upright piano

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upright piano

musical instrument

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upright piano, musical instrument in which the soundboard and plane of the strings run vertically, perpendicular to the keyboard, thus taking up less floor space than the normal grand piano. Upright pianos are made in various heights; the shortest are called spinets or consoles, and these are generally considered to have an inferior tone resulting from the shortness of their strings and their relatively small soundboards. The larger upright pianos were quite popular in the later 19th and early 20th centuries. The action (hammer and damper mechanism) of the upright differs from the grand-piano action mainly in that upright action is returned to a resting position by means of springs rather than by gravity alone, as in a grand. This, in part, accounts for the characteristic “touch” of uprights, which is distinct from that of grands. The chief advantages of upright pianos lie in their modest price and compactness; they are instruments for the home and school, not for the concert stage.

The majority of upright pianos have strings running upward from the bottom of the case, near the floor; this design is owed to John Isaac Hawkins, an Englishman who lived in the United States in about 1800 and became an important piano maker in Philadelphia. Earlier, the strings started upward from near the level of the keys; these instruments were necessarily much taller and lent themselves to various decorative designs, among them lyre-shaped; round; the “pyramid” model (Pyramidenflügel; 1745) of the Saxon organ-builder Ernst Christian Friderici, with both sides sloping upward to the flat top; and the “giraffe-style” design (Giraffenflügel; 1804) of Martin Seuffert of Vienna, with one side straight and one bent, as on a grand piano.

keyboard instrument

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keyboard instrument

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Written by Edwin M. Ripin, Laurence Elliot Libin•All

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Key People:: Prince; Brian Eno; Yanni; Herbie Hancock; Billy Preston

Related Topics:: damper; action; piano accordion; eschiquier; Geigenwerck

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keyboard instrument, any musical instrument on which different notes can be sounded by pressing a series of keys, push buttons, or parallel levers. In nearly all cases in Western music the keys correspond to consecutive notes in the chromatic scale, and they run from the bass at the left to the treble at the right.

This large group of instruments has assumed great importance because the keyboard enables a performer to play many notes at once as well as in close succession. This versatility enables the modern pianist or organist to play, in transcription, any work of Western music, whether it involves chordal harmonies, independent contrapuntal parts, or only a single melody. The capabilities of keyboard instruments have influenced the composition of music for other media, because virtually every major composer from William Byrd (c. 1543–1623) to Igor Stravinsky (1882–1971) and beyond has been at least an accomplished keyboard performer, if not a renowned virtuoso. The evolution of an idiomatic keyboard compositional style has been linked to technological and theoretical developments within Western urban culture; keyboard instruments are not normally associated with folk music, and only during the 20th century has their use spread widely outside the Western world.

In its broadest sense, the term keyboard instrument may be applied to any instrument equipped with a keyboard and thus may be used to refer to accordions, percussion instruments such as the celesta and the carillon, and many electronic instruments—for example, the Moog synthesizer (see photograph ) and the Ondes Martenot. In a narrower sense, such as is employed in this discussion, the term is restricted to instruments in which sound is produced from strings, whether by plucking, striking, or rubbing, or from pipes or reeds.

Development of the keyboard

Evolution from early forms

Long before the appearance of the first stringed keyboard instruments in the 14th century, the keyboard was developed and applied to the organ. A keyboard of the kind familiar today—a series of parallel levers hinged or pivoted so that they can be pushed down by the fingers—first appeared on the hydraulus, an organ probably invented in Alexandria in the late 3rd century bc. This type of keyboard seems to have disappeared after the fall of the Roman Empire, and the organs of the early Middle Ages generally had sliders that were pulled out to sound different notes; some may have had keys that turned like the key for a lock. Keys of the last type were certainly used on the organistrum, a large medieval hurdy-gurdy operated by two players: one turned a crank rotating a wheel that rubbed against one or more strings to make them sound, while the other produced different notes by turning the key-shaped levers that stopped the strings at various points (much as guitar strings are stopped against the fingerboard).

Some small portable organs had push buttons instead of keys as late as the 1440s, but a keyboard resembling the modern type existed in the 14th century, although the arrangement of naturals and sharps (corresponding to the white and black keys on the modern piano) was only gradually standardized. The arrangement of the keys depended in part on the music played and partly on the current state of musical theory. Thus, early keyboards are reported with only a single raised key in each octave (B♭), and there were organs that had both B and B♭ as “natural” keys, with C♯, D♯, F♯, and G♯ as raised keys. The colours of the keys—white for naturals and black for sharps—became standardized much later, about 1800, depending on fashion or on the relative cost of such materials as bone, ivory, or boxwood for the “white” keys and stained hardwood or ebony for the “black” keys. Flemish instruments had bone naturals and oak sharps by 1580; French and German instruments had ebony or fruitwood naturals and bone or ivory sharps until the 1790s.

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