Piano, stringed keyboard musical instrument, made from the harpsichord and the clavichord. Also the name is pianoforte, it different is predecessors principally in the introduction of a hammer-and-lever action that can make the player to feel is and soft and hard of the sound by the stronger or weaker touch of the fingers. So we can know the first of the model (1709) was called a gravicembalo col piane forte (Italian for “harpsichord with soft and loud”). It was made by Bartolomeo Cristofori, a harpsichord maker of Florence, Italy, who is generally credited with inventing the piano. Two of his pianos still exist. The case of one, dated 1720, is in the Metropolitan Museum of Art, New York City; the other, dated 1726, is in a museum in Leipzig, Germany.

Early Evolution of the Piano
It is start in 1725, when the noted German organ maker Gottfried Silbermann of Freiberg adopted Cristofori's action, the next major developments took place in Germany. Perhaps the most important contribution was made by Johann Andreas Stein of Augsburg, who is credited with inventing an improved escapement that became the foundation of the “Viennese” piano praised by Wolfgang Amadeus Mozart and favored by most German composers of the late 18th and early 19th centuries. Twelve masters from central Germany migrated to London about 1760 and established the English school that, under John Broadwood and others, turned to the production of pianos of a stronger build, resembling those of our own day. The French manufacturer Sebastian Erard founded the French school in the 1790s, and in 1823 created the double action that is still in general use. By this time artisans in all Western nations were working to perfect the pianoforte. Numerous improvements were and are still being made in design and construction. Germany and the United States have long been distinguished for fine pianos, notably those of the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bosendorfer firm are also highly respected.
The compass of the early piano was, like that of the harpsichord, only four, or at most, five octaves, but it has gradually increased to a compass of more than seven octaves as structural changes allowed for increases in tension amounting to several tons.

Modern Structure
The modern pianoforte has six major parts (in the following discussion, the numbers in parentheses refer to the accompanying diagram (Diagram #1 below) of the structure of a pianoforte): (1) The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated. (2) The soundboard, a thin piece of fine-grained spruce placed under the strings, reinforces the tone by means of sympathetic vibration. (3) The strings, made of steel wire, increase in length and thickness from the treble to the bass. The higher pitches are each given two or three strings tuned alike. The lower ones are single strings made heavier by being overspun—that is, wound around with a coil of thin copper wire. (4) The action is the entire mechanism required for propelling the hammers against the strings (see Operation of the Action below). The most visible part of the action is the keyboard, a row of keys manipulated by the fingers. The keys corresponding to the natural tones are made of ivory or plastic; those corresponding to the chromatically altered tones, of ebony or plastic. (5) The pedals are levers pressed down by the feet. The damper, or loud pedal, raises all the dampers so that all the strings struck continue to vibrate even after the keys are released. The soft pedal either throws all the hammers nearer to the strings so that the striking distance is diminished by one-half, or shifts the hammers a little to one side so that only a single string instead of the two or three is struck. Some pianos have a third, or sustaining, pedal that does not raise all the dampers, but keeps raised only those already raised by the keys at the moment this pedal is applied. The use of these pedals can produce subtle changes in tone quality. Many upright pianos have been built in which the application of a pedal interposes a strip of felt between the hammers and strings so that only a very faint sound is produced. (6) According to the shape of the case, pianos are classified as grand, square, and upright. The square form (actually rectangular) is no longer built. For use in private homes it has been entirely superseded by the upright, which takes up far less room. Grand pianos are built in various sizes, from the full concert grand, 2.69 m (8 ft 10 in) long, to the parlor or baby grand, less than 1.8 m (6 ft) long.
Upright pianos include the late 19th-century cottage piano, of which the upright grand is merely a larger form. The modern spinet and console pianos are small uprights related to the cottage piano. In the upright pianos the strings run vertically, or diagonally, from the top to the bottom of the instrument. Uprights and small grands are sometimes overstrung; that is, the bass strings are stretched diagonally across the shorter treble strings, thereby gaining extra length and improved tone quality. The combined tension of the strings on a concert grand piano is about 30 tons, on an upright about 14.
Diagram #1



Operation of the Action
Essentially, when a piano key is pressed down, its tail pivots upward and lifts a lever that throws a hammer against the strings for that key's note. At the same time a damper is raised from these strings, allowing them to vibrate more freely. The following is a much more detailed description of how the action works; the numbers in parentheses refer to the accompanying diagram (Diagram #2 below) of the action of a grand piano.
The piano key (1) is a lever that pivots on a balance pin (2). When the player depresses the key, the tail rises and the capstan screw (3) in the key pushes up the whippen (4), which is hinged. The free end of the whippen rises, taking with it an L-shaped piece called the jack, or escapement lever (5), and the repetition lever (9).
The jack pushes the knuckle, or roller (6), a roll of felt that is fixed to the hammer shank (7); the hammer thus rises. The jack's upward motion is stopped when its protruding end hits the regulating button (8). The hammer flies up away from the jack and strikes the appropriate strings. The repetition lever (9) also rises, but only until the end where the jack passes through it and touches the drop screw (10); this lever stays raised until the key is released.
The hammer falls back, but only partway. It is stopped by the knuckle (6) hitting the raised repetition lever (9). The jack (5) can thus slip back under the partially raised hammer shank and into its original position. At the same time, the backcheck (11) keeps the hammer from rebounding against the strings.
If the key is partly released, the hammer moves free of the backcheck, and the repetition lever stays raised. If the player again depresses the partially released key, the jack (5) can once more push the knuckle (6) and hammer shank (7) upward. (This system allows rapid repetition of notes before the key and hammer have time to return to their original positions. It was an important improvement over early, simpler piano actions.)
Meanwhile, the tail of the key has also pushed up the damper lever (12), which lifts the damper (13) off the strings for that key. When the key is even partially released, the damper falls back onto the strings and silences the note.
When the key is fully released, all parts of the mechanism return to their original positions because of gravity. Unlike grand pianos, upright pianos cannot rely on gravity to cause everything to return to place. In a grand piano the action sits horizontally on the key; in an upright piano the action is adapted so that it sits more or less vertically. Because it cannot completely rely on gravity, it includes various springs and small strips of cloth to pull some of the action parts back into place.
Diagram #2



Ludwig Von Beethoven



Beethoven's Piano Concerto no. 4 in G Major, op. 58
An extraordinary pianist in his own right, 19th-century composer Ludwig van Beethoven wrote many piano concertos early in his career. Therefore, it is not surprising that many of his piano concertos were written to suit his own improvisational style. As this excerpt from the third movement (a rond? of his fourth concerto shows, Beethoven was structurally dependent on classical concerto form although he expanded on the established framework by intensifying the solo voice of the piano with expressive contrapuntal inventiveness and phrasing.

Sergey Rachmaninoff



Chopin's Nocturnes
As both a pianist and composer, Chopin composed almost exclusively for piano. The impressionistic and deeply introspective character of his style is evident in his ballads, preludes, and nocturnes. As a result, all of his works require a high level of technique and creative use of the pedals. Chopin’s Nocturnes, from which this excerpt is taken, reveal his most intimate harmonic explorations and are clearly influenced by the dramatic use of melody developed by Italian opera composer Vincenzo Bellini.

Johannes Brahms

Brahms' Piano Quintet in F Minor, op. 34
In 1862 Johannes Brahms originally composed the Piano Quintet in F Minor for a string quintet with two violoncellos. Later, he arranged it for two pianos, only to change his mind once again to combine stringed instruments with the pianoforte. The first movement opens with a rather restrained allegro in sonata form, from which the theme explodes in fuller glory. Throughout the quintet, the intricate relationships between themes and motifs are explored, bringing to surface an extraordinary balance between freedom and logic in the composition.

"Brahms: Quintet for Two Violins,Viola, Cello and Piano in F Minor,Op. 34" from Schumann, Brahms:Piano Quintets (Cat. # 8.550406)(p)1990 Naxos of America, Inc. Allrights reserved.
Bela Bartok

Bartok's Microcosmos
As a pianist and composer, Hungarian Bela Bartok contributed a great deal to 20th-century music. Though he composed music for orchestra, ballet, choir, opera, and chamber instruments, his works for piano were his most intensely expressive. Interested in exploring new sounds, he would treat the piano almost as a percussion instrument or attempt to imitate East European folk instruments such as the Serbian bagpipe. Interrupted melodies and dissonant intervals, another influence from East European folk music, also peppered his unique compositions.

Jazz:



Meade Lux Lewis

Boogie-Woogie Pianist Meade Lux Lewis
Early boogie-woogie pianist Meade “Lux” Lewis helped popularize a blues-based piano style in the 1930s. His biggest hit, “Honky Tonk Train Blues,” is one of the most vibrant examples of the idiom, featuring Lewis’ percussive right-hand melody contrasted with repeating left-hand syncopated rhythms. Boogie-woogie piano, made popular in southern honky tonks and later making its way to Chicago, was a precursor to popular jazz piano styles such as the “stride” and “trumpet-style” piano playing that became part of early New Orleans jazz.
Jazz Pianist Bill Evans
Contemporary jazz pianist Bill Evans was known for expanding the typical jazz trio—piano, bass, and drums—popular in the 1950s and 1960s. Typically, the piano serves as the lead melodic voice while the bassist and drummer set the rhythm. As a pianist and composer Evans exchanged those musical voices and worked for a creative interaction among all instrumentalists. His work emphasized feeling and attitude and served to develop a shared philosophy among modern-day jazz performers.