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A short grand piano, with the lid up. Most pianos are about 150 cm wide. Short grand pianos such as a "baby grand" are about as long as they are wide, but a Concert Grand can measure up to 3.08 m (10 ft 1 in)^[1] perpendicular to its keyboard.

Template:Redirect6 The piano is a musical instrument played by means of a keyboard. It produces sound by striking steel strings with felt hammers that immediately rebound allowing the string to continue vibrating at its resonance frequency. These vibrations are transmitted through the bridges to the soundboard, which amplifies them.

The piano is widely used in Western music for solo performance, chamber music, and accompaniment. It is also very popular as an aid to composing and rehearsal. Although not portable and often expensive, the piano's versatility and ubiquity have made it one of the most familiar musical instruments. It is sometimes classified as both a percussion and a string instrument (in a loose sense of that term).

The word piano is a shortened form of the word pianoforte, which is seldom used except in formal language and derived from the original Italian name for the instrument, clavicembalo [or gravicembalo] col piano e forte (literally harpsichord with soft and loud). This refers to the instrument's responsiveness to keyboard touch, which allows the pianist to produce notes at different dynamic levels by controlling the speed with which the hammers hit the strings.

Early history

Although there were various crude earlier attempts to make stringed keyboard instruments with struck strings,^[2] it is widely considered that the piano was invented by a single individual: Bartolomeo Cristofori of Padua, Italy, employed by Prince Ferdinand de Medici as the Keeper of the Instruments. ^[3] It is not known exactly when Cristofori first built a piano, but an inventory made by his employers, the Medici family, indicates the existence of a piano by the year 1709.^[4] However, some writings indicate that there was a piano built in the year 1698, and a prototype built as early as 1694. ^[3] The three Cristofori pianos that survive today date from the 1720s. Two of these pianos date from 1722; a piano now in Rome, and a harpsichord now in Leipzig. ^[3]

Like many other inventions, the piano was founded on earlier technological innovations. The mechanisms of keyboard instruments such as the clavichord and the harpsichord were well known. In a clavichord the strings are struck by tangents, while in a harpsichord they are plucked by quills. Centuries of work on the mechanism of the harpsichord in particular had shown the most effective ways to construct the case, soundboard, bridge, and keyboard. Cristofori, himself an expert harpsichord maker, was well acquainted with this body of knowledge.

Cristofori's great success was in solving, without any prior example, the fundamental mechanical problem of piano design: the hammers must strike the string, but not remain in contact with the string (as a tangent remains in contact with a clavichord string) because this would damp the sound. Moreover, the hammers must return to their rest position without bouncing violently, and it must be possible to repeat a note rapidly. Cristofori's piano action served as a model for the many different approaches to piano actions that followed. While Cristofori's early instruments were made with thin strings and were much quieter than the modern piano, compared to the clavichord (the only previous keyboard instrument capable of minutely controlled dynamic nuance through the keyboard) they were considerably louder and had more sustaining power.

Early piano replica by the modern builder Paul McNulty, after Walter & Sohn, 1805

Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it (1711), including a diagram of the mechanism. This article was widely distributed, and most of the next generation of piano builders started their work because of reading it. One of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern damper pedal, which lifts all the dampers from the strings at once.

Silbermann showed Bach one of his early instruments in the 1730s, but Bach did not like it at that time, claiming that the higher notes were too soft to allow a full dynamic range. Although this earned him some animosity from Silbermann, the criticism was apparently heeded. Bach did approve of a later instrument he saw in 1747, and even served as an agent in selling Silbermann's pianos.

Piano-making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Stein (daughter of Johann Andreas) and Anton Walter. Viennese-style pianos were built with wood frames, two strings per note, and had 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.^[5] It was for such instruments that Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, clearer tone than today's pianos or English pianos, with less sustaining power, partially because of the Viennese piano's tendency to not directly strike the string.^[3] The term fortepiano is nowadays often used to distinguish the 18th-century instrument from later pianos.

Development of the modern piano

In the period lasting from about 1790 to 1860, the Mozart-era piano underwent tremendous changes, which led to the modern form of the instrument. This revolution was in response to a consistent preference by composers and pianists for a more powerful, sustained piano sound. It was also a response to the ongoing Industrial Revolution, which made available technological resources like high-quality steel for strings (see piano wire) and precision casting for the production of iron frames. Over time, the tonal range of the piano was also increased, from the five octaves of Mozart's day to the 7⅓ (or even more) octaves found on modern pianos.

Early technological progress owed much to the English firm of Broadwood, which already had a reputation for the splendour and powerful tone of its harpsichords. Broadwood constructed instruments that were progressively larger, louder, and more robustly constructed. Broadwood sent pianos to both Haydn and Beethoven, and was the first firm to build pianos with a range of more than five octaves: five octaves and a fifth during the 1790s, six octaves by 1810 (Beethoven used the extra notes in his later works), and seven octaves by 1820. The Viennese makers followed these trends. The two schools, however, used different piano actions: Broadwoods were more robust, Viennese instruments were more sensitive.

By the 1820s, the center of innovation had shifted to Paris, where the Érard firm manufactured pianos used by Chopin and Liszt. In 1821, Sébastien Érard invented the double escapement action, which permitted a note to be repeated even if the key had not yet risen to its maximum vertical position. This facilitated rapid playing. When the invention became public (as revised by Henri Herz), the double escapement action gradually became standard in grand pianos, and is still incorporated into all grand pianos currently produced.

Other important technical innovations of this era include the following:

Use of three strings rather than two for all but the lower notes
The iron frame, also called the "plate", sits atop the soundboard, and serves as the primary bulwark against the force of string tension. The iron frame was the ultimate solution to the problem of structural integrity as the strings were gradually made thicker, tenser, and more numerous (in a modern grand the total string tension can approach 20 tons). The single piece cast iron frame was patented in 1825 in Boston by Alpheus Babcock, combining the metal hitch pin plate (1821, claimed by Broadwood on behalf of Samuel Hervé) and resisting bars (Thom and Allen, 1820, but also claimed by Broadwood and Érard). Babcock later worked for the Chickering & Mackays firm which patented the first full iron frame for grand pianos (1843). Composite forged metal frames were preferred by many European makers until the American system was fully adopted by the early 20th century.
Felt hammer coverings, first introduced by Henri Pape in 1826, gradually replaced skillfully layered leather hammers; the more consistent material permitted wider dynamic ranges as hammer weights and string tensions increased.
The sostenuto pedal (see below), invented in 1844 by Jean Louis Boisselot and improved by the Steinway firm in 1874.
The over strung scale, also called "cross-stringing"; the strings are placed in a vertically overlapping slanted arrangement, with two heights of bridges on the soundboard, rather than just one. This permits larger, but not necessarily longer, strings to fit within the case of the piano. Over stringing was invented by Jean-Henri Pape during the 1820s, and first patented for use in grand pianos in the United States by Henry Steinway Jr. in 1859.

Duplex scaling: Treble strings of a 182 cm. grand piano. From lower left to upper right: dampers, main sounding length of strings, treble bridge, duplex string length, duplex bridge (long bar perpendicular to strings), hitchpins.

Duplexes or aliquot scales; In 1872 Theodore Steinway patented a system to control different components of string vibrations by tuning their secondary parts in octave relationships with the sounding lengths. Similar systems developed by Blüthner (1872), as well as Taskin (1788), and Collard (1821) used more distinctly ringing undamped vibrations to modify tone.

Today's upright, grand, and concert grand pianos attained their present forms by the end of the 19th century. Improvements have been made in manufacturing processes, and many individual details of the instrument continue to receive attention (see Innovations in the Piano).

Some early pianos had shapes and designs that are no longer in use.

The square piano had horizontal strings arranged diagonally across the rectangular case above the hammers and with the keyboard set in the long side, it is variously attributed to Silbermann and Frederici and was improved by Petzold and Babcock. Built in quantity through the 1890s (in the United States), Steinway's celebrated iron framed over strung squares were more than two and a half times the size of Zumpe's wood framed instruments that were successful a century before, their overwhelming popularity was due to inexpensive construction and price, with performance and sonority frequently restricted by simple actions and closely spaced strings.

The tall vertically strung upright grand was arranged with the soundboard and bridges perpendicular to keys, and above them so that the strings did not extend to the floor. Diagonally strung Giraffe, pyramid and lyre pianos employed this principle in more evocatively shaped cases. The term was later revived by many manufacturers for advertising purposes.

The very tall cabinet piano introduced by Southwell in 1806 and built through the 1840s had strings arranged vertically on a continuous frame with bridges extended nearly to the floor, behind the keyboard and very large sticker action.

The short cottage upright or pianino with vertical stringing, credited to Robert Wornum about 1815 was built into the 20th century. They are informally called birdcage pianos because of their prominent damper mechanism. Pianinos were distinguished from the oblique, or diagonally strung upright made popular in France by Roller & Blanchet during the late 1820s.

The tiny spinet upright was manufactured from the mid 1930s until recent times. The low position of the hammers required the use of a "drop action" to preserve a reasonable keyboard height.

Piano history and musical performance

Much of the most widely admired piano repertoire — for example, that of Haydn, Mozart, and Beethoven — was composed for a type of instrument that is rather different from the modern instruments on which this music is normally performed today. Even the music of the Romantics, including Liszt, Chopin, Schumann, Mendelssohn and Brahms, was written for pianos substantially different from ours. For a discussion of some of the interpretative consequences of performing this music on modern pianos, see piano history and musical performance.

Modern piano

Types

Modern pianos come in two basic configurations (with subcategories): the grand piano and the upright piano.

Grand

Grand pianos have the frame and strings placed horizontally, with the strings extending away from the keyboard. This makes the grand piano a large instrument, for which the ideal setting is a spacious room with high ceilings for proper resonance. There are several sizes of grand piano. Manufacturers and models vary, but a rough generalisation distinguishes the "concert grand", (between about 2.2 m to 3 m long) from the "parlor grand" (about 1.7 m to 2.2 m) and the smaller "baby grand" (which may be shorter than it is wide). All else being equal, longer pianos have better sound and lower inharmonicity of the strings. This is partly because the strings will be tuned closer to equal temperament in relation to the standard pitch with less stretching (See: Piano tuning). Full-size grands are usually used for public concerts, whereas smaller grands, introduced by Sohmer & Co. in 1884, are often chosen for domestic use where space and cost are considerations.

Upright

Upright pianos, also called vertical pianos, are more compact because the frame and strings are placed vertically, extending in both directions from the keyboard and hammers. It is considered harder to produce a sensitive piano action when the hammers move horizontally, as the vertical hammer return is dependent on springs which are prone to wear and tear. The grand piano hammers return by gravity, hence their return will always remain more consistent than the vertical hammers, thus giving pianists better control of their playing. However, a well-regulated vertical piano will probably play smoother than a grand piano that has not been regulated for years, and the very best upright pianos now approach the level of some grand pianos of the same size in tone quality and responsiveness.

One noticeable advantage that the grand piano action has over the vertical action is that all grand pianos have a special repetition lever in the playing action that is absent in all verticals. This repetition lever, a separate one for every key, catches the hammer close to the strings as long as the keys are played repeatedly and fairly quickly. In this position, with the hammer resting on the lever, a pianist can play repeated notes, staccato, and trills with much more speed and control than is possible on a vertical piano. Because of this, piano manufacturers claim that a skilled piano player can play as many as 14 trill notes per second on grands but only seven on uprights. ^[who?] For recent advances, see Innovations in the piano.

Other types

In 1863, Henri Fourneaux invented the player piano, which "plays itself" from a piano roll without the need for a pianist.

Also in the 19th century, toy pianos began to be manufactured.

Irving Berlin played a special piano called the transposing piano, which was invented in 1801 by Edward Ryley. It had a lever under the keyboard used to alter the music to any key. One of Berlin's pianos is in the Smithsonian Museum. For much of his career, Berlin only knew how to play the black keys. But with his 'trick piano' he was no longer limited to the key of F-sharp.

A relatively recent development is the prepared piano, which is simply a standard grand piano which has had objects placed inside it before a performance in order to alter its sound, or which has had its mechanism changed in some way.

Since the 1980s, digital pianos have been available, which use digital sampling technology to reproduce the sound of each piano note. The best digital pianos are sophisticated, with features including working pedals, weighted keys, multiple voices, and MIDI interfaces. However, with current technology, it remains difficult to duplicate a crucial aspect of acoustic pianos, namely that when the damper pedal (see below) is depressed, the strings not struck vibrate sympathetically when other strings are struck, as well as the unique instrument-specific mathematical non-linearity of partials on any given unison. Since this sympathetic vibration is considered central to a beautiful piano tone, many experts estimate that digital pianos still do not compete with the best acoustic pianos in tone quality. Progress is being made in this area by including physical models of sympathetic vibration in the synthesis software.

One modern equivalent for the player piano is the Yamaha Disklavier system, which uses solenoids and midi instead of pneumatics and rolls. Silent pianos, which silence the piano and convert it to a digital instrument, are a recent innovation and are becoming more popular.

Keyboard

Almost every modern piano has 88 keys (seven octaves plus a minor third, from A0 to C8). Many older pianos only have 85 keys (seven octaves from A0 to A7), while some manufacturers extend the range further in one or both directions. The most notable example of an extended range can be found on Bösendorfer pianos, one model which extends the normal range downwards to F0, with one other model going as far as a bottom C0, making a full eight octave range. Sometimes, these extra keys are hidden under a small hinged lid, which can be flipped down to cover the keys and avoid visual disorientation in a pianist unfamiliar with the extended keyboard; on others, the colours of the extra white keys are reversed (black instead of white). 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. More recently, the Stuart and Sons company has also manufactured extended-range pianos. On their instruments, the range is extended both down the bass to F0 and up the treble to F8 for a full eight octaves. The extra keys are the same as the other keys in appearance.

Small studio upright type acoustical pianos with only 65 keys (which are called gigs pianos) have been manufactured for use by roving pianists. Even though they contain a cast iron harp, they are comparatively light weight so they can be easily transported to and from engagements by only 2 men. Because their harp is longer than that of a spinet or console piano they have a stronger base sound which to some pianists is well worth the trade-off in range that a reduced key-set leaves them.

Pedals

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.) Some cheaper instruments have only two pedals; but every piano has at least a damper pedal and a soft pedal. Most pianos with three pedals add the sostenuto pedal to that basic pair.

Damper pedal

The damper pedal (also called the sustain pedal or, erroneously, loud pedal) is often simply called "the pedal", since it is the most frequently used. It is placed as the rightmost pedal in the group. The mechanism for each note, except in the top two octaves, includes a damper, which is a pad that prevents the note's strings from vibrating. Normally, the damper is raised off the strings whenever the key for that note is pressed. But when the damper pedal is depressed, all the dampers on the piano are lifted at once, so that all the strings in the instrument are free from contact with dampers. This serves two purposes. First, it assists the pianist in producing a legato (playing smoothly connected notes) in passages where there is fingering that will enable legato. Second, raising the dampers leaves all the strings free to vibrate sympathetically with whichever notes are being played, which greatly enriches the piano's tone.

Sensitive pedaling is one of the techniques a pianist must master, since piano music from Chopin onwards tends to benefit from extensive use of the sustain pedal, both as a means of achieving a singing tone and as an aid to legato. In contrast, the sustain pedal was used only sparingly by the composers of the 18th century, including Haydn, Mozart, Beethoven in his early works; in that era, pedalling was considered primarily as a special coloristic effect.

Soft pedal

The soft pedal or "una corda" pedal is placed leftmost in the row of pedals. Soft pedals on some pianos are designed to lock in place, sustaining the effect without the musician applying constant pressure to the pedal. On a grand piano, this pedal shifts the whole action including the keyboard slightly to the right, so that hammers that normally strike all three of the strings for a note strike only two of them. This softens the note and modifies its tone quality. For notation of the soft pedal in printed music, see List of musical terminology.

The soft pedal was invented by Cristofori and thus appeared on the very earliest pianos. In the 18th and early 19th centuries, the soft pedal was more effective than today, since pianos were manufactured with only two strings per note, and just one string per note would therefore be struck. This is the origin of the name "una corda", Italian for "one string". In modern pianos, there are three strings per note (except for lower notes, which have two, and the very lowest, which have only one). The strings are spaced too closely to permit a true "una corda" effect — if shifted far enough to strike just one string on one note, the hammers would hit the string of the next note.

On many upright pianos, the soft pedal instead operates a mechanism that moves the hammers' resting position closer to the strings. Since the hammers have less distance to travel this reduces the speed at which they hit the strings, and hence the volume is reduced, but this does not change tone quality in the way the "una corda" pedal does on a grand piano. When this pedal is depressed on the vertical piano, it changes the action creating what is called "lost motion": that is, the jack is now further from the hammer butt, and now has to travel further to engage the hammer. This lost motion changes the touch and feel of the playing action, and as a result many pianists never use the soft pedal on a vertical piano. Some of the best old vertical pianos in the early 20th century used what is called a "lost motion compensator", a mechanism that would remove the lost motion when the soft pedal was depressed. Since the grand piano soft pedal simply shifts the action sideways, it does not change the touch and feel of the action, another advantage grand pianos have over vertical pianos.

Digital pianos often use this leftmost pedal to alter the sound to that of another instrument such as the organ, guitar, or harmonica. Pitch bends, Leslie speaker on and off, vibrato modulation, etc.

Sostenuto pedal

The sostenuto pedal or "middle pedal" keeps raised any damper that was already raised at the moment the pedal is depressed. This makes it possible to sustain some notes (by depressing the sostenuto pedal before notes to be sustained are released) while the player's hands are free to play other notes. This can be useful for musical passages with pedal points and other otherwise tricky or impossible situations. The sostenuto pedal was the last of the three pedals to be added to the standard piano, and to this day many pianos are not equipped with a sostenuto pedal. Almost all modern grand pianos have a sostenuto pedal, while many upright pianos do not.

A number of 20th-century works specifically call for the use of the sostenuto pedal, for example Olivier Messiaen's Catalogue d'oiseaux. This pedal is often unused in modern music.

Bass sustain pedal

On many vertical pianos, the middle pedal is merely a bass sustain pedal: that is, when it is depressed, the dampers lift off the strings only in the bass section. This pedal would be used only when a pianist needs to sustain a single bass note or chord over many measures, while playing the melody in the treble section. Given its limited use musically, few pianists even bother to use this pedal. Some grand pianos use this bass sustain type pedal rather than using a true sostenuto pedal, often an indication the grand piano was cheaply made (although some of the better old grand pianos also had this pedal).

Other kinds of pedal

Some vertical pianos have a practice pedal or celeste pedal in place of the sostenuto. This pedal, which can usually be locked in place by depressing it and pushing it to one side, drops a strip of felt between the hammers and the strings so that all the notes are greatly muted — a handy feature for those who wish to practice in domestic surroundings without disturbing the neighbours. Such practice pedal is rarely used in performance, especially due to the nature of the felt swinging into place; a slow and somewhat stifled movement.

The rare transposing piano, of which Irving Berlin possessed an example, uses the middle pedal as a clutch which disengages the keyboard from the mechanism, enabling the keyboard to be moved to the left or right with a lever. The entire action of the piano is thus shifted to allow the pianist to play music written in one key so that it sounds in a different key.

Materials

Many parts of a piano are made of materials selected for extreme sturdiness. In quality pianos, the outer rim of the piano is made of a hardwood, normally maple or beech. According to Harold A. Conklin, the purpose of a sturdy rim is so that "the vibrational energy will stay as much as possible in the soundboard instead of dissipating uselessly in the case parts, which are inefficient radiators of sound." The rim is normally made by laminating flexible strips of hardwood to the desired shape, a system that was developed by Theodore Steinway in 1880.

The thick wooden braces at the bottom (grands) or back (uprights) of the piano are not as acoustically important as the rim, and are often made of a softwood, even in top-quality pianos, in order to save weight.

The pinblock, which holds the tuning pins in place, is another area of the piano where toughness is important. It is made of hardwood, (often maple) and generally is laminated (built of multiple layers) for additional strength and gripping power.

Piano strings (also called piano wire), which must endure years of extreme tension and hard blows, are made of high quality 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 flexibility. For the acoustic reasons behind this, see Piano acoustics.

The plate, or metal frame, of a piano is usually made of cast iron. It is advantageous for the plate to be quite massive. Since the strings are attached to the plate at one end, any vibrations transmitted to the plate will result in loss of energy to the desired (efficient) channel of sound transmission, namely the bridge and the soundboard. Some manufacturers now use cast steel in their plates, for greater strength. The casting of the plate is a delicate art, since the dimensions are crucial and the iron shrinks by about one percent during cooling. The inclusion in a piano of an extremely large piece of metal is potentially an aesthetic handicap. Piano makers overcome this handicap by polishing, painting, and decorating the plate; often plates include the manufacturer's ornamental medallion and can be strikingly attractive. In an effort to make pianos lighter, Alcoa worked with Winter and Company piano manufacturers to make pianos using an aluminum plate during the 1940s. The use of aluminum for piano plates, however, did not become widely accepted and was discontinued.

The numerous grand parts and upright parts of a piano action are generally hardwood (e.g. maple, beech. hornbeam). However, since World War II, plastics have become available. Early plastics were incorporated into some pianos in the late 1940s and 1950s, but proved disastrous because they crystallized and lost their strength after only a few decades of use. The Steinway firm once incorporated Teflon, a synthetic material developed by DuPont, for some grand action parts in place of cloth, but ultimately abandoned the experiment due to an inherent "clicking" which invariably developed over time. (Also Teflon is "humidity stable" whereas the wood adjacent to the Teflon will swell and shrink with humidity changes, causing problems.) More recently, the Kawai firm has built pianos with action parts made of more modern and effective plastics such as carbon fiber; these parts have held up better and have generally received the respect of piano technicians.

View from below of a 182-cm grand piano. In order of distance from viewer: softwood braces, tapered soundboard ribs, soundboard. The metal rod at lower right is a humidity control device.

The part of the piano where materials probably matter more than anywhere else is the soundboard. In quality pianos, this is made of solid spruce (that is, spruce boards glued together at their edges). Spruce is chosen for its high ratio of strength to weight. The best piano makers use close-grained, quarter-sawn, defect-free spruce, and make sure that it has been carefully dried over a long period of time before making it into soundboards. In cheap pianos, the soundboard is often made of plywood.

Piano keys are generally made of spruce or basswood, for lightness. Spruce is normally used in high-quality pianos. Traditionally, the black keys were made from ebony and the white keys were covered with strips of ivory, but since ivory-yielding species are now endangered and protected by treaty, plastics are now almost exclusively used. Also, ivory tends to chip more easily than plastic.

Legal ivory can still be obtained in limited quantities. At one time, the Yamaha firm innovated a plastic called "Ivorine" or "Ivorite", since imitated by other makers, that mimics the look and feel of ivory.

The requirement of structural strength, fulfilled with stout hardwood and thick metal, makes a piano heavy; even a small upright can weigh 136 kg (300 lb), and the Steinway concert grand (Model D) weighs 480 kg (990 lb). The largest piano built, the Fazioli F308, weighs 691 kg (1520 lb).

Care and maintenance

Pianos need regular tuning to keep them up to pitch and produce a pleasing sound; by convention they are tuned to the internationally recognized standard concert pitch of A = 440 Hz.

The hammers of pianos are voiced to compensate for gradual hardening, and other parts also need periodic regulation. Aged and worn pianos can be rebuilt or reconditioned. Often, by replacing a great number of their parts, they can be made to perform as well as new pianos. It is often felt, however, that older pianos are more settled and produce a warmer tone.

Piano moving should be done by trained piano movers using adequate manpower and the correct equipment for any particular piano's size and weight. Pianos are heavy yet delicate instruments. Over the years, professional piano movers have developed special techniques for transporting both grands and uprights which prevent damages to the case and to the piano's mechanics. The wikibook on packing and moving household goods mentioned here has a section devoted to piano moving with a 3 page section of warnings regarding the risks and dangers of DIY piano moving.

Role of the piano

The piano is a crucial instrument in Western classical music, jazz, film, television, and most other complex western musical genres. Since a large number of composers are proficient pianists — and because the piano keyboard offers an easy means of complex melodic and harmonic interplay — the piano is often used as a tool for composition.

Pianos were, and still are, popular instruments for private household ownership, especially among the middle and upper classes. Hence, pianos have gained a place in the popular consciousness, and are sometimes referred to by nicknames including: "the ivories", "the joanna", "the eighty-eight", and "the black(s) and white(s)", "the little joe(s)". Playing the piano is sometimes referred to as "tickling the ivories".

Notes

^ Fazioli Pianoforti (2005). "FAZIOLI – Pianoforti a coda e da concerto". Retrieved 2006-05-18.
^ Pollens, 1995. chp. 1
^ ^a ^b ^c ^d "Cristofori Piano". Retrieved 2007-10-09.
^ Heaton, Barrie. "A History of the Piano, 1157-2007". Retrieved 2007-10-09. {{cite web}}: More than one of |author= and |last= specified (help)
^ "The Viennese Piano". Retrieved 2007-10-09.

References

Most of the information in this article can be found in the following published works:

The authoritative New Grove Dictionary of Music and Musicians (available online by subscription), contains a great wealth of information. Main article: "Pianoforte".
The Encyclopædia Britannica (available online by subscription) also includes much information on the piano. In the 1988 edition, the primary article can be found in "Musical Instruments".
The Piano Book by Larry Fine (4th ed. Jamaica Plain, Massachusetts: Brookside Press, 2001; ISBN 1-929145-01-2) 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.
Giraffes, black dragons, and other pianos: a technological history from Cristofori to the modern concert grand by Edwin M. Good (1982, second ed., 2001, Stanford, Calif.: Stanford University Press) is a standard reference on the history of the piano.
The Early Pianoforte by Stewart Pollens (1995, Cambridge: Cambridge University Press) is an authoritative work covering the ancestry of the piano, its invention by Cristofori, and the early stages of its subsequent evolution.

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 }} A comprehensive work on how to evaluate, buy and maintain a piano. Includes a great deal of information on how a piano works, and a lengthy guide to specific pianos.
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