A piano trio is a group of piano and two other instruments a violin and a cello, or a piece of music written for such a group. It is one of the most common forms found in classical chamber music; the term can refer to a group of musicians who play this repertoire together. Works titled; this was in the three movement form, though some of Haydn's have two movements. Mozart, in five late works, is credited with transforming the accompanied keyboard sonata, in which the optional cello doubles the bass of the keyboard left hand, into the balanced trio which has since been a central form of chamber music. With the early 19th century Beethoven, this genre was felt to be more appropriate to cast in the four movement form. Piano trios that are set in the Sonata tradition share the general concerns of such works for their era, are reflective directly of symphonic practice with individual movements laid out according to the composer's understanding of the sonata form. In the Classical period, home music-making made the piano trio a popular genre for arrangements of other works.
For example, Beethoven transcribed his first two symphonies for piano trio. Thus a large number of works exist for the arrangement of piano and violoncello which are not titled or numbered as piano trios, but which are nonetheless part of the overall genre; these include single movements as well as sets of variations such as Beethoven's Variations on'Ich bin der Schneider Kakadu' Op. 121a and Variations in E flat major Op. 44. After the classical era, works for piano and two instruments continue to be written which are not presented as in the sonata tradition, or are arrangements of other works. Many of these individual works are popular on concert programs, for example Suk's Elegie. For individual articles treating works for piano trio, see Category:Compositions for piano trio; the piano trios of the Classical era, notably those of Haydn, are dominated by the piano part. The violin plays the melody only a certain amount of the time, when it does, is doubled by the piano; the cello part is much subordinated just doubling the bass line in the piano.
It is thought that this practice was quite intentional on Haydn's part and was related to the sonority of the instruments of Haydn's day: the piano was weak and "tinkling" in tone, benefited from the tonal strengthening of other instruments. Mozart's five late trios are felt to mark the assured arrival of the form, attentive to balanced voices and three-part dialogue. Beethoven's trios continued the compositional objectives inaugurated by Mozart; the new idea of equality was never implemented completely. By the mid nineteenth century, all three instruments had been modified to have a powerful sound, each can hold its own in a modern ensemble; the earlier trios are now performed and recorded using authentic instruments, of the kind for which they were written. Such performances restore the sonic balance the composer would have expected, have proven popular; some rather rare combinations of instruments have nonetheless inspired a few outstanding works. Haydn wrote three trios for flute and piano, a combination for which Carl Maria von Weber wrote one work.
Beethoven wrote his Trio in G major, WoO 37 for flute and piano. Mikhail Glinka wrote his Trio pathétique in D minor for Clarinet and Piano, although is performed with a Violin or Cello substituting the Clarinet or the Bassoon, respectively. Francis Poulenc's Trio for oboe and piano op. 43. The Horn-violin-piano trio is exemplified by Brahms' Trio Op. 40 in E flat and György Ligeti's 1982 Trio for Violin and Piano. Trios with clarinet include masterpieces such as Mozart's Kegelstatt Trio and works by Beethoven and Bartók. Ignaz Lachner wrote all of his six piano trios for violin and piano; the jazz trio formation of saxophone and percussion has been taken up as an alternative "piano trio" in the field of contemporary classical music by Trio Accanto who since 1994 have commissioned more than 100 works for this combination. Several other trios have been formed to perform this repertoire. Among the best known of such groups are or have been: Altenberg Trio Maria Baptist Trio Istomin-Stern-Rose Trio, consisting of Eugene Istomin, Isaac Stern and Leonard Rose.
One consisting of Alfred Cortot, Jacques Thibaud and Pablo Casals, earlier in the 20th century The Spivakovsky Trio, consisting of Jascha Spivakovsky, Tossy Spivakovsky and Edmnd Kurtz, earlier in the 20th century The Kalichstein-Laredo-Robinson trio The Beaux Arts Trio, whose commitment to using the same players in every concert pioneered a new generation of committed groups.
Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery and sometimes dance or ballet; the performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Opera is a key part of the Western classical music tradition. Understood as an sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as musical theater, Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style and self-contained arias; the 19th century saw the rise of the continuous music drama. Opera originated in Italy at the end of the 16th century and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, Henry Purcell in England all helped to establish their national traditions in the 17th century.
In the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his "reform" operas in the 1760s; the most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas The Marriage of Figaro, Don Giovanni, Così fan tutte, as well as Die Entführung aus dem Serail, The Magic Flute, landmarks in the German tradition. The first third of the 19th century saw the high point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti and Vincenzo Bellini all creating works that are still performed, it saw the advent of Grand Opera typified by the works of Auber and Meyerbeer. The mid-to-late 19th century was a golden age of opera and dominated by Giuseppe Verdi in Italy and Richard Wagner in Germany; the popularity of opera continued through the verismo era in Italy and contemporary French opera through to Giacomo Puccini and Richard Strauss in the early 20th century.
During the 19th century, parallel operatic traditions emerged in central and eastern Europe in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism and Minimalism. With the rise of recording technology, singers such as Enrico Caruso and Maria Callas became known to much wider audiences that went beyond the circle of opera fans. Since the invention of radio and television, operas were performed on these mediums. Beginning in 2006, a number of major opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. Since 2009, complete performances are live streamed; the words of an opera are known as the libretto. Some composers, notably Wagner, have written their own libretti. Traditional opera referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, aria in which the characters express their emotions in a more structured melodic style.
Vocal duets and other ensembles occur, choruses are used to comment on the action. In some forms of opera, such as singspiel, opéra comique and semi-opera, the recitative is replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, are referred to as arioso; the terminology of the various kinds of operatic voices is described in detail below. During both the Baroque and Classical periods, recitative could appear in two basic forms, each of, accompanied by a different instrumental ensemble: secco recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by basso continuo, a harpsichord and a cello. Over the 18th century, arias were accompanied by the orchestra. By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, Wagner revolutionized opera by abolishing all distinction between aria and recitative in his quest for what Wagner termed "endless melody". Subsequent composers have tended to follow Wagner's example, though some, such as Stravinsky in his The Rake's Progress have bucked the trend.
The changing role of the orchestra in opera is described in more detail below. The Italian word opera means "work", both in the sense of the labour done and the result produced; the Italian word derives from the Latin opera, a singular noun meaning "work" and the plural of the noun opus. According to the Oxford English Dictionary, the Italian word was first used in the sense "composition in which poetry and music are combined" in 1639. Dafne by Jacopo Peri was the earliest composition considered opera, it was writt
A string quartet is a musical ensemble consisting of four string players – two violin players, a viola player and a cellist – or a piece written to be performed by such a group. The string quartet is one of the most prominent chamber ensembles in classical music, with most major composers, from the mid 18th century onwards, writing string quartets; the string quartet was developed into its current form by the Austrian composer Joseph Haydn, with his works in the 1750s establishing the genre. Since Haydn's day the string quartet has been considered a prestigious form and represents one of the true tests of the composer's art. With four parts to play with, a composer working in anything like the classical key system has enough lines to fashion a full argument, but none to spare for padding; the related characters of the four instruments, while they cover in combination an ample compass of pitch, do not lend themselves to indulgence in purely colouristic effects. Thus, where the composer of symphonies commands the means for textural enrichment beyond the call of his harmonic discourse, where the concerto medium offers the further resource of personal characterization and drama in the individual-pitted-against-the-mass vein, the writer of string quartets must perforce concentrate on the bare bones of musical logic.
Thus, in many ways the string quartet is pre-eminently the dialectical form of instrumental music, the one most suited to the activity of logical disputation and philosophical enquiry. Quartet composition flourished in the Classical era, with Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert following Haydn in each writing a number of quartets. A slight slackening in the pace of quartet composition occurred in the 19th century, in part due to a movement away from classical forms by composers such as Franz Liszt, Richard Wagner and Richard Strauss, it received a resurgence in the 20th Century with the Second Viennese School, Béla Bartók, Dmitri Shostakovich and Elliott Carter producing regarded examples of the genre. In the 21st century it remains an refined musical form; the standard structure for a string quartet as established in the Classical era is four movements, with the first movement in Sonata form, Allegro, in the tonic key. Some quartets play together for many years in ensembles which may be named after the first violinist, a composer or a location.
Some have fanciful names such as the JACK Quartet. Well-known string quartets can be found in the list of string quartet ensembles; the early history of the string quartet is in many ways the history of Haydn's journey with the genre. Not that he composed the first quartet of all: before Haydn alighted on the genre there had been several spasmodic examples of divertimenti for two solo violins and cello by Viennese composers such as Georg Christoph Wagenseil and Ignaz Holzbauer. David Wyn Jones cites the widespread practice of playing works written for string orchestra, such as divertimenti and serenades, with just four players, one to a part, there being no separate contrabass part in string scoring before the 19th century. However, these composers showed no interest in exploring the development of the string quartet as a medium; the origins of the string quartet can be further traced back to the Baroque trio sonata, in which two solo instruments performed with a continuo section consisting of a bass instrument and keyboard.
A early example is a four-part sonata for string ensemble by Gregorio Allegri that might be considered an important prototype. By the early 18th century, composers were adding a third soloist, thus when Alessandro Scarlatti wrote a set of six works entitled "Sonata à Quattro per due Violini, Violetta, e Violoncello senza Cembalo", this was a natural evolution from the existing tradition. The string quartet in its now accepted form came about with Haydn. If the combination of two violins and cello was not unknown before Haydn, when it occurred in chamber music it was more through circumstance than conscious design; the composition of Haydn's earliest string quartets owed more to chance than artistic imperative. During the 1750s, when the young composer was still working as a teacher and violinist in Vienna, he would be invited to spend time at the nearby castle at Weinzierl of the music-loving Austrian nobleman Karl Joseph Weber, Edler von Fürnberg. There he would play chamber music in an ad hoc ensemble consisting of Fürnberg's steward, a priest and a local cellist, when the Baron asked for some new music for the group to play, Haydn's first string quartets were born.
It is not clear whether any of these works ended up in the two sets published in the mid-1760s and known as Haydn's Opp.1 and 2, but it seems reasonable to assume that they were at least similar in character. Haydn's early biographer Georg August Griesinger tells the story thus: The following purely
Paris is the capital and most populous city of France, with an area of 105 square kilometres and an official estimated population of 2,140,526 residents as of 1 January 2019. Since the 17th century, Paris has been one of Europe's major centres of finance, commerce, fashion and the arts; the City of Paris is the centre and seat of government of the Île-de-France, or Paris Region, which has an estimated official 2019 population of 12,213,364, or about 18 percent of the population of France. The Paris Region had a GDP of €681 billion in 2016, accounting for 31 percent of the GDP of France, was the 5th largest region by GDP in the world. According to the Economist Intelligence Unit Worldwide Cost of Living Survey in 2018, Paris was the second most expensive city in the world, after Singapore, ahead of Zurich, Hong Kong and Geneva. Another source ranked Paris as most expensive, on a par with Singapore and Hong-Kong, in 2018; the city is a major rail and air-transport hub served by two international airports: Paris-Charles de Gaulle and Paris-Orly.
Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily, is the second busiest metro system in Europe after Moscow Metro. Gare du Nord is the 24th busiest railway station in the world, the first located outside Japan, with 262 million passengers in 2015. Paris is known for its museums and architectural landmarks: the Louvre was the most visited art museum in the world in 2018, with 10.2 million visitors. The Musée d'Orsay and Musée de l'Orangerie are noted for their collections of French Impressionist art, the Pompidou Centre Musée National d'Art Moderne has the largest collection of modern and contemporary art in Europe; the historical district along the Seine in the city centre is classified as a UNESCO Heritage Site. Popular landmarks in the centre of the city include the Cathedral of Notre Dame de Paris and the Gothic royal chapel of Sainte-Chapelle, both on the Île de la Cité. Paris received 23 million visitors in 2017, measured by hotel stays, with the largest numbers of foreign visitors coming from the United States, the UK, Germany and China.
It was ranked as the third most visited travel destination in the world in 2017, after Bangkok and London. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris; the 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. Paris will host the 2024 Summer Olympics; the 1938 and 1998 FIFA World Cups, the 2007 Rugby World Cup, the 1960, 1984, 2016 UEFA European Championships were held in the city and, every July, the Tour de France bicycle race finishes there. The name "Paris" is derived from the Celtic Parisii tribe; the city's name is not related to the Paris of Greek mythology. Paris is referred to as the City of Light, both because of its leading role during the Age of Enlightenment and more because Paris was one of the first large European cities to use gas street lighting on a grand scale on its boulevards and monuments.
Gas lights were installed on the Place du Carousel, Rue de Rivoli and Place Vendome in 1829. By 1857, the Grand boulevards were lit. By the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps. Since the late 19th century, Paris has been known as Panam in French slang. Inhabitants are known in French as Parisiens, they are pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the area's major north–south trade routes crossed the Seine on the île de la Cité; the Parisii minted their own coins for that purpose. The Romans began their settlement on Paris' Left Bank; the Roman town was called Lutetia. It became a prosperous city with a forum, temples, an amphitheatre. By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum "Montmartre", from where he walked headless to the north of the city.
Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île-de-la-Citie failed to avert sacking by Vikings in 845, but Paris' strategic importance—with its bridges prevent
A piano concerto is a type of concerto, a solo composition in the Classical music genre, composed for a piano player, accompanied by an orchestra or other large ensemble. Piano concertos are virtuoso showpieces which require an advanced level of technique on the instrument, including melodic lines interspersed with rapid scales, chords, complex contrapuntal parts and other challenging material; when piano concertos are performed by a professional concert pianist, a large grand piano is always used, as the grand piano has a fuller tone and more projection than an upright piano. Piano concertos are written out in music notation, including sheet music for the pianist, orchestra parts for the orchestra members, a full score for the conductor, who leads the orchestra in the accompaniment of the soloist. Depending on the era in which a piano concerto was composed, the orchestra parts may provide a subordinate accompaniment role, setting out the bassline and chord progression over which the piano plays solo parts, or the orchestra may be given an equal role to the piano soloist, with orchestra instrumentalists and sections introducing key musical themes and playing virtuostic parts for their instruments and in which there is a "dialogue" or "conversation" between the piano soloist and the orchestra.
When music students and music competition auditionees play piano concertos, the orchestra part may be performed in an orchestral reduction, a conversion of the orchestra parts into a part for an accompanist playing piano or pipe organ, as it is expensive to hire a full orchestra. Keyboard concerti were common in the time of Johann Sebastian Bach in the Baroque music era, during the Classical music period and during the Romantic music era. Keyboard concertos are written by contemporary classical music composers. Twentieth- and 21st-century piano concertos may include experimental or unusual performance techniques. In the 20th and 21st century, J. S. Bach's harpsichord concertos are sometimes played on piano. There are variant types of piano concertos, including double piano concertos, for two solo pianists and orchestra, double or triple concertos in which the piano soloist is joined by a violinist, cellist, or another instrumentalist; the earliest piano concertos were composed in London. Inspired by instrument maker Johannes Zumpe, composers such as Johann Christian Bach and Carl Friedrich Abel began writing concertos for piano and string ensemble in about 1770.
The form grew across Europe and became established with works by Haydn and Mozart as well as John Field. In the early Romantic period the piano concerto repertoire was added to most notably by Beethoven, Schumann and Hummel. Well-known examples from the middle to late Romantic era include concertos by Edvard Grieg, Johannes Brahms, Camille Saint-Saëns, Franz Liszt, Pyotr Ilyich Tchaikovsky, Sergei Rachmaninoff. Alexander Scriabin,Antonín Dvořák, Edward MacDowell, Franz Xaver Scharwenka wrote some lesser-known concertos during this time. In 1899, Amy Beach completed her Piano Concerto in C-sharp minor, the first piano concerto composed by a female American composer. Edward Elgar never completed it. In the 19th century, Henry Litolff blurred the boundary between piano concerto and symphony in his five works entitled Concerto Symphonique, Ferruccio Busoni added a male choir in the last movement of his hour-long concerto. Wilhelm Furtwängler wrote his Symphonic Concerto for Piano and Orchestra, which lasts more than one hour, in 1924–1937.
In a more general sense, the term "piano concerto" could extend to the numerous programmatic concerted works for piano and orchestra from the era – Beethoven's Choral Fantasy, Liszt's Totentanz and Ruins of Athens Variations, Richard Strauss's Burleske are only a few of the hundreds of such works. The few well-known piano concertos that dominate 20th-century and 21st-century concert programs and discographies comprise only a small part of the repertoire that proliferated on the European music scene during the 19th century; the piano concerto form survived through the 20th century into the 21st, with examples being written by Leroy Anderson, Milton Babbitt, Samuel Barber, Béla Bartók, Arthur Bliss, York Bowen, Benjamin Britten, Elliott Carter, Carlos Chávez, Aaron Copland, Peter Maxwell Davies, Emma Lou Diemer, Keith Emerson, George Gershwin, Alberto Ginastera, Philip Glass, Ferde Grofé, Aram Khachaturian, György Ligeti, Magnus Lindberg, Witold Lutosławski, Gian Francesco Malipiero, Frank Martin, Bohuslav Martinů, Nikolai Medtner, Peter Mennin, Peter Mieg, Selim Palmgren, Dora Pejačević, Willem Pijper, Sergei Prokofiev, Behzad Ranjbaran, Einojuhani Rautavaara, Maurice Ravel, Arnold Schoenberg, Peter Sculthorpe, Peter Seabourne, Dmitri Shostakovich, Roger Smalley, Arthur Somervell, Igor Stravinsky, Heinrich Sutermeister, Alexander Tcherepnin, Michael Tippett, Ralph Vaughan Williams, Heitor Villa-Lobos, Pancho Vladigerov, Charles Wuorinen, others.
Parts of other 20th-century symphonic works give the piano occasional prominence like any other instrument of the orchestra, as in the Symphony in Three Movements by Igor Stravinsky, Samuel Barber's violin concerto, all six symphonies of Bohuslav Martinů, Leonard Bernstein's second symphony, the Symphony No. 3 by Michael Tippett and Robin Holloway's Second Concerto for Orchestra. The German Paul Wittgenstein lost his right arm during World War I, on resuming his musical career asked a number of composers to write pieces for him that required the left h
The classical guitar is a member of the guitar family used in classical music. An acoustic wooden string instrument with strings made of gut or nylon, it is a precursor of the acoustic and electric guitars which use metal strings; the name guitar comes from Persian language. Tar is the name of an Iranian instrument that could be the primary form of guitar. Classical guitars are derived from the Spanish vihuela and gittern in the fifteenth and sixteenth century, which evolved into the seventeenth and eighteenth century Baroque guitar and the modern classical guitar in the mid nineteenth century. For a right-handed player, the traditional classical guitar has twelve frets clear of the body and is properly held on the left leg, so that the hand that plucks or strums the strings does so near the back of the sound hole; the modern steel string guitar, on the other hand has fourteen frets clear of the body and is played off the hip. The phrase "classical guitar" may refer to either of two concepts other than the instrument itself: the instrumental finger technique common to classical guitar—individual strings plucked with the fingernails or fingertips.
The instrument's classical music repertoireThe term modern classical guitar is sometimes used to distinguish the classical guitar from older forms of guitar, which are in their broadest sense called classical, or more early guitars. Examples of early guitars include the six-string early romantic guitar, the earlier baroque guitars with five courses; the materials and the methods of classical guitar construction may vary, but the typical shape is either modern classical guitar or that historic classical guitar similar to the early romantic guitars of France and Italy. Classical guitar strings once made of gut are now made of such polymers as nylon, with fine wire wound about the acoustically lower strings. A guitar family tree may be identified; the flamenco guitar derives from the modern classical, but has differences in material and sound. Today's modern classical guitar was established by the late designs of the 19th-century Spanish luthier, Antonio Torres Jurado; the classical guitar has a long history and one is able to distinguish various: instruments repertoire Both instrument and repertoire can be viewed from a combination of various perspectives: Historical Baroque guitar – 1600 to 1750 CE Early romantic guitars – 1750 to 1850 CE Modern classical guitarsGeographical Spanish guitars and French guitars, etc.
Cultural Baroque court music, 19th century opera and its influences, 19th century folk songs, Latin American music While "classical guitar" is today associated with the modern classical guitar design, there is an increasing interest in early guitars. The musicologist and author Graham Wade writes: Nowadays it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research with appropriate adjustments to techniques and overall interpretation, thus over recent decades we have become accustomed to specialist artists with expertise in the art of vihuela, Baroque guitar, 19th-century guitar, etc. Different types of guitars have different sound aesthetics, e.g. different colour-spectrum characteristics, different response, etc. These differences are due to differences in construction. There is a historical parallel between musical styles and the style of "sound aesthetic" of the musical instruments used, for example: Robert de Visée played a baroque guitar with a different sound aesthetic from the guitars used by Mauro Giuliani and Luigi Legnani – they used 19th century guitars.
These guitars in turn sound different from the Torres models used by Segovia that are suited for interpretations of romantic-modern works such as Moreno Torroba. When considering the guitar from a historical perspective, the musical instrument used is as important as the musical language and style of the particular period; as an example: It is impossible to play a informed de Visee or Corbetta on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together, that are plucked together; this gives baroque guitars an unmistakable sound characteristic and tonal texture, an integral part of an interpretation. Additionally the sound aesthetic of the baroque guitar is different from modern classical type guitars, as is shown below. Today's use of Torres and post-Torres type guitars for repertoire of all periods is sometimes critically viewed: Torres and post-Torres style modern guitars have a thick and strong tone suitable for modern-era repertoire.
However, they are considered to emphasize the fundamental too for earlier repertoire (Classical/Romantic: Carulli, Giuliani, Mertz....
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings; the word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" in this context referring to the variations in volume produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, the louder the sound of the note produced and the stronger the attack; the name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had smaller dynamic range.
An acoustic piano has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer to strike the strings; the hammer rebounds from the strings, the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air; when the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument; the sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord.
Unlike the pipe organ and harpsichord, two major keyboard instruments used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale and 36 shorter black keys, which are raised above the white keys, set further back on the keyboard; this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the "accidentals". More some pianos have additional keys. Most notes have three strings, except for the bass; the strings are sounded when keys are pressed or struck, silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked. There are two main types of piano: the upright piano.
The grand piano is used for Classical solos, chamber music, art song, it is used in jazz and pop concerts. The upright piano, more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice. During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home; the piano is employed in classical, jazz and popular music for solo and ensemble performances and for composing and rehearsals. Although the piano is heavy and thus not portable and is expensive, its musical versatility, the large number of musicians and amateurs trained in playing it, its wide availability in performance venues and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
With technological advances, amplified electric pianos, electronic pianos, digital pianos have been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music; the piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches; the first string instruments with struck strings were the hammered dul