hard maple is used in American-made pianos, and falcon wood (beech) is used in Europe. Laminated bridges must be placed with laminations perpendicular to the soundboard or the glue layers have a damping effect. The bridges are glued to the soundboard and also fastened to it with wood screws capped by soundboard buttons made of wood that act like washers and keep the screws from grinding into the board. The bridges are notched on both sides where each string crosses, so the string strikes a small part of the bridge and can vibrate easily. Pins are inserted in the bridge, and strings are threaded between the pins.

Stringing and tuning

• 9 Piano string is made in specialized mills and consists of carbon steel wire. The bass strings are also wrapped with copper windings in a process called loading the strings. The windings add weight and thickness to the steel core strings so they vibrate more slowly and can be made to lengths that fit a piano of practical size; without loading, bass strings would have to be 30 ft (9.14 m) long to produce their sounds. Treble strings are short, are not wound with copper, but are grouped in threes to make one tone. Scale sticks are used as standards for each string, acting as a gauge of each kind of wire and determining how many sizes of string are needed; up to 17 different diameters of wire may be used to string one piano. Piano strings require special care and handling because they lie straight after they are formed, cut, and loaded and are never wound on rolls. After the strings are strung, they are held in place near the tuning pins by metal bars and special brass studs called agraffes. Other bars position the strings properly near the hitch pins.
• 10 Tuning pins are made from steel wire. The wire is cut to the proper length, the ends are shaped with a die, and the pins are loaded in a tumbler where rough edges are smoothed away. The tumbler empties them into a press where swags that fit tuning hammers are formed at the tops of the pins. Holes for the strings are drilled into the swagged ends of the pins, the pins are cleaned of metal chips and oil, and nickel-plating is applied to the pins to keep them from rusting. The pins are threaded to turn easily during tuning, then they are subjected to controlled heating called blueing, which oxidizes the outer surface of the threads of the pins (where the nickel plating was removed during threading) so the pins will grip the wood in the pinblock. Special machines insert several pins at a time through the holes in the cast iron plate and into the pinblock where they are fitted in place by hand.

Constructing the keyboard and action

• 11 Keyboards, key and action frames, and actions are made by specialty manufacturers. The keys balance and pivot on a set of either two or three rails that are covered with felt to prevent noise. Guide pins for each key are inserted in the front or head rail and the middle or balance rail. The keys themselves are made of lightweight wood that is cut to size and dried in kilns. The keys are covered with black or white plastic, although in the past ivory and ebony were used. The plastic key covers are molded to cover a group of keys that are later cut individually. Holes are drilled on the undersides to fit the guide pins. Capstan screws are mounted on the back edges of the keyboard extending inside the piano; the action will be seated on these. The keys are now cut into 88 individuals, which are sanded and polished on the sides. The black keys are also stained black before the black caps are glued on. The keys are rematched to the keyframe, punchings resembling washers are placed over the guide pins, and the keys are placed on them.
• 12 The voice of the piano depends on the quality of the hammers. Many materials from elkskin to rubber have been used over the history of the piano, but today, hammers are covered with premium wool felt of precision-graduated density. The felt is made by specialists who begin with select wool that is carded, combed, folded, and compressed into felt in tapered strips. The thinnest felt is used for the treble hammers, while thick felt is used for the bass. The core of each hammerhead is a wood molding, and an underfelt and top felt are bonded in place with resin to cover the molding. The hammerheads are made in long strips of the same size then sliced into individual hammerheads by hand or automation. The complete set of hammers is installed in the piano. The sound of the piano is adjusted by a specially trained tuner called a voicer. The key actions must respond with the same resistance. The felt hammers are modified with a sticker or needler that retextures the hammerheads and changes the sound.
• 13 The final parts are added, including the pedals and their trapwork, the fall-board or key cover, the music rack, the hinges and top lid, the topstick that supports the raised lid, and many other details. All parts are carefully made so they fit tightly and do not rattle or otherwise affect the sound of the instrument.

Quality Control

Pianos would not exist without quality control in all aspects of production because the instruments are too sensitive and dependent on the interaction of many parts and materials. For example, quality begins with the scale engineer's design. Metallurgists check the metal content of the iron plate; chemical analyses are made of the other contents, including carbon, sulfur, phosphorus, and manganese. Temperature is also critical; the molten iron is 2,750°F (1,510°C), and founding or hardening temperatures are also carefully monitored. String is similarly controlled and tested during manufacture for elasticity, resiliency, and tensile strength.

The Future

The process of piano manufacturing has remained essentially the same for a century, but scale engineers are always seeking new methods. Vacuum casting has recently been used to produce cast iron plates with smooth finishes requiring no grinding.

Where to Learn More

Books

Ardley, Neil. Music: An Illustrated Encyclopedia. Facts On File., Inc., 1986.

Bielefeldt, Catherine C.; Weil, Alfred R., ed. The Wonders of the Piano: The Anatomy of the Instrument. Belwin-Mills Publishing Corp., 1984.

Dolge, Alfred. Pianos and their Makers: A Comprehensive History of the Development of the Piano. Dover Publications, Inc., 1972.

Ehrlich, Cyril. The Piano: A History. Clarendon Press, 1990.

Ford, Charles, ed. Making Musical Instruments: Strings and Keyboard. Pantheon Books, 1979.

—GillianS.Holmes

piano (It.). Soft, quiet.
1. Instruction to play softly (abbreviation p, or pp, pianissimo, very softly). Opposite of forte, loud.

2. Eng. term for kbd. instr. whose full name is pianoforte (It.), soft-loud. This instr. is, with regard to its str. and hammers, a descendant of the dulcimer, and, to its kbd., a descendant of the harpsichord and clavichord. The modern pf. has an iron frame and is either grand (str. horizontal) or upright (str. vertical). It normally has 88 keys, with a standard compass of 71/3 octaves, but some models by Bösendorfer have a compass of 8 octaves.

 Although there are other claimants to the invention of the instrument, it is generally accepted that the earliest instr. of its type was made in Florence, c.1698–1700, by Bartolomeo Cristofori, who prod. what he called a gravicembalo col piano e forte, i.e. a ‘harpsichord with loudness and softness’: for the hpd.'s plucking of the str. he had substituted the blows of a series of hammers, and it was this that gave the players of his instr. their new power of control of degrees of force. The Cristofori pfs. had a range of 4 to 4 1/2 octaves.

 Cristofori's idea was taken up in Ger. by the org.-builder Gottfried Silbermann, who in 1726 made 2 pfs. which he submitted to Bach, whose opinion of them was unfavourable and perhaps led to the improvements which apparently were introduced. In 1747 Bach, on a visit to the court of Frederick the Great at Potsdam, played the Silbermann pfs. there. All pfs. up to this point were of the hpd. shape—rather like what we now call the grand pf., with the str. horizontal and in line with the relevant finger-keys. The first pf. in clavichord shape, known as the square pf., was made by Frederici of Gera, but he was closely followed by one of Silbermann's apprentices, Johannes Zumpe, who went to London and introduced there the popular rectangular form of the instr. Further impetus to the pf. was given by J. C. Bach, when he settled in London, and by Clementi. Developments in the ‘action’ of the instr. were made by Backers, John Broadwood, and Stodart. Broadwood made changes in the square pf. In Fr., Érard made the square, and later grand pfs., while the Austrian Andreas Stein found a way of giving extra lightness of touch to the grand. The first Amer.-built pfs. were by J. Behrent in Philadelphia, 1775.

 The upright pianoforte, in which the str. run perpendicularly, was developed by John Isaac Hawkins of Philadelphia (1800) and Robert Wornum, jun., of London (1811, perfected 1829): the existing model is largely founded on that of Wornum. From the middle of the 19th cent. it superseded the square form, but was itself almost ousted in the 20th cent. by the ‘baby’, i.e. small-sized, grand.

Hawkins also introduced the iron frame. One advantage was the possibility of using str. at higher tension than the wooden frame allowed, so making possible the use of thicker wire, producing a fuller tone. The tension of a single str. today may be 180–200 lb., the varying stress of the different sizes of str. being more or less equally distributed by overstringing, i.e. by one group of str. passing more or less diagonally over another: this principle as applied to the pf. dates from c.1835, but there had previously been occasional overstrung clavichords.

 18th-cent. hpds. had more than 1 str. to each note and Cristofori's pf. had 2 throughout: the modern pf. has 1 string for a few of the very lowest notes, 2 for the middle register, and 3 for the highest (on account of the decrease of resonance with the shorter str.): the lowest str. are wrapped with a copper coil to increase their mass without too greatly decreasing their flexibility.

 The sound-board of a pf. (lying behind the str. in an upright and below them in a grand) fulfils the same function as the body of a vn.: without it the tone of the instr. would be very faint and thin. The sustaining pedal, when depressed, removes the whole series of dampers from the str.: thus any note or chord played can be given some duration, even though the finger or fingers have been removed from the keys, and also the harmonics of the str. sounded are enriched by the sympathetic resonance of those derived from other freely-vibrating str., resulting in a fuller tone. (It is a mistake to call this pedal the ‘Loud Pedal’ as it is as much used in soft passages as in loud.) This pedal must of course normally be lifted at a change of harmony, as otherwise confusion will result. There is in most instr. manufactured in the USA and Canada a sostenuto pedal. It ingeniously enables the player to make (within limits) a selection as to the notes he wishes to be held over. It was introduced by the Steinway firm and perfected in 1874. The soft pedal may act in one of several ways: (a) in grands by moving the kbd. and set of hammers sideways, so as to leave unstruck 1 str. of each note (see corda); (b) in uprights by moving the whole set of hammers nearer to the str., so that the force of their blows is diminished, or by interposing a piece of felt between hammer and str. (a crude method now little used). Many contemporary pianos are made in Japan.

 Experiments in the construction of the pf. have been frequent; these have included pfs. with double kbd.; pfs. with indefinitely prolonged sounds (by means of a revolving wheel or other imitation of the vn. bow, or of a current of air tending to keep the str. in vibration, or by some electrical device); pfs. with tuning-forks in place of str. (incapable of getting out of tune); combinations of the pf. principle with that of some other instr. (e.g. fl., organ, hpd., clavichord); quarter-tone pfs. (see microtone); various applications of electricity, etc. See keyboard for experimental kbds.; see prepared piano; see aliquot and duplex scaling.

 The pf. is, of course, principally used as a solo instr., or as the solo instr. in a conc. with orch., or in chamber mus. (pf. trio, pf. qt., etc.). But many composers in the 20th cent. have used it as an orch. instr., e.g. Stravinsky in Petrushka, Vaughan Williams in Sinfonia Antartica, Bartók in Music for Strings, Percussion, and Celesta, and numerous other works. Stravinsky's Les Noces is scored for 4 pf. used as perc. instrs. Later composers, from Cage onwards, have conjured new sounds from the pf. by making adjustments to the str. (see prepared piano), having them plucked by hand, or used as resonators.

 Since its first appearance, the pf. has called forth executants of varying styles and techniques. C. P. E. Bach was among the first to develop the new methods of playing so different from those required for hpd. and clavichord, followed by Clementi. Absolute evenness of touch was his ideal, inculcated also in his pupil Cramer. The Viennese-made pf. was lighter, with less sonorous tone, than the heavier English type. Mozart's playing was attuned to the Viennese action. His most famous pupil was Hummel. But Beethoven used an Eng. pf., suitable to his energetic and dynamic playing. He was the first fully to profit by the opportunities afforded by the sustaining pedal. His example was followed by Schubert, Schumann, Chopin, and Mendelssohn, whose works would be unimaginable on a pedal-less instr. John Field developed the ‘singing touch’ of legato playing and his exploitation of the nocturne influenced Chopin whose playing and comps. for the pf. opened up new possibilities of tone-colour. Liszt was the first of the virtuosi whose technique rivalled Paganini's on the vn., expanding it beyond all previous bounds, and pointing the way to the harmonic experiments of Debussy and Ravel and even to the percussive effects of Stravinsky and Bartók. Other great 19th-cent. executants were Rubinstein, Thalberg, and Bülow, while among the great composer-pianists born in the 19th cent. were Busoni, Rachmaninov, and Bartók. The 20th cent. has been rich in superb virtuosi. One need name only Arthur Rubinstein, Arrau, Horowitz, Michelangeli, and Richter as exemplars.

piano or pianoforte, musical instrument whose sound is produced by vibrating strings struck by felt hammers that are controlled from a keyboard.

The piano's earliest predecessor was the dulcimer . The first piano was made c.1709 by Bartolomeo Cristofori (1655-1731), a Florentine maker of harpsichords, who called his instrument gravicembalo col piano e forte. (One of the two existing Cristofori pianos is in the Metropolitan Mus. of Art., N.Y.C.) It differed from the harpsichord in that by varying the touch one could vary the volume and duration of tone. This expressive quality was shared by the clavichord , but the latter was far more delicate in tone.

During the 18th cent. changes in musical taste gradually favored the piano's greater volume and expressiveness, and the instrument had largely supplanted the harpsichord and clavichord by 1800. C. P. E. Bach, Mozart, Haydn, and Clementi were the first major composers to write for the piano. The main body of its enormous literature, from the 19th cent., includes the works of Beethoven, Czerny, Schubert, Chopin, Schumann, Mendelssohn, Brahms, Franck, Tchaikovsky, and Liszt. Debussy and Ravel used the special effects peculiar to the piano in highly original ways. In the 20th cent. some composers, notably Bartók, have emphasized the instrument's percussive qualities.

The piano was originally built in the shape of a harpsichord, and this style, the grand piano, has always been the standard form. It was greatly improved by the 19th-century innovation of an iron framework, best applied by the Steinways of New York City. The square piano, with strings parallel to the keys, was the most popular domestic piano until the early-19th-century perfection, in Philadelphia, of the upright piano. The English piano maker John Broadwood (1732-1812) was the first to develop the present heavier, more sonorous instrument. In 1810 the double-action striking mechanism, which permits rapid repetition of a tone, was perfected.

In the late 19th cent. a mechanical player piano was developed. A perforated paper roll was passed over a cylinder containing apertures connected to tubes that were in turn connected to the piano action. When a hole in the paper passed over an aperture, a current of air passed through a tube and caused the corresponding hammer to strike the string. The electric piano was developed in the 1930s. In the 1980s computer and compact-disc technology made possible the invention of a "reproducing piano," an instrument designed to recreate a pianist's playing, accurately capturing the nuances of the performance. Innovative developments of the 1990s include the disklavier, a computerized grand piano that uses optical sensors to produce sound, and the two-lid piano, which opens from the top and bottom to better project sound.

Bibliography: See O. Bie, History of the Pianoforte (2d ed. 1966); H. Westerby, History of Pianoforte Music (1924, repr. 1970); A. Dolge, Pianos and their Makers (1911, repr. 1972); C. Ehrlich, The Piano (1976); R. Harding, The Piano-forte (1933, repr. 1978); A. Loesser, Men, Women, and Pianos (1954, repr. 1990), J. Parakilas et al., Piano Roles (2000).

piano (pianoforte) Musical instrument whose sound is made with strings struck by hammers that are moved from a keyboard. Its invention (c.1709) is attributed to Bartolomeo Cristofori. Its name, from the Italian piano (soft) and forte (strong or loud), was adopted because its range of volume (as of tonal quality) far exceeded that of earlier instruments. The modern grand piano, much larger, louder, and more resonant than the 18th-century piano, developed in the early 19th century.

pi·an·o¹ / pēˈanō/ • n. (pl. -os) a large keyboard musical instrument with a wooden case enclosing a soundboard and metal strings, which are struck by hammers when the keys are depressed. The strings' vibration is stopped by dampers when the keys are released, and it can be regulated for length and volume by two or three pedals.

grand piano

508. Piano

1. Baldwin famous name in concert pianos. [Am. Cult.: Misc.]
2. Schroeder compulsively plays the works of Beethoven on his toy piano. [Comics: “Peanuts” in Horn, 543]
3. Steinway famous name in concert pianos. [Am. Cult.: Misc.]

Piety (See RIGHTEOUSNESS .)

piano •Mano, piano •Arno, boliviano, Bolzano, Carnot, chicano, guano, Kano, llano, Locarno, Lugano, Marciano, Marrano, meccano, oregano, Pisano, poblano, Romano, siciliano, soprano, Sukarno •Renault, steno, tenno •techno • Fresno • Pernod •ripieno, volcano •albino, bambino, beano, Borodino, Borsalino, cappuccino, casino, chino, Comino, concertino, Filipino, fino, Gino, keno, Ladino, Latino, Leno, maraschino, merino, Monte Cassino, Navarino, neutrino, Pacino, palomino, pecorino, Reno, San Marino, Sansovino, Torino, Trevino, Valentino, vino, Zeno •minnow, winnow •Llandudno • Gobineau • domino •Martineau •lino, rhino, wino •tonneau • Grodno •Livorno, porno •Mezzogiorno •cui bono?, kimono, Mono, no-no, phono •Bruno, Gounod, Juneau, Juno, Uno •Huguenot • pompano •Brno, inferno, journo, Salerno, Sterno