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The hammer must strike the string, but not remain in contact with it, because this would damp the sound and stop the string from vibrating and making sound.
This means that after striking the string, the hammer must be lifted or raised off the strings. Moreover, the hammer must return to its rest position without bouncing violently, and it must return to a position in which it is ready to play almost immediately after its key is depressed so the player can repeat the same note rapidly.
Cristofori's piano action was a model for the many approaches to piano actions that followed in the next century.
Cristofori's early instruments were made with thin strings, and were much quieter than the modern piano, but they were much louder and with more sustain in comparison to the clavichord—the only previous keyboard instrument capable of dynamic nuance via the weight or force with which the keyboard is played.
While the clavichord allows expressive control of volume and sustain, it is relatively quiet. The harpsichord produces a sufficiently loud sound, especially when a coupler joins each key to both manuals of a two-manual harpsichord, but it offers no dynamic or expressive control over each note.
The piano offers the best of both instruments, combining the ability to play loudly and perform sharp accents. Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei , wrote an enthusiastic article about it in , including a diagram of the mechanism, that was translated into German and widely distributed.
One of these builders was Gottfried Silbermann , better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern sustain pedal , which lifts all the dampers from the strings simultaneously.
As such, by holding a chord with the sustain pedal, pianists can relocate their hands to a different register of the keyboard in preparation for a subsequent section.
Silbermann showed Johann Sebastian Bach one of his early instruments in the s, but Bach did not like the instrument at that time, saying that the higher notes were too soft to allow a full dynamic range.
Although this earned him some animosity from Silbermann, the criticism was apparently heeded. Piano-making flourished during the late 18th century in the Viennese school , which included Johann Andreas Stein who worked in Augsburg , Germany and the Viennese makers Nannette Streicher daughter of Stein and Anton Walter.
Viennese-style pianos were built with wood frames, two strings per note, and leather-covered hammers. Some of these Viennese pianos had the opposite coloring of modern-day pianos; the natural keys were black and the accidental keys white.
The pianos of Mozart's day had a softer tone than 21st century pianos or English pianos, with less sustaining power.
The term fortepiano now distinguishes these early instruments and modern re-creations from later pianos. In the period from about to , the Mozart-era piano underwent tremendous changes that led to the modern structure of the instrument.
This revolution was in response to a preference by composers and pianists for a more powerful, sustained piano sound, and made possible by the ongoing Industrial Revolution with resources such as high-quality piano wire for strings , and precision casting for the production of massive iron frames that could withstand the tremendous tension of the strings.
Early technological progress in the late s owed much to the firm of Broadwood. John Broadwood joined with another Scot, Robert Stodart, and a Dutchman, Americus Backers , to design a piano in the harpsichord case—the origin of the "grand".
This was achieved by about They quickly gained a reputation for the splendour and powerful tone of their instruments, with Broadwood constructing pianos that were progressively larger, louder, and more robustly constructed.
They sent pianos to both Joseph Haydn and Ludwig van Beethoven , and were the first firm to build pianos with a range of more than five octaves: five octaves and a fifth during the s, six octaves by Beethoven used the extra notes in his later works , and seven octaves by The Viennese makers similarly followed these trends; however the two schools used different piano actions: Broadwoods used a more robust action, whereas Viennese instruments were more sensitive.
This facilitated rapid playing of repeated notes, a musical device exploited by Liszt. When the invention became public, as revised by Henri Herz , the double escapement action gradually became standard in grand pianos, and is still incorporated into all grand pianos currently produced in the s.
Other improvements of the mechanism included the use of firm felt hammer coverings instead of layered leather or cotton.
Felt, which was first introduced by Jean-Henri Pape in , was a more consistent material, permitting wider dynamic ranges as hammer weights and string tension increased.
The sostenuto pedal see below , invented in by Jean-Louis Boisselot and copied by the Steinway firm in , allowed a wider range of effects.
One innovation that helped create the powerful sound of the modern piano was the use of a massive, strong, cast iron frame.
Also called the "plate", the iron frame sits atop the soundboard , and serves as the primary bulwark against the force of string tension that can exceed 20 tons kilonewtons in a modern grand piano.
Composite forged metal frames were preferred by many European makers until the American system was fully adopted by the early 20th century.
The increased structural integrity of the iron frame allowed the use of thicker, tenser, and more numerous strings. Several important advances included changes to the way the piano was strung.
The use of a "choir" of three strings, rather than two for all but the lowest notes, enhanced the richness and complexity of the treble.
The implementation of over-stringing also called cross-stringing , in which the strings are placed in two separate planes, each with its own bridge height, allowed greater length to the bass strings and optimized the transition from unwound tenor strings to the iron or copper-wound bass strings.
Over-stringing was invented by Pape during the s, and first patented for use in grand pianos in the United States by Henry Steinway Jr. These systems were used to strengthen the tone of the highest register of notes on the piano, which up until this time were viewed as being too weak-sounding.
Each used more distinctly ringing, undamped vibrations of sympathetically vibrating strings to add to the tone, except the Blüthner Aliquot stringing , which uses an additional fourth string in the upper two treble sections.
While the hitchpins of these separately suspended Aliquot strings are raised slightly above the level of the usual tri-choir strings, they are not struck by the hammers but rather are damped by attachments of the usual dampers.
Eager to copy these effects, Theodore Steinway invented duplex scaling , which used short lengths of non-speaking wire bridged by the "aliquot" throughout much of the upper range of the piano, always in locations that caused them to vibrate sympathetically in conformity with their respective overtones—typically in doubled octaves and twelfths.
Some early pianos had shapes and designs that are no longer in use. The square piano not truly square, but rectangular was cross strung at an extremely acute angle above the hammers, with the keyboard set along the long side.
Their overwhelming popularity was due to inexpensive construction and price, although their tone and performance were limited by narrow soundboards, simple actions and string spacing that made proper hammer alignment difficult.
The tall, vertically strung upright grand was arranged like a grand set on end, with the soundboard and bridges above the keys, and tuning pins below them.
The very tall cabinet piano was introduced about and was built through the s. It had strings arranged vertically on a continuous frame with bridges extended nearly to the floor, behind the keyboard and very large sticker action.
The short cottage upright or pianino with vertical stringing, made popular by Robert Wornum around , was built into the 20th century.
They are informally called birdcage pianos because of their prominent damper mechanism. The tiny spinet upright was manufactured from the mids until recent times.
The low position of the hammers required the use of a "drop action" to preserve a reasonable keyboard height.
Modern upright and grand pianos attained their present, era forms by the end of the 19th century. While improvements have been made in manufacturing processes, and many individual details of the instrument continue to receive attention, and a small number of acoustic pianos in the s are produced with MIDI recording and digital sound module -triggering capabilities, the 19th century was the era of the most dramatic innovations and modifications of the instrument.
Modern pianos have two basic configurations, the grand piano and the upright piano, with various styles of each.
There are also specialized and novelty pianos, electric pianos based on electromechanical designs, electronic pianos that synthesize piano-like tones using oscillators, and digital pianos using digital samples of acoustic piano sounds.
In grand pianos the frame and strings are horizontal, with the strings extending away from the keyboard. The action lies beneath the strings, and uses gravity as its means of return to a state of rest.
There are multiple sizes of grand piano:. All else being equal, longer pianos with longer strings have larger, richer sound and lower inharmonicity of the strings.
Inharmonicity is the degree to which the frequencies of overtones known as partials or harmonics sound sharp relative to whole multiples of the fundamental frequency.
This results from the piano's considerable string stiffness; as a struck string decays its harmonics vibrate, not from their termination, but from a point very slightly toward the center or more flexible part of the string.
The higher the partial, the further sharp it runs. Pianos with shorter and thicker string i. The greater the inharmonicity, the more the ear perceives it as harshness of tone.
The inharmonicity of piano strings requires that octaves be stretched , or tuned to a lower octave's corresponding sharp overtone rather than to a theoretically correct octave.
If octaves are not stretched, single octaves sound in tune, but double—and notably triple—octaves are unacceptably narrow. Stretching a small piano's octaves to match its inherent inharmonicity level creates an imbalance among all the instrument's intervallic relationships.
In a concert grand, however, the octave "stretch" retains harmonic balance, even when aligning treble notes to a harmonic produced from three octaves below.
This lets close and widespread octaves sound pure, and produces virtually beatless perfect fifths. This gives the concert grand a brilliant, singing and sustaining tone quality—one of the principal reasons that full-size grands are used in the concert hall.
Smaller grands satisfy the space and cost needs of domestic use; as well, they are used in some small teaching studios and smaller performance venues.
Upright pianos, also called vertical pianos, are more compact due to the vertical structure of the frame and strings.
The mechanical action structure of the upright piano was invented in London, England in by Robert Wornum , and upright models became the most popular model.
The hammers move horizontally, and return to their resting position via springs, which are susceptible to degradation.
Upright pianos with unusually tall frames and long strings were sometimes marketed as upright grand pianos, but that label is misleading.
Some authors classify modern pianos according to their height and to modifications of the action that are necessary to accommodate the height.
Upright pianos are generally less expensive than grand pianos. Upright pianos are widely used in churches, community centers , schools, music conservatories and university music programs as rehearsal and practice instruments, and they are popular models for in-home purchase.
The toy piano , introduced in the 19th century, is a small piano-like instrument, that generally uses round metal rods to produce sound, rather than strings.
A machine perforates a performance recording into rolls of paper, and the player piano replays the performance using pneumatic devices.
A silent piano is an acoustic piano having an option to silence the strings by means of an interposing hammer bar. They are designed for private silent practice, to avoid disturbing others.
Edward Ryley invented the transposing piano in This rare instrument has a lever under the keyboard as to move the keyboard relative to the strings so a pianist can play in a familiar key while the music sounds in a different key.
The minipiano is an instrument patented by the Brasted brothers of the Eavestaff Ltd. The first model, known as the Pianette , was unique in that the tuning pins extended through the instrument, so it could be tuned at the front.
The prepared piano , present in some contemporary art music from the 20th and 21st century is a piano with objects placed inside it to alter its sound, or has had its mechanism changed in some other way.
The scores for music for prepared piano specify the modifications, for example, instructing the pianist to insert pieces of rubber, paper, metal screws, or washers in between the strings.
These objects mute the strings or alter their timbre. The pedal piano is a rare type of piano that has a pedal keyboard at the base, designed to be played by the feet.
The pedals may play the existing bass strings on the piano, or rarely, the pedals may have their own set of bass strings and hammer mechanisms.
While the typical intended use for pedal pianos is to enable a keyboardist to practice pipe organ music at home, a few players of pedal piano use it as a performance instrument.
Wadia Sabra had a microtone piano manufactured by Pleyel in With technological advances , amplified electric pianos , electronic pianos s , and digital pianos s have been developed.
The electric piano became a popular instrument in the s and s genres of jazz fusion , funk music and rock music. The first electric pianos from the late s used metal strings with a magnetic pickup , an amplifier and a loudspeaker.
The electric pianos that became most popular in pop and rock music in the s and s, such as the Fender Rhodes use metal tines in place of strings and use electromagnetic pickups similar to those on an electric guitar.
The resulting electrical, analogue signal can then be amplified with a keyboard amplifier or electronically manipulated with effects units.
Electric pianos are rarely used in classical music, where the main usage of them is as inexpensive rehearsal or practice instruments in music schools.
However, electric pianos, particularly the Fender Rhodes , became important instruments in s funk and jazz fusion and in some rock music genres.
Electronic pianos are non-acoustic; they do not have strings, tines or hammers, but are a type of synthesizer that simulates or imitates piano sounds using oscillators and filters that synthesize the sound of an acoustic piano.
Alternatively, a person can play an electronic piano with headphones in quieter settings. Digital pianos are also non-acoustic and do not have strings or hammers.
They use digital sampling technology to reproduce the acoustic sound of each piano note accurately. They also must be connected to a power amplifier and speaker to produce sound however, most digital pianos have a built-in amp and speaker.
Alternatively, a person can practice with headphones to avoid disturbing others. Digital pianos can include sustain pedals, weighted or semi-weighted keys, multiple voice options e.
MIDI inputs and outputs connect a digital piano to other electronic instruments or musical devices. For example, a digital piano's MIDI out signal could be connected by a patch cord to a synth module , which would allow the performer to use the keyboard of the digital piano to play modern synthesizer sounds.
Early digital pianos tended to lack a full set of pedals but the synthesis software of later models such as the Yamaha Clavinova series synthesised the sympathetic vibration of the other strings such as when the sustain pedal is depressed and full pedal sets can now be replicated.
The processing power of digital pianos has enabled highly realistic pianos using multi-gigabyte piano sample sets with as many as ninety recordings, each lasting many seconds, for each key under different conditions e.
Additional samples emulate sympathetic resonance of the strings when the sustain pedal is depressed, key release, the drop of the dampers, and simulations of techniques such as re-pedalling.
The MIDI file records the physics of a note rather than its resulting sound and recreates the sounds from its physical properties e.
Computer based software, such as Modartt's Pianoteq , can be used to manipulate the MIDI stream in real time or subsequently to edit it.
This type of software may use no samples but synthesize a sound based on aspects of the physics that went into the creation of a played note.
In the s, some pianos include an acoustic grand piano or upright piano combined with MIDI electronic features.
Such a piano can be played acoustically, or the keyboard can be used as a MIDI controller , which can trigger a synthesizer module or music sampler.
Some electronic feature-equipped pianos such as the Yamaha Disklavier electronic player piano, introduced in , are outfitted with electronic sensors for recording and electromechanical solenoids for player piano-style playback.
On playback, the solenoids move the keys and pedals and thus reproduce the original performance. Disklaviers have been manufactured in the form of upright, baby grand, and grand piano styles including a nine-foot concert grand.
Reproducing systems have ranged from relatively simple, playback-only models to professional models that can record performance data at resolutions that exceed the limits of normal MIDI data.
Pianos can have over 12, individual parts,  supporting six functional features: keyboard, hammers, dampers, bridge, soundboard, and strings.
This is especially true of the outer rim. It is most commonly made of hardwood , typically hard maple or beech , and its massiveness serves as an essentially immobile object from which the flexible soundboard can best vibrate.
According to Harold A. Conklin,  the purpose of a sturdy rim is so that, " Hardwood rims are commonly made by laminating thin, hence flexible, strips of hardwood, bending them to the desired shape immediately after the application of glue.
Theodore Steinway in to reduce manufacturing time and costs. Previously, the rim was constructed from several pieces of solid wood, joined and veneered, and European makers used this method well into the 20th century.
The thick wooden posts on the underside grands or back uprights of the piano stabilize the rim structure, and are made of softwood for stability.
The requirement of structural strength, fulfilled by stout hardwood and thick metal, makes a piano heavy. The pinblock, which holds the tuning pins in place, is another area where toughness is important.
It is made of hardwood typically hard maple or beech , and is laminated for strength, stability and longevity.
Piano strings also called piano wire , which must endure years of extreme tension and hard blows, are made of high carbon steel.
They are manufactured to vary as little as possible in diameter, since all deviations from uniformity introduce tonal distortion. The bass strings of a piano are made of a steel core wrapped with copper wire, to increase their mass whilst retaining flexibility.
If all strings throughout the piano's compass were individual monochord , the massive bass strings would overpower the upper ranges.
Makers compensate for this with the use of double bichord strings in the tenor and triple trichord strings throughout the treble.
The plate harp , or metal frame, of a piano is usually made of cast iron. A massive plate is advantageous. Since the strings vibrate from the plate at both ends, an insufficiently massive plate would absorb too much of the vibrational energy that should go through the bridge to the soundboard.
While some manufacturers use cast steel in their plates, most prefer cast iron. Cast iron is easy to cast and machine, has flexibility sufficient for piano use, is much more resistant to deformation than steel, and is especially tolerant of compression.
Plate casting is an art, since dimensions are crucial and the iron shrinks about one percent during cooling.
Including an extremely large piece of metal in a piano is potentially an aesthetic handicap.
Piano makers overcome this by polishing, painting, and decorating the plate. Plates often include the manufacturer's ornamental medallion.
In an effort to make pianos lighter, Alcoa worked with Winter and Company piano manufacturers to make pianos using an aluminum plate during the s.
Aluminum piano plates were not widely accepted, and were discontinued. The numerous parts of a piano action are generally made from hardwood , such as maple , beech , and hornbeam , however, since World War II, makers have also incorporated plastics.
Early plastics used in some pianos in the late s and s, proved disastrous when they lost strength after a few decades of use.
Beginning in , the New York branch of the Steinway firm incorporated Teflon , a synthetic material developed by DuPont , for some parts of its Permafree grand action in place of cloth bushings, but abandoned the experiment in due to excessive friction and a "clicking" that developed over time; Teflon is "humidity stable" whereas the wood adjacent to the Teflon swells and shrinks with humidity changes, causing problems.
More recently, the Kawai firm built pianos with action parts made of more modern materials such as carbon fiber reinforced plastic , and the piano parts manufacturer Wessell, Nickel and Gross has launched a new line of carefully engineered composite parts.
Thus far these parts have performed reasonably, but it will take decades to know if they equal the longevity of wood. In all but the lowest quality pianos the soundboard is made of solid spruce that is, spruce boards glued together along the side grain.
Spruce's high ratio of strength to weight minimizes acoustic impedance while offering strength sufficient to withstand the downward force of the strings.
The best piano makers use quarter-sawn, defect-free spruce of close annular grain, carefully seasoning it over a long period before fabricating the soundboards.
This is the identical material that is used in quality acoustic guitar soundboards. Cheap pianos often have plywood soundboards.
The design of the piano hammers requires having the hammer felt be soft enough so that it will not create loud, very high harmonics that a hard hammer will cause.
The hammer must be lightweight enough to move swiftly when a key is pressed; yet at the same time, it must be strong enough so that it can hit strings hard when the player strikes the keys forcefully for fortissimo playing or sforzando accents.
In the early years of piano construction, keys were commonly made from sugar pine. In the s, they are usually made of spruce or basswood.
Spruce is typically used in high-quality pianos. Black keys were traditionally made of ebony , and the white keys were covered with strips of ivory.
However, since ivory-yielding species are now endangered and protected by treaty, or are illegal in some countries, makers use plastics almost exclusively.
Also, ivory tends to chip more easily than plastic. Legal ivory can still be obtained in limited quantities. The Yamaha firm invented a plastic called Ivorite that they claim mimics the look and feel of ivory.
It has since been imitated by other makers. Almost every modern piano has 52 white keys and 36 black keys for a total of 88 keys seven octaves plus a minor third, from A 0 to C 8.
Many older pianos only have 85 keys seven octaves from A 0 to A 7. Some piano manufacturers have extended the range further in one or both directions.
For example, the Imperial Bösendorfer has nine extra keys at the bass end, giving a total of 97 keys and an eight octave range.
These extra keys are sometimes hidden under a small hinged lid that can cover the keys to prevent visual disorientation for pianists unfamiliar with the extra keys, or the colours of the extra white keys are reversed black instead of white.
The extra keys are added primarily for increased resonance from the associated strings; that is, they vibrate sympathetically with other strings whenever the damper pedal is depressed and thus give a fuller tone.
Only a very small number of works composed for piano actually use these notes. The toy piano manufacturer Schoenhut started manufacturing both grands and uprights with only 44 or 49 keys, and shorter distance between the keyboard and the pedals.
These pianos are true pianos with action and strings. The pianos were introduced to their product line in response to numerous requests in favor of it.
It consisted of two keyboards lying one above each other. The lower keyboard has the usual 88 keys and the upper keyboard has 76 keys.
When pressing the upper keyboard the internal mechanism pulls down the corresponding key on the lower keyboard, but an octave higher.
This lets a pianist reach two octaves with one hand, impossible on a conventional piano. Due to its double keyboard musical work that were originally created for double-manual harpsichord such as Goldberg Variations by Bach become much easier to play, since playing on a conventional single keyboard piano involve complex and hand-tangling cross-hand movements.
The design also featured a special fourth pedal that coupled the lower and upper keyboard, so when playing on the lower keyboard the note one octave higher also played.
Pianos have been built with alternative keyboard systems, e. Pianos have had pedals, or some close equivalent, since the earliest days.
In the 18th century, some pianos used levers pressed upward by the player's knee instead of pedals. Most grand pianos in the US have three pedals: the soft pedal una corda , sostenuto, and sustain pedal from left to right, respectively , while in Europe, the standard is two pedals: the soft pedal and the sustain pedal.
Most modern upright pianos also have three pedals: soft pedal, practice pedal and sustain pedal, though older or cheaper models may lack the practice pedal.
In Europe the standard for upright pianos is two pedals: the soft and the sustain pedals. The sustain pedal or, damper pedal is often simply called "the pedal", since it is the most frequently used.
It is placed as the rightmost pedal in the group. It lifts the dampers from all keys, sustaining all played notes.
In addition, it alters the overall tone by allowing all strings, including those not directly played, to reverberate. When all of the other strings on the piano can vibrate, this allows sympathetic vibration of strings that are harmonically related to the sounded pitches.
The soft pedal or una corda pedal is placed leftmost in the row of pedals. In the earliest pianos whose unisons were bichords rather than trichords, the action shifted so that hammers hit a single string, hence the name una corda , or 'one string'.
The effect is to soften the note as well as change the tone. In uprights this action is not possible; instead the pedal moves the hammers closer to the strings, allowing the hammers to strike with less kinetic energy.
This produces a slightly softer sound, but no change in timbre. On grand pianos, the middle pedal is a sostenuto pedal.
This pedal keeps raised any damper already raised at the moment the pedal is depressed. This makes it possible to sustain selected notes by depressing the sostenuto pedal before those notes are released while the player's hands are free to play additional notes which don't sustain.
This can be useful for musical passages with low bass pedal points , in which a bass note is sustained while a series of chords changes over top of it, and other otherwise tricky parts.
On many upright pianos, the middle pedal is called the "practice" or celeste pedal. This drops a piece of felt between the hammers and strings, greatly muting the sounds.
This pedal can be shifted while depressed, into a "locking" position. There are also non-standard variants.
On some pianos grands and verticals , the middle pedal can be a bass sustain pedal: that is, when it is depressed, the dampers lift off the strings only in the bass section.
Players use this pedal to sustain a single bass note or chord over many measures, while playing the melody in the treble section. The rare transposing piano an example of which was owned by Irving Berlin has a middle pedal that functions as a clutch that disengages the keyboard from the mechanism, so the player can move the keyboard to the left or right with a lever.
This shifts the entire piano action so the pianist can play music written in one key so that it sounds in a different key.
Some piano companies have included extra pedals other than the standard two or three. On the Stuart and Sons pianos as well as the largest Fazioli piano, there is a fourth pedal to the left of the principal three.
This fourth pedal works in the same way as the soft pedal of an upright piano, moving the hammers closer to the strings. Wing and Son of New York offered a five-pedal piano from approximately through the s.
There is no mention of the company past the s. The Orchestral pedal produced a sound similar to a tremolo feel by bouncing a set of small beads dangling against the strings, enabling the piano to mimic a mandolin, guitar, banjo, zither and harp, thus the name Orchestral.
The Mandolin pedal used a similar approach, lowering a set of felt strips with metal rings in between the hammers and the strings aka rinky-tink effect.
This extended the life of the hammers when the Orch pedal was used, a good idea for practicing, and created an echo-like sound that mimicked playing in an orchestral hall.
The pedalier piano, or pedal piano , is a rare type of piano that includes a pedalboard so players can user their feet to play bass register notes, as on an organ.
There are two types of pedal piano. On one, the pedal board is an integral part of the instrument, using the same strings and mechanism as the manual keyboard.
The other, rarer type, consists of two independent pianos each with separate mechanics and strings placed one above the other—one for the hands and one for the feet.
This was developed primarily as a practice instrument for organists, though there is a small repertoire written specifically for the instrument.
When the key is struck, a chain reaction occurs to produce the sound. First, the key raises the "wippen" mechanism, which forces the jack against the hammer roller or knuckle.
The hammer roller then lifts the lever carrying the hammer. The key also raises the damper; and immediately after the hammer strikes the wire it falls back, allowing the wire to resonate and thus produce sound.
When the key is released the damper falls back onto the strings, stopping the wire from vibrating, and thus stopping the sound.
The irregular shape and off-center placement of the bridge ensure that the soundboard vibrates strongly at all frequencies.
The piano hammer is "thrown" against the strings. This means that once a pianist has pressed or struck a key, and the hammer is set in motion towards the strings, the pressure on the key no longer leads to the player controlling the hammer.
A vibrating wire subdivides itself into many parts vibrating at the same time. Sheet Music Buddy Rated 3 out of 5 stars. Ear Trainer Rated 4.
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Sign up. Thank you!Fantastic tonality, teikoku shisha no playability. Synonyme Synonyme Englisch für "grand piano":. Wie kann ich Übersetzungen in den Vokabeltrainer übernehmen? Registrieren Einloggen. Behind the terrace is a bar with never back down deutsch grand piano. Für see more Funktion ist es erforderlich, sich anzumelden oder sich kostenlos zu registrieren. The library can click characterised by its warm atmosphere and the black grand piano. Hier findet sich auch der ein oder andere gut erhaltene, überarbeitete deutsche Stutzflügel. Dieser hervorragend restaurierte Flügel, cm lang, mit englischer Mechanik und Tonhaltepedal, wurde noch unter Ludwig Bösendorfer im Jahre gebaut, und das merkt man ihm auch an: www. Die 2 Lounges mit handgearbeiteten Kaminen, einem Stutzflügel und einem Billardtisch schaffen ein freundliches und einladendes Ambiente. Klavier, Konzertflügel und Schlagzeug vorhanden. Same way I continue reading that grand piano downstairs. Please do leave them untouched. How is my piano or grand piano insured? Übersetzung für 'grand piano' im kostenlosen Englisch-Deutsch Wörterbuch von LANGENSCHEIDT – mit Beispielen, Synonymen und Aussprache. Lernen Sie die Übersetzung für 'grand piano' in LEOs Englisch ⇔ Deutsch Wörterbuch. Mit Flexionstabellen der verschiedenen Fälle und Zeiten ✓ Aussprache. Übersetzung für 'grand piano' im kostenlosen Englisch-Deutsch Wörterbuch und viele weitere Deutsch-Übersetzungen. Übersetzung Englisch-Deutsch für baby grand piano im PONS Online-Wörterbuch nachschlagen! Gratis Vokabeltrainer, Verbtabellen, Aussprachefunktion. Deutsche Übersetzung von " grand piano" | Der offizielle Collins Englisch-Deutsch Wörterbuch online. Über Deutsche Übersetzungen von Englische.
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GuitarTapp Pro Rated 4 out of 5 stars. Sheet Music Buddy Rated 3 out of 5 stars. Ear Trainer Rated 4. Rhythm Trainer Rated 3. Metronomic Rated 3 out of 5 stars.
What's new in this version Initial release. Additional information Published by Tom Ortman. Published by Tom Ortman. Developed by Tom Ortman.
Approximate size 5. Age rating For all ages. Category Entertainment. Installation Get this app while signed in to your Microsoft account and install on up to ten Windows 10 devices.
Language supported English United States. Publisher Info Grand Piano support. Additional terms Terms of transaction. Seizure warnings Photosensitive seizure warning.
Report this product Report this app to Microsoft Thanks for reporting your concern. When Tom returns to the stage, Clem demonstrates the stealth and range of his silenced rifle by firing a shot into the floor to Tom's left; no one else notices.
Desperate, Tom surreptitiously uses his cell phone to contact his friend Wayne, who is in the audience.
When Wayne's phone rings, it momentarily disrupts the performance; Wayne leaves the concert hall in embarrassment. As he plays, Tom texts Wayne, but the usher Clem's assistant kills Wayne.
Shortly thereafter, Clem tells Tom to look up; Wayne's body is sprawled across the rafters. Wayne's girlfriend Ashley leaves the hall in search of him, but she is also killed by the usher.
Clem then tells Tom that instead of performing Beethoven 's " Tempest Sonata ", as Norman originally announced, he must perform "La Cinquette" flawlessly, as an embedded lock in the piano depends on a flawless performance.
Clem further reveals that the release of said lock would yield a key to a safe deposit box containing Patrick Godureaux's disappeared fortune; Clem himself is the locksmith who worked with Godureaux to construct the mechanism.
Tom insists that he can only perform "La Cinquette" with sheet music. During intermission, Tom runs backstage in search of the crumpled manuscript, only to find that the janitor has destroyed it.
Tom returns to his dressing room and listens to the piece on a tablet that Emma gave him earlier that evening, feverishly taking notes to help himself remember before returning to the stage.
Norman announces Tom's solo performance of the Tempest Sonata, but Tom interrupts and trepidatiously announces that he will instead perform "La Cinquette", to the audience's delight.
Clem warns Tom to pace himself, so as not to wear himself out. Tom plays the piece completely free of error, until he gets to the very last note, which he deliberately misplays, infuriating Clem.
Tom retorts that the audience does not know the difference - he receives a standing ovation, during which Tom realizes that he has finally conquered both "La Cinquette" and his own stage fright.
Tom ignores Clem's shouted threats and introduces Emma. Much to her and the audience's surprise, Tom suggests that she sing an encore.
The usher, realizing that everything he and Clem worked for is over, attempts to flee the building, but is shot by Clem.
Tom overhears this and runs offstage. Racing upstairs, Tom finds the usher's corpse. Clem comes out of the shadows and chases Tom to the light fixture catwalk, directly above the stage.
In the ensuing struggle, Clem threateningly dangles Tom over the catwalk edge, but Tom braces himself and yanks Clem over the railing.
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Approximate size Age rating For all ages. Category Music.