The Story of the Piano’s Invention

The origins of the Piano

Instruments can be divided into three categories based on how they produce sounds. Those categories are string instruments, wind instruments, and percussion instruments. The piano’s ancestry can be traced back through various instruments such as the clavichord, harpsichord, and dulcimer. But if it were traced back even further, one would find that the piano is a descendant of the monochord. In other words, based on its ancestry the piano can be classified as a string instrument.

Origins of the piano

Origins of the piano

Although the piano can be classified as a string instrument due to the fact that the sounds come from the vibration of strings, it can also be classified as a percussion instrument because a hammer strikes those strings. In this way it is similar to a dulcimer.
The dulcimer is an instrument that originated in the Middle East and spread to Europe in the 11th century. It features a simple resonating box with strings stretched on top of it. Much like a piano, a small hammer is used to hit the strings, which is why the dulcimer is considered to be a direct ancestor of the piano.

The dulcimer

The dulcimer

The piano is also considered to be a part of the keyboard family. The history of instruments with keyboards dates far back and originates from the organ, which sends bursts of air through pipes to make sound. Craftsmen improved upon the organ to develop an instrument that was a step closer to the piano, the clavichord.
The clavichord first appeared in the 14th century and became popular during the Renaissance Era. Pressing a key would send a brass rod, called a tangent, to strike the string and cause vibrations that emit sound over a range of four to five octaves.

The clavichord

The clavichord

Created in Italy in around 1500, the harpsichord later spread to France, Germany, Flanders, and Great Britain. When a key is pressed, a plectrum attached to a long strip of wood called a jack plucks the string to make music.
This system of strings and soundboard, and the overall structure of the instrument resemble those that can be found in a piano.

The harpsichord

The harpsichord

The piano was invented by Bartolomeo Cristofori (1655-1731) of Italy.
Cristofori was unsatisfied by the lack of control that musicians had over the volume level of the harpsichord. He is credited for switching out the plucking mechanism with a hammer to create the modern piano in the year 1709.
The instrument was actually first named “clavicembalo col piano e forte” (literally, a harpsichord that can play soft and loud noises). This was shortened to the now common name, “piano.”

The mechanism invented by Cristofori

The mechanism invented by Cristofori

The Cristofori fortepiano

The Cristofori fortepiano

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Using a Clavinova to Record Your Performance and Print Your Score

Using a Clavinova to Record Your Performance and Print Your Score

How to create a musical score with a CVP Clavinova.

One of the most popular features of the CVP Clavinova is the ability to display a music score in the large LCD screen contained in the center of the CVP panel. Technically, what you see in the screen of the Clavinova is not “sheet music” – it is a momentary display of MIDI information in score notation format. So how do you capture and convert this information into a score of your composition? Learn the easy tips and techniques here.

Whenever I show this feature to Clavinova owners, they always ask two very pointed questions. The first is, “Will the Clavinova also display notes that I play on the piano keyboard?” (The answer is “Yes!”) They quickly follow with “Can you print that out?” (Which is also “Yes!”)

However, both affirmative responses need a little further explanation. Since MIDI is a recording not of audio, but instead of notes played in a certain order and with certain durations, it’s easy for a device to convert MIDI note data to a score. So, yes, the CVP will generate a score from the notes played on the keyboard when you’re recording that piece as a MIDI file. However, the timing will not make any sense unless you record that MIDI file using the Clavinova’s built-in metronome. If you don’t play in time with the metronome during recording, the Clavinova has no way to interpret the timing of the notes to match the bar lines of the music.

Also, be aware that after you record the MIDI piece with a metronome, all the notes will be crowded together on the top stave of the displayed score. This is because when you record a MIDI file in the Clavinova under default conditions, the Clavinova records all notes (both hands) to MIDI channel 1, which is normally assigned to the top stave and assumed to normally be just for the right hand. Since nothing was recorded to channel 2, there are no notes on the bottom stave, which is normally assumed to be the left hand:

To give the Clavinova “permission” to use the entire grand staff to display your performance (not just the top stave), select the “gear” in the bottom right of the score display, and change both right and left hands from AUTO to channel 1:

Immediately, the Clavinova will spread all the notes out using the entire grand staff for MIDI channel 1. It’s important to note that Middle “C” is the cutoff point between treble and bass clef, and therefore, between right and left hands:

Regarding printing the score, “Yes,” you can print the score if you save the MIDI file you recorded to a USB flash memory drive, and then open that MIDI file in any computer that has a music notation program installed. All music notation programs will open a MIDI file in the “FILE” area and display the notes as score notation, just like the Clavinova. Just be aware that the score might look different than what you see in the Clavinova screen because each music notation program interprets the timing of notes with different sensitivities. You can change the sensitivities of the display by changing what is referred to as quantization.

Quantization will correct the timing errors in your performance. For example, if you don’t play 8th notes evenly, you can quantize the piece for 8th notes, and those notes will appear as though you played them with perfect timing! Here’s an example with 16th notes non-quantized, and then the same file with 8th note quantizing:

 

Note that the Clavinova quantize feature does NOT change what you hear when playing back the file. In other words, the above example would sound the same either way. That’s because the Clavinova doesn’t actually move the notes in the MIDI file. It does, however, change the way your performance is displayed in the screen. You could argue that it is the best of both worlds: a quantized, clean display of notes, combined with non-quantized expression of playback for a natural sounding performance.

The score function in the Clavinova is a great way to have a “reminder score” if you want to perform without sheet music. When a score is displayed in the CVP, you can swipe your finger to the right or left to turn pages. As a bonus, rather than using your finger to turn pages, you can assign the CENTER pedal to advance pages, making page turns more seamless — like using a Bluetooth page-turning pedal:

It’s a lot of fun to make up a song and then see what the music looks like as a score. By using these two hints — recording to the Clavinova metronome, and then assigning right and left hands to channel 1 after recording — your score will look great in the CVP display.

 

ABOUT THE AUTHOR

Craig Knudsen has over 30 years experience in the high-tech music industry. He is a highly accomplished keyboardist and musical arranger who has been featured at Carnegie Hall. Known as the creator of “Follow Lights” and “Kooky Karaoke” Clavinovas, as well as SmartKEY on the Disklavier, Craig has designed shows for the Disneyland Tomorrowland’s Home of the Future and has worked with arranger Phillip Keveren to develop the CueTIME Series, where the background arrangements follow as you play at different tempos. Most recently, Craig has worked with ThePianoGuys, helping them create videos featured on YouTube.

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Using the Clavinova Piano Room and Session Mode

Using the Clavinova Piano Room and Session Mode

Choose your venue, choose your piano, then put together a virtual backup band.

Ever imagined yourself playing a grand piano in an intimate salon – or a large concert hall? Or getting to pick from a suite of pianos to play, depending on your mood or what type of music you want to interpret? And once you’ve chosen the venue and piano, how about adding a “back-up band” to jam along with you?

All CVP-700 series Clavinova models have features called Piano Room and Session Mode that allow you to do just that! They enable you to enter a virtual piano “selection room” to choose a favorite piano from several options and then see where your creativity can take you.

After you select your piano in the Piano Room, you can raise or lower its lid to change the brightness of the instrument (if it’s a grand), change the venue or location where the piano is playing to alter the reverb and ambiance, and even adjust the tuning and touch responsiveness.  When you leave the Piano Room, all settings are automatically saved for the next time you return.

Session Mode allows virtual musicians to be brought into the Piano Room to accompany you as you play the piano. The name is derived from a musical term that refers to having a jam “session” with a band, where a group of musicians get together and play as they call out chords or follow chords listed in a “fake book.” A “fake book” is called this because the musicians simply “fake the left hand” as they read chords that suggest harmonies for all of them to follow, so they sound good playing together.

To access Session Mode, press the icon in the top right hand corner of the Piano Room – the one that looks like an instrument and a drum.  When you press this button, the piano you selected literally moves over in the screen to make room for the three new members of the band – a guitar player, a percussionist (or drummer), and a bass player.

When you press what looks like a very large Play button to the right of the band area, you will hear a drummer start to give you a beat. Then, if you play your entire piece on the piano keyboard, you will hear the rest of the band join in – as the virtual band members figure out what harmonies you are playing using the Style section tone generator.

The default for chord detection mode is Full Keyboard AI, which means you can play anywhere on the piano keyboard. (For more information on “Full Keyboard” mode, see the blog post entitled “Controlling Styles with Both Hands – Using Full Keyboard Mode”.)  For those who prefer an actual split in the keyboard, where you play chords in the left hand and melody in the right, you can also select “Fingered AI”, which, when selected, lights a single LED near the center of the keyboard that indicates the “Split Point,” above which you should use your right hand to play the melody, and below which you should use your left hand to play chords.

As you play your song, the backing musicians will follow the harmonies you are playing on the piano and accompany you in the style of music that you selected. On the touch screen, press the band area to select different bands. Note that when you change Styles in the screen, the musicians’ instruments change in the band area.

For more variations, turn on “Section Control” to get four variations of the style you’ve already selected, which vary in complexity from A to D.

A unique feature called Dynamic Control instructs the backing band to increase or decrease their volume depending upon how loudly or softly you are playing your selected piano. This really adds to the illusion that the band is in the same room with you as you play your piano. It is really quite uncanny when you abruptly start to play softly, and then hear the band suddenly cut their volume as if they are truly listening to your performance!

When the band has had enough practice and you feel it’s time to “lay down some tracks,” simply press the large red dot in the bottom left of the screen to activate “microphone free” recording. You can even choose between MIDI and AUDIO recording, depending on which format you want to share your music in.

Session Mode is really perfect for someone who plays “traditional piano” and wants to feel what it’s like to play with a real band.

ABOUT THE AUTHOR

Craig Knudsen has over 30 years experience in the high-tech music industry. He is a highly accomplished keyboardist and musical arranger who has been featured at Carnegie Hall. Known as the creator of “Follow Lights” and “Kooky Karaoke” Clavinovas, as well as SmartKEY on the Disklavier, Craig has designed shows for the Disneyland Tomorrowland’s Home of the Future and has worked with arranger Phillip Keveren to develop the CueTIME Series, where the background arrangements follow as you play at different tempos. Most recently, Craig has worked with ThePianoGuys, helping them create videos featured on YouTube.
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Steven Tyler plays at 2018’s Ribfest

Aerosmith lead singer Steven Tyler is slated to play at 2018’s Ribfest, along with the Loving Mary Band. They’ll take the stage Saturday night, not until July 7 but tickets go on sale 6 p.m. Nov. 22 at Ribfest.net. The announcement was made Wednesday on Ribfest’s Facebook page. The 31st Annual Ribfest will take place July 4 – 7 2018, tentatively, according to its website. No word yet on ticket prices.

Ribfest has raised over $15.5 million toward eliminating child abuse and domestic violence. The Exchange Club of Naperville is the festival’s sponsor. Part of what convinced Tyler to commit was a deal to have a portion of the 2018 proceeds go to his charity, Janie’s Fund, the Naperville Sun reports. The fund’s website says Tyler partnered with the nonprofit Youth Villages to bring hope and healing to many of our country’s most vulnerable girls who have suffered the trauma of abuse and neglect.

Other recent Ribfest performers include: The Wallflowers, Better Than Ezra, Toby Keith, Sheryl Crow, Gin Blossoms and Toni

originally posted on Naperville Patch

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An Evening with Sir Elton John

Naperville Music would like to introduce you to AN EVENING WITH ELTON JOHN, brought to you by Yamaha Disklavier

This is the first time we held an event like this at our store and it was a huge success! The response was so great that we had to add 3 additional showings to show off this amazing product and all it can do.

Let’s take a moment and imagine you are sitting front row to one of your favorite artist’s, in this instance Elton John. You might think to yourself, “I could never be that close”, well the Disklavier gives you this opportunity, and the best part is it’s all from the comfort of your own home.

While these artists perform at different venues around the world, the Disklavier transmits all their actual key strokes and pedal movements from that performance to the piano in your home, it is as if they are playing the piano right in front of you.

See them perform on your tv…………WATCH NOW!

Watch your piano come to life and play exactly what the artist is playing at the time of their performance,  right there in your home………………

The speakers under the piano produce the vocals and other instrumentation while your piano actually plays so you get that full LIVE performance feel…………

This piano offers more than just the Disklavier TV which is what gives you those great live performances. There is also Music Soft which is very similar to iTunes which allows you to wirelessly download music from a library of over 4000 songs directly to your piano for easy use. And last but not least like satellite radio, this piano offers Disklavier Radio which allows you access to over 32 radio stations so you can have endless hours of music playing the piano for your enjoyment. And did I mention the piano already comes loaded with 500 songs and is all controlled by your iPhone or iPad! Take a look……….

Thanks for taking the time to learn a little bit about this unbelievable piano. Check out our website at NapervilleMusic.com for our full line of Yamaha pianos and follow us on social media to see whats happening here at the store.

 

Thanks for watching.

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CITES Considers Revising Rosewood Rules

THE CITES PLANT COMMITTEE held an open meeting in Geneva last month, offering musical instrument manufacturers the rare opportunity to comment on and criticize the highly disruptive rosewood regulations that were hastily implemented in January of this year. Approximately 25 instrument makers, including representatives from Martin and Taylor Guitars, and Madinter, a leading supplier of tonewoods, were present. Scott Paul, director of natural resource sustainability at Taylor Guitars, said the committee was surprised by the unusually large turnout and “gave us a very sympathetic hearing.”

The CITES regulations in question placed all 200-plus species of Dalbergia, commonly known as rosewood, on “Appendix II” status, requiring manufacturers to secure import and export licenses for all products containing rosewood. For guitar and wind instrument makers, the new rules effectively brought trade to a halt as countries around the world scrambled to develop the appropriate forms and procedures for complying with the new rules. As a result, in the first quarter of 2017, U.S. electric guitar imports plummeted by 25% and acoustic guitar imports were off 31%.
The CITES Plant Committee cannot alter the text of the rosewood regulations. That can only be done by the CITES Committee of Parties (COP) which will next meet in 2019. What the Plant Committee can do is suggest alternative interpretations of the text. Given that even the Committee conceded that the rules were poorly written and full of ambiguous language, “alternative interpretations” hold the promise of easing some of the compliance burdens.
The good news emerging from the meeting was that the 500 scientists, environmental organization representatives, and interested observers in attendance seemed to agree that there were opportunities to scale back some of the burdensome reporting requirements on manufacturers that use rosewood, including guitar and wind instrument companies, without sacrificing the goal of preserving the world’s rosewood forests. The bad news was that the Plant Committee can only make recommendations; any actual changes to the CITES rules have to wait for the full COP meeting, set for some time in 2019 in Sri Lanka.
Environmental enforcement agencies around the world, like the U.S. Fish and Wildlife Service, are emerging as an unlikely ally in rewriting the rosewood rules. Several agency representatives at the meeting complained that generating export licenses for musical instruments was consuming a disproportionate amount of time, diverting personnel from far more pressing issues.

Reposted from MusicTradesMagazine

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12- and 14-Fret Guitars: Which Acoustic Is Right for You?

Breaking down the differences between these two types of guitars

Mathematically, the variance between a 12-fret acoustic guitar neck and one that has 14 frets might only be two, but it goes further than that when talking about sound and feel.

First off, however, what does 12- vs. 14-fret guitar mean?

This refers to the position where the neck meets the body of the guitar. So on a 12-fret guitar, the neck hits the body at the 12th fret, and on a 14-fret guitar, it’s at the 14th fret.

At Fender, the Paramount PM-2 Parlor boasts a 12-fret neck (with 19 total frets on the fingerboard), while the CN-60S has 18 total frets but meets the neck at the 12th fret.

Nearly every other Fender acoustic has 14 frets clear of the body, and that includes all besides the Parlor in the Paramount Series.

A big difference between 12-fret and 14-fret guitars is the location of the bridge.

A 12-fret guitar has its bridge further from the soundhole, closer to the lower bout, allowing it to sit on a more flexible place on the top and offering more sustain on smaller bodies.

“The 12-fret bridge is sitting farther back into the meat of the guitar,” said Fender Acoustics Vice President of Product Development Brian Swerdfeger. “It’s the widest part of the lower bout. 12-fret guitar guitars tend to be warmer, fuller sounding, because of where the bridge is located.”

On the other hand, a 14-fret guitar, with the bridge closer to the soundhole, can be brighter, with more attack on the highs. Comfort is another difference between these two guitars. Players who have a more compact frame might be able to draw the body of a 12-fretter closer to themselves.

“When you move the neck into the body, you have less of a reach,” Swerdfeger said. “So for people with a smaller frame, a 12-fret neck can be more comfortable because you’re not reaching so far down the neck.

“For the person that finds it more comfortable, it’s easy to play. But for the person who traditionally plays a 14-fret guitar, they can feel cramped. If those people who are playing on the seventh or eighth fret, their elbow can get jammed into their body.”

At the end of the day, it’s a matter of personal preference. Tone, style and comfort all contribute to whether a guitar is right for you. And you’ll only figure that out by playing them both.

Originally Posted at Fender.com

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What Is Pau Ferro? Will it replace Rosewood

Discover the fretboard tonewood Fender will be using in new guitars and basses.

With its infamous “SRV” pickguard, gold-plated hardware and upside-down tremolo system, the Stevie Ray Vaughan signature Stratocaster has its own eye-catching style.

But there is one important feature of this legendary guitar that sometimes gets overlooked—the pau ferro fingerboard.

A great wood for instrument fingerboards, pau ferro is a South American tonewood with a smooth feel and sonic characteristics similar to rosewood, but lighter in color and harder.

And it is a wood that Fender will be using much more of now that CITES laws regulating how rosewood is traded internationally came into effect on Jan. 2, 2017.

CITES (or the Convention of International Trade of Endangered Species of Flora and Fauna) is a global agreement that has existed since 1975 to ensure international trade of wildlife does not threaten the health of species and ecosystems.

In a conference held late last year, it was decided that rosewood, namely Indian and Indonesian rosewood (more specifically, the genus Dalbergia and three bubinga species—Guibourtia demeuseiGuibourtia pellegriniana, and Guibourtia tessmannii), will be protected under CITES Appendix II. That means any transportation or shipment of an instrument or instruments for commercial purposes with any amount of rosewood requires a CITES Export Certificate issued by the U.S. Fish and Wildlife Service, and possibly a CITES Import Permit required by the receiving country.

Enter pau ferro. The wood that has been the fretboard for the Stevie Ray Vaughn Strat for many years will see wider incorporation into instruments made in Fender’s Ensenada, Mexico, factory.

Pau ferro’s warm tone is tempered by its snappy attack, creating a crisp, clear sound ideal for fingerboards.

“Pau ferro is actually called ‘Bolivian rosewood’ in some circles, and we’ve used it on models in the past,” said Senior Vice President of Fender Products Justin Norvell. “It’s actually been used as a well-known alternative for rosewood for a long time, and it’s often available in wider widths, so we used it on a lot of our five-string basses in the ‘90s. It’s a wood we’re familiar with.”

Pau ferro was one of the first solutions Norvell and others on the Fender product team landed upon when discussing the CITES regulations in January around the annual NAMM Show.

“In looking at options, our main focus was first and foremost on guaranteeing the best possible sounds and feel,” said Fender Director of Wood Technology Mike Born. “We were already using Pau Ferro in some models right now, so we could successfully switch to Pau Ferro. By January, we made the decision to jump on Pau Ferro and start getting it into our process. And it’s a good thing we did right at that point.”

The SRV Strat is not the only instrument that currently has pau ferro fingerboards, as the Jaco Pastorius Jazz Bass also carries one.

“The reason that Pau Ferro was one of the best options is that we’ve had experience with it for a long time,” Born noted. “It’s got a very similar hardness and oil content to rosewood. We know it’s got a good tone to it. And it’s got a nice, dark color.”

Fender players can keep an eye out for pau ferro fingerboards on guitars and basses in the Standard SeriesDeluxe Series and Classic Series, in addition to many other instruments made in Mexico.

“Fender is committed as a brand to comply with all CITES regulations and to ensure we are continuing to deliver the best quality and accessible products to our customers and dealers,” said Fender CEO Andy Mooney.

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5 Ways to Cut the Buzz

Fret buzz is a common problem with guitars. It’s caused when a string vibrates against a fret on the neck (instead of over it), making an annoying buzzing sound. Here are five reasons why your strings are buzzing:

1. Fret in the Right Place

Make sure you’re fretting notes at the proper spot just behind the fret. If your fingers are too far behind the fret you’re likely to hear some unwanted buzzing.

2. Apply the Right Amount of Pressure

Not pressing down on the strings hard enough means the strings aren’t making good contact with the frets. This applies especially to barre chords, as you might not have worked up enough stamina and finger strength to make sure all the strings are making good contact.

3. Avoid Strumming Too Hard

If you hit the strings too hard when strumming, it can cause the strings to vibrate up and down too much (as opposed to side to side), increasing the chance of buzzing.

4. Consider the Strings

If you’ve recently changed strings to a different size, this might have changed the tension and shape of the neck. If the new strings are thinner than before, the guitar will have a lower tension and is more likely to buzz and need some adjusting.

5. Check the Setup

Make sure your guitar is set up properly. Taking it to a guitar shop can save a lot of time and head-scratching, because a technician can see if the buzzing is caused by low action, uneven frets, a bent neck or some other issue.

There’s nothing more annoying than when your guitar makes irritating noises it shouldn’t. Reducing buzzing is easy, you just have to pay attention to your technique and make sure your guitar is set up properly. Keep these tips in mind to enjoy a clean and buzz-free sound.

originally published by
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Yamaha Shows off Silent Guitar

Whenever, wherever

The SLG is the perfect instrument for practice, travel or stage use – any time an acoustic guitar just won’t do. Near-silent performance makes discrete practice simple, Yamaha’s exclusive SRT-Powered pickup system gives incredibly natural acoustic tone through headphones or line-out, studio-quality on-board effects enhance your playing to perfection, line-in functionality makes jamming easy. Coupled with unique, striking looks and a rosewood and maple framed full-size collapsible body SLG lets you play whenever and wherever inspiration hits.

Silent Guitar SLG200 – A day in the life

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