Mikes Music Room – Music Articles

The piano, while similar in some of its features too many other kinds of musical instruments, differs materially in several important points from all other kinds. It resembles the Violin, Harp, Guitar, Zither, Dulcimer, &c.,-in its being Stringed. It resembles the Drum, Triangle, Cymbals, Tambourine, Dulcimer, &c., in its being dependent on percussion for the production of its tone; and it resembles the Organ, Clarinet, Concertina, in its being Keyed.

But it differs from all of these instruments in the following important points. Firstly, in its being dependent on the player’s method of finger-push on the key for its quality of tone. Secondly, in its being dependent on rapidity of finger-push for its quantity of tone: and thirdly, in its being dependent on keys for the means of producing percussion. The actual agents of percussion, namely, the hammers, being reachable only through the medium of the keys.

It is probably from a want of appreciation of this last fact, that the piano has come to be considered rather as a keyed instrument than as a stringed one.

The distinctive feature of the piano is, then, the system of its key-mechanism.

Key.

Introduction – Part 2

In part 1 of this two part article, we discussed that the correct use of the hands when playing the piano keyboard can produce a beautiful sound.

But before any accurate observations can be made of what the hand is doing, it is necessary that the eye should know what to look for, as it can see only that which it brings the power of seeing.

Introduction – Part 1

The aim of these series of articles will be to help the student of the piano to arrive at a clear perception of how to acquire that which is necessary in piano playing, namely, a good tone-production. It will be necessary for the student to observe, fully and precisely, as much of the mechanism of the instrument as possible.

It is only when observation is followed by careful experiment and accurate reasoning that a scientific knowledge of piano-touch can be attained, and no piano student, however musically gifted they may be, can, in these days of “higher development,” afford to depend solely on the aesthetic side of his nature for the cultivation of his technique.

If the technical study of the piano is approached in a spirit of calm inquiry, there is no reason why a study of the piano should not brace the mental system of the student, and do him as much good as would a careful study of grammar or geometry. And although this technical study is not sufficient of itself to make him an artist, still the benefit derived from it will be always at hand to help him to unravel many difficulties which otherwise would cause him much disappoint