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Piano structure

tool : Piano structure
The layout of the strings in the piano

You’re an inquisitive person "> I hope it will not be a revelation for anyone that a piano is a string-keyboard instrument? Yes, the piano and the guitar have much more in common than might seem at first glance, although the logic of the game is fundamentally different. it’s funny to hear the question “How many strings does a piano have?” an answer like “Are you crazy, what strings are there on a piano ?! But there are a lot of keys.” For reference: the number of strings on it ranges from 220 to 240, and the keys are 85 or 88.

But let's start in order ..

The piano case consists of various types of wood glued in several layers, the outer layer is polished. The strings are pulled over a cast-iron frame located above a wooden resonant deck. On the one hand, they are supported on metal pins (this is a fastener made in the form of a rod that is fixed in a strictly defined position), and on the other, they are attached to metal pegs on which strings are wound and with which the instrument is tuned.

Modern pianos have a range of 7 and a quarter octaves. Each key corresponds to 3 strings in the middle and upper registers, 2 strings in the bass and one in the lowest case. The musician, pressing a key, sets in motion a hammer, which is connected with it by a complex mechanical system. The head of the malleus is covered with a special felt - fillet; at the same time as pressing the key and hitting the hammer on the string, a damper is separated from it - a device for damping oscillations or preventing them. Sound arises when the hammer strikes the chorus of strings, each chorus of strings in turn tuned in unison. When you press the right pedal, all the dampers are separated from the strings - this makes it possible to extend and bind sounds, amplify and enrich the sound as a whole. Pressing the left pedal shifts all the mallets to the right (at the piano) or brings the mallets closer to the strings (piano), which weakens the sound of the instrument and changes its timbre.

Now you have a general idea of ​​the structure of the piano and how the process of sound production occurs. At a minimum, you should no longer be surprised why, when you press the key slightly, the sound is quieter than if you hit it with all your might. And, most importantly, now you understand why such wonderful people as adjusters are needed.

Although the strings on the piano are tighter than on the aforementioned guitar (on which the system needs to be restored after every dense game), they also tend to be upset, yet the mallets, though not so much, still bring in their role in the process of weakening the strings, so if you neglect the tuning, then do not be surprised if after a year the notes will not sound so clean, but after five, when you press the re key, you hear “before”.

Now you see that keyboards are a delicate and complex instrument, and the person who invented it is a real genius. Progress, however, does not stand still, although modern synthesizers and midi-keyboards, paradoxically, are much easier to create. But whether they are able to replace the classical piano is an extremely controversial issue.

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