What are the black keys on a piano made of? - Quora Quora Written Jul 23 These days, mostly plastic. In the old days piano keyboards were referred to as “the ebonies and the ivories.” The sharps (the usual generic term in piano circles) were made of ebony wood, a dense hardwood found in Africa, said to be practically impervious to moisture and oil. That’s the wood used for making Mandingo ebony wood carvings or statues. And the naturals had ivory on the playing surface. It wore very well, but yellowed with age, and wore with long use, making little depressions in areas of most wear. The ivory part switched to plastic long ago. Remember, though, that the keys we see are only the “front” part of levers, 88 of them on the modern piano, which extend back under the fall board all the way to where they connect to the rest of the “action” whereby they make the hammers hit the strings and the dampers quiet the strings.

(The keys control individual hammers and dampers for each pitch, except where the highest treble strings are not damped.) The unseen part of each key lever is made of a lightweight wood, with the forepart being capped with plastic (white or black). 588 Views What are piano keys made from? | Reference.com What are piano keys made from? A: Quick Answer The black and white keys of the piano are made of wood covered with veneer. Most pianos that were made before 1960 have white keys with thin ivory tops. The black keys are traditionally made with ebony. Full Answer The keys of old pianos are made of sugar pine wood. Newer piano keys are made of either spruce or basswood. Since the ban on the use of ivory was placed, the white key tops on modern pianos as well as the black ones are mostly made with acrylic plastic. Cellulose plastic is also used, but this material is flammable. Piano keys with cigarette burns are likely to have been made with cellulose. Glass and porcelain were once used as key tops.

How piano is made - material, manufacture, making, history, used, parts, components, structure, machine, History Piano Background The piano may be the best known and loved of all musical instruments. It also has the broadest range of any instrument, so music for all other instruments can be composed on it. It can be played solo, but most other instruments, including the voice, use the piano for accompaniment. Technically, the piano may also be the most complicated musical instrument with over 2,500 parts. The piano is a stringed instrument. Its many parts are organized into five general structural and mechanical areas of either grand or vertical pianos. These are: the case of the wing-shaped grand piano (or the cabinet of the vertical or upright piano); the soundboard and the ribs and bridges that are its components; the cast iron plate; the strings; and, collectively, the keys, hammers, and piano action or mechanism. The case has many structural parts for attaching legs and tuning pins, but perhaps the rim and the keybed or shelf where the keys and piano action will be installed are most important. The soundboard amplifies the vibrations of the strings, which are transmitted through bridges.

The cast iron plate is installed over the soundboard and pinblock (part of the case), and it provides the strength to anchor the strings under tension. Nose bolts and perimeter bolts anchor the plate to the braces and inner rim of the case. The 220 to 240 strings of the piano are attached to hitch pins along the curved edge of the cast iron plate and to tuning pins across the front of the piano, roughly parallel to the keyboard. The piano action is still more complicated and includes the keys, hammers, and mechanism or action. Names for pianos usually indicate their sizes. Grand (wing-shaped) pianos range in length from 4 ft 7 in-9 ft 6 in (1.4-2.9 m) from the front of the keyboard to end of the bend. The "baby" grand is 5 ft-S ft 2 in (1.52-1.57 m) in length; smaller grand pianos are called "apartment size." The larger sizes are the medium grand and concert grand. Modern vertical piano design has changed little since 1935.

Verticals range in height from 36-52 in (91-132 cm) with small variations in width and depth. The five standard sizes from smallest to tallest are the spinet, consolette, console, studio, and professional pianos. Pianos are frequently chosen for appearance, and cabinets are available in most furniture styles and finishes. History The piano's ancestors are the first stringed instruments. Plucking, striking, and bowing of strings was known among all ancient civilizations; the harp is mentioned in the Book of Genesis in the Bible. The psaltery was an ancient box-type instrument with strings that were plucked with a pick. Keys were added to stringed instruments to make the family of instruments led by the harpsichord, but keys are used to pluck strings in the harpsichord, the most popular instrument of the seventeenth century. A parallel development was the dulcimer, another stringed box with strings that are struck. Keys and strings were paired in a striking instrument in the clavichord, which led directly to the invention of the pianoforte or fortepiano.

Bartolomeo de Francesco Cristofori made harpsichords in Padua, Italy. He is credited with having invented the piano in 1700. Cristofori's piano had hammers that struck the strings by falling by momentum, after having been moved by the action parts linking the hammers to the keys. The hammers were caught by back checks or hammer checks to keep them from bouncing up and down on the strings after the initial strike. This method allowed the strings to continue to vibrate and make sound and for them to be struck loudly or softly, unlike the harpsichord. Johann Andreas Silbermann of Strasbourg, France, continued Cristofori's interest in the pianoforte, and the instrument became popular in Germany after Frederick the Great purchased several. Johann Sebastian Bach approved of it in 1747. The piano had replaced the harpsichord in importance by the end of the eighteenth century. Cabinetmakers built beautiful cases for them. The square piano was built mid-century, and more musicians began writing music specific to the piano, rather than borrowing harpsichord tunes.

Piano building began in America in 1775, and changes to the design of the hammers and to the playing mechanism or action improved the sound and responsiveness of the instrument. Jean Henri Pape of Paris patented 137 improvements for the piano during his life (1789-1875). In England, John Broadwood developed machines to manufacture pianos and reduce their cost. Improvements continued from 1825 to 1851 with over 1,000 patents in Europe and the United States for stronger, more deft pianos with greater control and repetitive motion. By the mid-nineteenth century, the modern piano had emerged based on the development of the cast iron plate for structural strength and cross-stringing by fanning bass strings over trebles. By 1870, Steinway & Sons had developed this fanning method called the over-strung scale, so that the strings crossed most closely in the center of the soundboard where the best sound is produced. Advertisement for a Beckwith player piano from the 1915 Sears Roebuck catalog.

(From the Collections of Henry Ford Museum & Greenfield Village.) In the early twentieth century, the player piano achieved great popularity, allowing people to feel artistic and produce music in their homes without having to invest endless hours in practice. The pianos, equipped with a built-in player mechanism, were activated by foot pedals or electricity and used perforated paper rolls to play a variety of music. Manufacturers advertised their player pianos as good family entertainment and a source of cultural enrichment. An eager public responded with enthusiasm, purchasing over two million pianos by the end of the 1920s. Parents hoped that the pianos would interest their children in attaining musical skills—although they often had the opposite effect, since player pianos offered, as one manufacturer described it, "perfection without practice." Dealers offered music rolls for a broad range of age groups, musical tastes, and interests. Young adults sang along with the latest tunes, while musical versions of nursery rhymes enchanted toddlers. Classical music enthusiasts listened to sonatas or operatic melodies. Many Greek, Italian, and Polish-Americans purchased song rolls with words printed in their native language.

Coin-operated player pianos were popular among hotel, dance hall, and restaurant owners, who purchased them to serenade customers and increase profits. Fitted with rolls that played several tunes, these pianos poured forth music at the drop of a coin. Customers glided across dance floors to waltzes and fox trots, dined in restaurants to popular melodies, or drank in speakeasies to uptempo tunes. The enthusiasm for player pianos began to wane in the late 1920s, however, as phonographs and radio provided keen competition for leisure time and entertainment dollars. Jeanine Head Miller C. F. Theodore Steinway also developed the continuous bent rim for the case, which enhanced sound transmission by using the acoustic properties of long wood fibers. These improvements were adapted to all styles of pianos including grand, upright, and square pianos. By 1911, there were 301 piano builders in the United States. Production peaked in the 1920s and declined greatly because of the Great Depression in the 1930s. Today, there are approximately 15 piano manufacturers in the United States, and Japan is the world's largest producer of pianos.

The design of the piano has not changed appreciably since the late 1800s, although manufacturers may use different materials or approaches to the manufacturing process. The manufacturing process for the grand piano is described below; there are some differences in manufacturing the vertical or upright piano and in operation methods, particularly the angle at which the hammers strike the strings. Raw Materials Pianos are made of the finest materials, not only for appearances but for excellent sound production. The long fibers of maple wood are strong and supple for construction of the rim, but long fibers of spruce are needed for the strength of the braces. Wood is also needed for making patterns of other parts. Metal is used for a variety of parts, including the cast iron plate. Sand is needed for casting molds. The character of the sand is modified by using additives and binders such as bentonite (a type of clay) and coal dust. Molten iron for the casting is made of pig iron with some steel and scrap iron to add strength. Strings are made of high tensile steel wire that is manufactured at specialized piano string mills. Design Pianos are designed by specially trained and educated engineers called scale engineers.

Scale engineers choose the materials, create the designs and specifications, and develop the interactions of the parts of the piano. Perhaps the most important aspect of design relates to the structural strength of the piano. About 160-200 lb per sq in (11.2-14 kg per sq cm) of tension is exerted on each of the 220 or more strings in the piano. The piano must perform well, but it also must remain stable over time as changing conditions affect the many materials in the piano differently. The cast iron plate must support the tension of the stringing scale, covering the sound-board very little; it must have maximum mass for strength, but minimum mass for sound quality. Its shape is unique to the design of the piano because it conforms to the string layout, the placement of the bridges on the soundboard, and the paths of the strings. Because the material is brittle, it must be supported in places where the strings apply tension. Holes are designed in the curved side to prevent the plate from cracking due to thermal stress after it is poured and cooled, and this design allows sound to rise from the soundboard too.

The scale engineer first sketches a proposed plate, draws it to scale, and makes a wood pattern; this design is later used for manufacture. The Manufacturing Process Bending the rim of the case 1 Steinway's method of rim bending is still used and is the first step in assembling the grand piano. Layers of long-fiber maple wood are glued together and bent in a metal press to form a continuous rim; both the inner and outer rim are made this way. Up to 22 layers form each piano rim, and the layers may be up to 25 ft (7.62 m) long. Resin glue is applied by machine, then the layers are carried to the press where they are shaped. The rims are stored in braces to keep them from changing shape. They are seasoned in controlled temperature and humidity conditions until the wood meets a specific moisture content where it will hold its contour. The bent inner rim is then fitted with other wood components, including the cross block, the pinblock, the cross braces, the keybed, and the backbottom. These are glued and doweled in place. 2 The cabinet is finished to improve sound properties as well as for appearance.

The cabinet is sanded so stain is absorbed properly, wood is bleached to equalize appearance of the veneer, prestaining and staining are done next, wood fillers (sometimes with a washcoat) are added, and a first coat of sealer or lacquer is applied. The surface is sanded again, special glazes (for antiquing or other effects) are added followed by two more coats of lacquer, sanding is done again, special trims are added, and two final coats of lacquer are used. The cabinet is dried for up to 21 days before it is hand-rubbed to its final finish. Making the structural components 3 The wood components of the piano (collectively called the framework)—the pinblock and the cast iron plate—are the parts of the piano that support the tension of the strings. Braces are made of select spruce, and the pinblock or wrestplank is constructed of bonded layers of rock maple. The pinblock is quarter-sawn or rotary cut to maximize the grain structure's grip on the tuning pins. The laminated layers are also glued at different angles to each other so that the pins are surrounded with end grain wood.

The pinblock has one hole per string, or up to 240 holes, drilled in it. 4 The cast iron plate is made in a piano plate foundry. Match-plates are made of metal from the wood pattern designed by the engineer with top and bottom pieces to match. Sand molds are made from the match-plates, and these are used to cast the plate. Molten iron is poured through the molds and allowed to harden during the founding process (a controlled cooling process) to produce a plate weighing about 600 lb (272.4 kg). After the plate is cooled and removed from the molds, sand is blasted off the plate with steel grit. The plate is transported on overhead conveyors to a drill room where holes are drilled for the tuning pins, nosebolts, bolts to the frame, and hitch pins. The hitch pins are inserted next; then the casting imperfections are removed from the plate by grinding and drilling. Oils are also removed. The plate is hand-sanded and rubbed, primed, and painted. 5 The cast iron plate is suspended above its piano during the process of fitting.

The plate will be lowered and raised in and out of the piano several times as the pinblock, seal against the rim, and the sound-board and bridges are fitted. Creating the soundboard 6 The soundboard is a thin panel of spruce that underlies the strings and the cast iron plate and rests on the rim braces. Its parts are the board itself, supporting ribs on the underside of the board, and the two bridges over which the strings are stretched. The soundboard is made of spruce that is 0.25-0.375 in (0.635-0.95 cm) thick; it acts as a natural resonator, is strong for its weight, and can be vibrated by the strings because of its lightness. Spruce is air dried then kiln dried to a specific moisture content. It is then cut into strips that are 2-5 in (5.08-12.7 cm) wide, the edges are glued, and the strips are pressed together and dried. A pattern is superimposed, and the soundboard is trimmed to grand piano size. 7 The soundboard is curved to produce the right sound.

The curve is called a crown that arches upward toward the strings. The arch is made by fitting ribs of lightweight spruce or sugar pine wood to the underside of the board. The ribs are carefully cut from patterns, then fitted and glued to the sound-board using a rib press that accurately positions the ribs, then forces the board into the proper curvature. The ribs are cut along the wood's lengthwise grain and fitted at right angles to the lengthwise grain of the sound-board, so that vibrations are evenly transmitted. The ends of the ribs are feathered, then fitted into notches in the framework of the piano that will exactly support the arch of the crown; the pianomakers use special patterns to guide these cuts in the frame. 8 The two soundboard bridges transfer the vibrations of the strings along their lengths to the soundboard. The long bridge is crossed by treble strings, and the bass strings that fan across the trebles cross the short bridge. The bridges are complicated because they must parallel the grain of the soundboard closely, curve with the crown, and support the strings, which exert a down-bearing pressure on the bridges and therefore on the soundboard.

This pressure must be supported by the strength of the bridges and the arch of the crown, or the tone of the strings will drop. The bridges are made of solid blocks of wood or of laminated wood. Hard maple is used in American-made pianos, and falcon wood (beech) is used in Europe. Laminated bridges must be placed with laminations perpendicular to the soundboard or the glue layers have a damping effect. The bridges are glued to the soundboard and also fastened to it with wood screws capped by soundboard buttons made of wood that act like washers and keep the screws from grinding into the board. The bridges are notched on both Pianos have the greatest range of any instrument and over 2,500 parts. They are considered to belong to both the string family of instruments, because a piano's strings produce its sounds, as well as the percussion family, because the sound is produced when a hammer strikes a string. sides where each string crosses, so the string strikes a small part of the bridge and can vibrate easily. Pins are inserted in the bridge, and strings are threaded between the pins. Stringing and tuning 9 Piano string is made in specialized mills and consists of carbon steel wire.

The bass strings are also wrapped with copper windings in a process called loading the strings. The windings add weight and thickness to the steel core strings so they vibrate more slowly and can be made to lengths that fit a piano of practical size; without loading, bass strings would have to be 30 ft (9.14 m) long to produce their sounds. Treble strings are short, are not wound with copper, but are grouped in threes to make one tone. Scale sticks are used as standards for each string, acting as a gauge of each kind of wire and determining how many sizes of string are needed; up to 17 different diameters of wire may be used to string one piano. Piano strings require special care and handling because they lie straight after they are formed, cut, and loaded and are never wound on rolls. After the strings are strung, they are held in place near the tuning pins by metal bars and special brass studs called agraffes. Other bars position the strings properly near the hitch pins. 10 Tuning pins are made from steel wire.

The wire is cut to the proper length, the ends are shaped with a die, and the pins are loaded in a tumbler where rough edges are smoothed away. The tumbler empties them into a press where swags that fit tuning hammers are formed at the tops of the pins. Holes for the strings are drilled into the swagged ends of the pins, the pins are cleaned of metal chips and oil, and nickel-plating is applied to the pins to keep them from rusting. The pins are threaded to turn easily during tuning, then they are subjected to controlled heating called blueing, which oxidizes the outer surface of the threads of the pins (where the nickel plating was removed during threading) so the pins will grip the wood in the pinblock. Special machines insert several pins at a time through the holes in the cast iron plate and into the pinblock where they are fitted in place by hand. Constructing the keyboard and action 11 Keyboards, key and action frames, and actions are made by specialty manufacturers. The keys balance and pivot on a set of either two or three rails that are covered with felt to prevent noise.

Guide pins for each key are inserted in the front or head rail and the middle or balance rail. The keys themselves are made of lightweight wood that is cut to size and dried in kilns. The keys are covered with black or white plastic, although in the past ivory and ebony were used. The plastic key covers are molded to cover a group of keys that are later cut individually. Holes are drilled on the undersides to fit the guide pins. Capstan screws are mounted on the back edges of the keyboard extending inside the piano; the action will be seated on these. The keys are now cut into 88 individuals, which are sanded and polished on the sides. The black keys are also stained black before the black caps are glued on. The keys are rematched to the keyframe, punchings resembling washers are placed over the guide pins, and the keys are placed on them. 12 The voice of the piano depends on the quality of the hammers. Many materials from elkskin to rubber have been used over the history of the piano, but today, hammers are covered with premium wool felt of precision-graduated density.

The felt is made by specialists who begin with select wool that is carded, combed, folded, and compressed into felt in tapered strips. The thinnest felt is used for the treble hammers, while thick felt is used for the bass. The core of each hammerhead is a wood molding, and an underfelt and top felt are bonded in place with resin to cover the molding. The hammerheads are made in long strips of the same size then sliced into individual hammerheads by hand or automation. The complete set of hammers is installed in the piano. The sound of the piano is adjusted by a specially trained tuner called a voicer. The key actions must respond with the same resistance. The felt hammers are modified with a sticker or needler that retextures the hammerheads and changes the sound. 13 The final parts are added, including the pedals and their trapwork, the fall-board or key cover, the music rack, the hinges and top lid, the topstick that supports the raised lid, and many other details. All parts are carefully made so they fit tightly and do not rattle or otherwise affect the sound of the instrument.

Quality Control Pianos would not exist without quality control in all aspects of production because the instruments are too sensitive and dependent on the interaction of many parts and materials. For example, quality begins with the scale engineer's design. Metallurgists check the metal content of the iron plate; chemical analyses are made of the other contents, including carbon, sulfur, phosphorus, and manganese. Temperature is also critical; the molten iron is 2,750°F (1,510°C), and founding or hardening temperatures are also carefully monitored. String is similarly controlled and tested during manufacture for elasticity, resiliency, and tensile strength. The Future The process of piano manufacturing has remained essentially the same for a century, but scale engineers are always seeking new methods. Vacuum casting has recently been used to produce cast iron plates with smooth finishes requiring no grinding. Where to Learn More A Short History of Piano keys, Harpsichord Keys, Keyboard Compass Piano Resources Links Keys and Keyboards This article provides a short history of keys and keyboard compass.

The German word "Klavier," which can refer to any keyboard instrument, possibly derives from the Greek word "celava" which means club (because most of the early organ keys were hit not played); but it is more likely that it came from the Latin word "clavis," meaning key, as this is where the English word key derived from. On early organs, the keys were marked with the pitch. These were translated into letters which were called "clavis." The Roman water organ had a row of little levers. Evidence for this can be found on mosaics and carvings dating from before the collapse of Imperial Rome. During the tenth century there was an organ at Winchester Cathedral with 40 stops and two manuals, probably consisting of lever type keys, all naturals with no accidentals, taking, it is said, three men to play it. The organ was the first instrument with a keyboard, and the weight of its keys, like that of many other instruments, varied. So much so, that it took the strength of a man's fist to push down one of the crude levers, which to us would hardly be recognisable as a key.

It was not unknown for players to be called "organ beaters." Organ players began complaining of uneven touch on the organs. A contract between an organ builder and Rouen Cathedral in 1382 refers to the repair of the keyboard with the purpose of making it more uniform and lighter in touch. However, parts of an organ dated 226 AD and found near Budapest had keys no heavier than those of a modern piano. Throughout the ages, touch has been one of the gripes of the performer. Even the great Silberman, who trained most of the great piano makers of the 1700s, was criticised by J. S. Bach, who said that Silberman pianos were too hard to play. This was around 1733. The first sharp to be added to the keyboard was probably the F sharp, according to academic research. A painting by Van Eyck suggests that the fashion around 1430 was for narrower keys than in earlier years, with the use of sharps confirmed. Since around 1450 the keyboard has remained virtually the same except for minor variations in the width of the keys and the coverings of the short and long keys respectively as white and black or black and white.

By the thirteenth and fourteenth centuries, keyboards consisted of what we would call the naturals, or white note keys, with the church modes as the basis for the musical system. The interval of an augmented fourth, between the notes we would call F and B, was considered discordant, so the B was often lowered, bringing in an extra note, B flat, shorter and narrower, between the A and the B. After the B flat probably came the E flat, then C sharp and finally G sharp. They would have been tuned more or less as pure thirds to the natural keys, that is, the B flat as a true third below D, F sharp as a true third above the D etc. But today's arrangement of naturals and sharps or flats was depicted in a painting as long ago as 1361. Almost 300 years later, in 1619, Praetorius wrote that there were still to be seen a few keyboards with one short key, the B flat. Attempts were being made to play on two keyboards with one hand at the same time by 1555 or soon after.

Until the beginning of the 19th century the naturals were slightly shorter from their fronts to the sharps (this is more to do with playing technique than design) and often the naturals were darker in colour and the sharps lighter. The custom of having the naturals a darker colour was said to have originated in France to show off the player's hands to better advantage. A piano made by Zumpe in 1766 had the black notes divided into two sections controlling different strings, to allow for the tuning of sharps as sharps and flats as flats. Each octave could be divided into thirty-nine steps. The practical difficulties of playing such a thing ensured that it did not catch on. It seems that around 1700 ivory was used for key covering at times. Many and varied materials have been used for this purpose, including bone, mother-of-pearl, porcelain, tortoise-shell, silver, boxwood, cedar, ebony, pear and other rare and polished woods. At times the fronts of the naturals were beautifully carved. In 1816 a set of new replacement keys for a Broadwood grand would have cost £3 s0 d0, and for a square £2 s15 d0.

The English and Viennese actions arrived on the scene around 1772 and the fronts of the Viennese keys were more often ivory, like those on a modern piano. Silberman's keys used very thick ivory, 2.5 mm. French and English keyboards had moulded, inverted step-like keys which used decorative box woods and sometimes the fronts were carved as well. Sometime in the 1830s they changed to the key front shape we know to day. Clagget in 1788 patented the idea of putting glass on keys and later the French were using porcelain. This was all an attempt to get the customer to buy the cheap end of the piano lines. In 1862 Cellulose was first made artificially from gun-cotton by A.Parkes, of Birmingham UK. Called "Parkesine", it could simulate ivory. In 1869 John & Isaiah Hyatt (1837 - 1920), of New York, produced Celluloid from camphor and pyroxlin (cellulose nitrate), and in 1870 Hyatt was granted a patent in the USA.

Cellulose has been used for the key coverings on the cheaper pianos since then. From about 1959, the most common covering for both white and black keys has been acrylic plastic. The keys made by Lindner for about ten years from 1961 were of plastic and hollow and tended to break. In 1963 Pratt, Read & Co. introduced a moulded plastic shell wrapped around the wooden core of the keys so that no wood was exposed. At present there is an embargo on the use of ivory for key coverings. Odd Keyboards In 1862, Vincent suggested making a keyboard with six rows of keys to make possible the playing of any scale with the same fingering. In 1837 Obendrauf of Vienna made a pianoforte with a keyboard designed so that children could play intervals and chords with ease, but it is not known what the octave span was on his piano. In 1841, John Dwight patented a seven-octave piano with a convex keyboard so the player could reach the extremes of the compass more easily. Bosanquet designed a generalised keyboard harmonium with 53 keys to the octave in 1876.

General Perrot Thomson in the mid-nineteenth century and Bosanquet in the 1880s made harmonia for scientific purposes with 72 and 80 finger keys to the octave respectively. The dummy keyboard was in use before this time but in 1890 or thereabouts Virgil invented the Virgil practice clavier which was rather more elaborate. Pianos with pedal keyboards had also been known for some time and were made until the First World War or a little later. Mangeot created a sensation in Paris in 1878 with a two-manual piano. Each hand had its own keyboard, but the keys for the left hand were reversed, making the furthest note to the left the highest pitched. Pianists could play scales and arpeggio passages with the same fingering but with the hands moving in opposite directions. In 1878 Percival patented a piano with two keyboards placed back-to-back vertically, 16 inches wide. The compass was split between the hands. Paul Janko patented Vincent's idea for a keyboard with six rows of keys in 1882.

In 1895 Pleyel patented a piano with a keyboard at each end, apparently similar to that by Persson in 1850. In 1929 a two-keyboard piano was made by Steinway's factory in Hamburg, Germany. The two keyboards, one with the usual 88 notes, the other with only 76, The 76 note keyboard plays notes an octave above the ones on the 88 keyboard. Pressing a key on the shorter keyboard activates a mechanism inside the piano that pulls down the corresponding key on the lower keyboard, but an octave higher. The piano was rebuilt by Steinways in 2007 The Keyboard Compass It can be safely said that the development of the keyboard compass has been governed by man's lack of technology, rather than man's desire for music. In the early fourteenth-century organs, 14 keys per manual was the norm. Later improvements in the link work and trackers, such as that by Praetorius in the later fourteenth century, made it possible for the increase of the compass and pipe size without compromising the gaps between keys as on other contemporary organs with a larger compass. Early clavichords had few keys.

In the roof on the nave of St. Mary's church, Shrewsbury, built during the first half of the fifteenth century, there is a carving of a clavichord with nine keys. In the basement of a church built in 1472 at Certosa in Tavia, there is a picture of King David playing an instrument with eight keys. He plays with the right hand, and it has eight strings. The Venetian inventor Spinnette produced a four-octave harpsichord in 1503. The oldest surviving harpsichord, dated 1521, now at the Victoria and Albert Museum in London, has a compass of nearly four octaves and shows the use of the short and broken octave idea. This is to provide a range of notes greater than the compass of the keyboard. The first virginal is attributed to the harpsichord maker Ruckers (Antwerp, 1575-1667), and had 21 naturals and an overall key width of 502 mm from B to A.

Ruckers produced some two-manual instruments with the bottom manual running from second octave C to sixth octave F and the top manual from second octave C to sixth octave C, with these last two keys coming inline with each other and tuned to the same pitch. In other words, the top manual was tuned a fourth higher than the lower manual. Most of the Ruckers instruments from 1620 had a range of C to E. A two-manual harpsichord dated 1599 runs F to F. The Bonafines spinettino had a compass of C to E with 25 naturals. This was around 1690. The 1722 Cristofori piano ran C to C with forty-nine notes in all. By about 1726, some harpsichord keyboards had expanded to five octaves and one from 1700 has four and half octaves. In 1745, Francisco Perez Mirabal was making pianos in Spain. There is a piano in Madrid said to be his and the compass runs G to G.

Burney, writing about this period many years later, said: "The ladies at that time, wearing hoops, which kept them at too great a distance from one another, had a harpsichord made by Merlin, expressly for duets with six octaves." The square pianos made by Broadwood of 1780 had five octaves, yet there were still some produced with a smaller range. Anton Walter, who made pianos for Mozart, used nearly five octaves. In 1763 Johann Heinrich Silberman, nephew of Gottfried Silberman, was making a piano with five octaves in Paris. In 1790, Broadwood was the first to extend the keyboard range to five and a half octaves and it is possible that the company made a grand with six octaves in 1794. However, Albrecht made a square grand with five and a half octaves going from F to F. This piano is at present in Charleston Museum and dated 1790. At the Finchcocks museum in Kent, a Broadwood grand from 1801, catalogue number 25, runs F to F (see list below).

Amber Kasper, an Austrian maker, was still making squares with a three and a half octave compass, F to C, with an octave span of 153 mm, which was short, as most makers have spans over 160 mm. It is possible this square was for children. It was made about 1800. An upright made by Hawkins in 1803 had a five and a half octave keyboard F to F octave span, 158 mm, and no pedals, just knee stops. Muller's upright of the same period had five octaves running from first octave E. Between 1803 and 1816 Beethoven owned an Erard which allowed him to reach from sixth octave F to seventh octave C. Broadwood's price list of 1816 speaks mostly of instruments with six octaves, but mention is made of a cabinet piano with additional keys. This probably ran from bottom C, which was usual, to seventh octave F. Broadwood's grand of 1818, made for Beethoven, had six octaves. Liszt played on a six-octave Erard in Paris in 1824.

The square pianos of the period usually ran from first F to seventh C, but Broadwood's price list of 1828 shows some squares with six octaves, running from F to F. The Broadwood grand that was in the Museum at the Royal National College for the Blind, Hereford, around 1831, runs from first C to seventh F. In the 1840s Broadwood made pianos with the seventh A as the highest note. It would seem that by 1850 pianos were made also being extended to bottom A, so by this time some pianos had seven full octaves. At the Finchcocks Museum in Kent, a Broadwood grand from 1850, catalogue number 31, runs A to A. Pianos with a compass of seven and a quarter octaves 88 note had arrived before 1870. It is known around that date Chickering shipped a piano from Boston to New York with that range. In the UK Pohlmann & Son, Halifax in their 1871 advertisment claimed to be the first manufacturers in Britain to adopt the 88-note keyboard.

In 1908 Bosendorfer extended the range down to C below bottom A on their large Imperial Concert Grand, which has eight octaves. The lowest note is C below the usual A, up to the top C, 97 keys in all. The piano is 9 feet 6 inches long Width: 5'9", Waght net: 1.255 lb. The standard keyboard of today is 88 notes, A to C, seven and a quarter octaves. If you are learning how to play the piano for beginners today, you may want to check out other piano articles for your own benefit.. Octave spans and compasses of various keyboard instruments Octave Spans and Compasses of Historical Organs Organs Are Ivory Piano Keys Better? The Romance of Ivory: Are Ivory Piano Keys Better? There was a time when all pianos had ivory key tops. By the middle of the 20th century, the use of plastic key tops began to replace ivory keys in a big way. Laws protecting elephants made ivory keys extremely rare in pianos built after the early 1970’s. No pianos have ivory keys. The keys of all pianos are made out of wood.

It is only the thin top of the white keys which are made of ivory or plastic. The black keys are made of ebony. However, most Asian production pianos have plastic black keys. In this case, the entire key is made out of plastic and is hollow on the inside. Growing up, my father had 2 grand pianos in his studio, an old Steinway with ivories, and a newer Baldwin with plastic key tops. I found the ivory to be slippery and the plastic offered a better grip on the keys. However, when I would perform in student recitals, it was quite the reverse. With a bit of nerves, the sweat in my hands made the plastic key tops slippery and the grip on the ivory much better. Ivory key tops are porous. So cleaning is more difficult than cleaning plastic key tops which can be cleaned with a high concentration rubbing alcohol; 90% or higher works best. You can use a soft cloth, paper towel, or cotton swabs made damp with the alcohol. Rub all the keys, black and white and you will be amazed at how much dirt comes off the keys. The high concentration of alcohol assures that the moisture will not compromise the integrity of the wooden keys.

Ivory keys present a greater challenge. While cleaning with alcohol as above will work, in time it can dry out the ivory and cause warping. So it is best to use a slightly damp cloth with only water and use alcohol only when needed to remove persistent stains. Ivory keys also will yellow in time. You can help them keep white by not closing the fall board. While it is important to close the lid of the piano when not in use to avoid corrosion of the strings, the fall board only protects dust from settling on the keys which can be wiped off easily. If ivory key tops get too dirty or yellow, they can be polished and bleached. If a few are chipped or missing, some piano technicians have a large stock of replacements. This is no easy task since matching the exact size, color and texture of ivories is very challenging. Replacing key tops altogether with modern composite plastic key tops is not very expensive, 2 or 3 hundred dollars. Usually when doing this it is a good time to replace key bushings and front rail bushings which wear out. That can add another couple of hundred dollars. which is better, ivory or plastic key tops?

I have run into many people who have a strong preference for one or the other. Many people prefer the mystique of real ivories on a beautifully restored vintage piano. Other people are horrified by the sacrifice of the animals to produce the ivory. Overall I would suggest if you have a piano with usable ivories, keep them in good shape as long as you can since they are nearly irreplaceable. A set of ivories can be procured but a set costs thousands of dollars. Keep in mind however that if you went out and bought a brand new Steinway grand piano, it would have plastic key tops. Functionally they are very close. Perhaps the texture of a good set of ivories gives a better grip particularly with sweaty hands. Otherwise it is not one of the more important considerations for a piano’s quality.

Question: Traditionally, what are the black keys of a piano made of?
Answer: Ebony