Toy piano

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Schoenhut 37-key Concert Grand
Pooh Poppin' Piano—a diatonic one octave toy piano
Child playing Keyskills 30 key toy piano

The toy piano, also known as the kinderklavier (child's keyboard), is a small piano-like musical instrument. Most modern toy pianos use round metal rods to produce sound, a design first patented by Alice Violet Bennett in 1930.[1]

Characteristics[edit]

Toy pianos come in many shapes, from scale models of upright or grand pianos to toys which only resemble pianos in that they possess keys. Toy pianos are usually no more than 50 cm in width, and made out of wood or plastic. The first toy pianos were made in the mid-19th century and were typically uprights, although many toy pianos made today are models of grands. Rather than hammers hitting strings as on a standard piano, the toy piano sounds by way of hammers hitting metal bars or rods which are fixed at one end. The hammers are connected to the keys by a mechanism similar to that which drives keyboard glockenspiels. Some new toy pianos are electronic.

Toy pianos ostensibly use the same musical scale as full size pianos, although their tuning in all but the most expensive models is usually very approximate. Similarly, the pitch to which they are tuned is rarely close to the standard of 440 Hz for the A above middle C. A typical toy piano will have a range of one to three octaves. The cheapest models may not have black keys, or the black keys may be painted on. This means they can play the diatonic scale (or an approximately tuned version of it), but not the chromatic scale. Typically, diatonic toy pianos have only eight keys and can play one octave. Other variants may have non-functioning black keys between every key (which would make it appear to play the quarter tones between E/F and B/C), but they either do not play, play the same notes as an adjacent white key, or play a special sound effect.

History[edit]

Early toy pianos used glass bars to produce their sound, but Albert Schoenhut, son of a German toy-making family, introduced metal sounding bars to make the instrument more durable. In 1866 he was offered employment in Philadelphia, United States, to repair German toy pianos which had been damaged in transit. In 1872 he established the A Schoenhut Company to manufacture toy pianos, diversifying into other instruments.[2] By 1917, A Schoenhut produced a catalogue showing 10 pages of upright and grand pianos of all shapes and sizes, with one page devoted to miniature piano stools alone. The models had nicknames beginning with "P", such as Packer, Padder, Papa and Poet. Keys were made of imitation ivory and a dozen pianos could be bought for US$348.

By the 1950s, the toy piano market was dominated by two main toy piano makers: Jaymar and Schoenhut - counterparts to the Steinway and Baldwin for adult pianos. Wooden keys and hammers were replaced by moulded plastic ones. In the late 1970s, Schoenhut was acquired by Jaymar, although the two retained their distinct identity. Jaymar/Schoenhut experienced difficulty during the recession of the 1980s, folding and eventually re-emerging as the Schoenhut Piano Company in 1997. Today Schoenhut Piano Company is still the leading manufacturer along with other toy-piano manufacturers - Hering from Brazil, Zeada from China and New Classic Toys from Netherlands.

From 1939 to 1970 Victor Michel improved toy-piano conception. Michelsonne French toy-pianos are known from their inimitable sound.

An annual toy piano festival is held in San Diego which features a collection of toy pianos and recording of toy pianos.[3]

Use in musical performance[edit]

Though originally made as a child's toy, the toy piano has been used in serious classical and contemporary musical contexts. The most famous example is the "Suite for Toy Piano" (1948) by John Cage. Other works in classical music for the instrument include "Ancient Voices of Children" by George Crumb and a number of pieces by Mauricio Kagel. Steve Beresford has used toy pianos (along with many other toy instruments) in his improvised music.

British experimental composers use the toy piano frequently, especially the Promenade Theatre Orchestra (1969–73), a quartet of composer/performers (members included John White, Alec Hill, Hugh Shrapnel, and Christopher Hobbs), whose central instrumentation consisted of four matched French Michelsonne toy pianos and Hohner reed organs. Their music was, broadly, repetitive minimalism, often of great technical difficulty (Hobbs's Working Notes (1969) for four toy pianos), great dynamic power (Shrapnel's 4 Toy Pianos (1971)), were used in various combinations with reed organs, and used compositional techniques that were either specific to British experimentalism (such as systems music, invented by John White), or borrowed from other disciplines (such as Alec Hill's use of change ringing systems).

In France in the early 1970s, Jean-Jacques Birgé performed on a toy-piano, besides synthesizers, and recorded it in "Le réveil" on his Défense de album in 1975, as Pascal Comelade built all his work on toy instruments, having played all kinds of toy pianos himself since 1978. Yann Tiersen played the instrument in his first album La Valse des Monstres (Monsters' Waltz, 1995). He also uses the toy piano to musically recreate the childhood of the main character in the French movie Amélie, which features a soundtrack composed mostly by him.

A pioneer of the toy piano is the German composer and pianist Bernd Wiesemann (b. 1938). He played many concerts with the toy piano in Germany in the 1970s and 1980s. In 1993 he released the CD Neue Musik für Kinderklavier ("New Music for Toy Piano"), containing compositions by John Cage, Karlheinz Stockhausen, Shigeru Kan-no, Ratko Delorko, Andreas Kunstein, Frank Scholzen, Joachim Herbold, Carlos Cruz de Castro, Francisco Estevez and himself. In 2004 he released the SACD Das untemperierte Klavier ("the not-so-well-tempered piano", a play on Bach's Well-Tempered Clavier), containing new contemporary works.

Richard Carpenter used a toy piano as one of five keyboard instruments (the others being a grand piano, upright piano, console piano, and harpsichord) he played in his rendition of Zez Confrey's instrumental "Dizzy Fingers". Carpenter would run from instrument to instrument between each section of the song, which was performed for the TV special The Carpenters: Music, Music, Music.

In 1997, pianist Margaret Leng Tan released the CD The Art of the Toy Piano. On it, she plays a number of pieces written specially for the toy piano as well as arrangements of other pieces, including Ludwig van Beethoven's "Moonlight Sonata" and The Beatles' "Eleanor Rigby". In 2010, she released The Art of The Toy Piano II. A documentary directed by Evans Chan entitled Sorceress of the New Piano explores the music making of Tan and had its American debut at the San Francisco Asian American Film Festival in 2005.

Walter Egan uses a melody line played on a toy piano for the choruses on his 1978 hit "Magnet And Steel".

Mannheim Steamroller featured a toy piano in their song "Midnight On a Full Moon" from the album Fresh Aire III (1979).

Ben Lee used a toy piano in the song "Catch My Disease" which became popular in 2005 and won several awards.

Some jazz performers—John Medeski and Larry Goldings, among others—have used toy pianos.

The toy piano has been used extensively by alternative rock and post-rock bands such as Agitpop, Evanescence, Radiohead, Little Bang Theory,[4] Warren Zevon, Tori Amos, Sigur Rós, Vampire Weekend, Clap Your Hands Say Yeah, Old Canes, and The Dresden Dolls. Matty Pop Chart has a song on his CD Good Old Water composed entirely on a toy piano.

The experimental pop band Br'er use toy pianos as a characteristic sound on many of their recordings. The Cure used a toy piano during their MTV Unplugged set.

A toy piano provides the pulsing chime in the song "I Belong To You" by Lenny Kravitz from his 5 album.

The B-52's song "Dance This Mess Around" features a toy piano played by Fred Schneider as both an essential musical plot device and live prop.

In the Peanuts cartoon strip, one of the characters, Schroeder, plays classical music (principally Beethoven) on what appears to be a toy piano.

In 2005 Matt Malsky and David Claman sponsored "The Extensible Toy Piano Project",[5] which consisted of an extensive set of freely-available, high-quality toy piano samples, an international composition competition, and a festival at Clark University. One of the winners was Karlheinz Essl with his piece "Kalimba"[6] for Toy Piano and CD playback.

In 2010 Tiago Videira composed «Portuguese suite for toy piano», based on the folk imaginary and traditions from Portugal.

The instrumental "Calliope", on Tom Waits' album Blood Money, features a toy piano, as well as the calliope of the title.[citation needed]

The London band Athlete used a toy piano for the intro of their track "Superhuman Touch".[citation needed]

The rock band Primus used the toy piano[7] (played by Matt "Exxon" Winegar) in the song "Sathington Willoughby" on their album Frizzle Fry.[citation needed]

The band They Might Be Giants used a toy piano in their song "O We".[citation needed]

Composer Michael Hearst uses the toy piano (performed by Margaret Leng Tan) on his song "Jesus Christ Lizard," on the album Songs For Unusual Creatures.[citation needed]

Songwriter Jacco Gardner used a toy piano on the first track of his debut single, "Clear The Air", released on February 19th, 2012.

References[edit]

  1. ^ http://worldwide.espacenet.com/publicationDetails/originalDocument?CC=GB&NR=325631A&KC=A&FT=D&ND=3&date=19300227&DB=worldwide.espacenet.com&locale=en_EP
  2. ^ "About Schoenhut: History". Schoenhut. Retrieved 17 June 2013. 
  3. ^ Friedman, Jan (1 September 2005). Eccentric California. Bradt Travel Guides. p. 145. ISBN 978-1-84162-126-5. Retrieved 29 August 2011. 
  4. ^ 8-January-2012 Frank Pahl interview on Outsight Radio Hours [1]
  5. ^ Clarku.edu
  6. ^ Essl.at
  7. ^ Bestpricetoys.com

External links[edit]