This is an interesting topic; particularly for me due to my recent trip to the NAMM Show (National Association of Music Merchants) here in Orange County California. This is a huge annual gathering of music industry professionals attracting around 100,000 people!
The question of whether or not the piano will continue to evolve as an instrument is a difficult one. Many people believe that the piano was done evolving at the end of the 19th century – since many instruments produced at that time are considered modern pianos in every respect.
Note: I will discuss at length in a future article and video the technologies of digital and hybrid pianos which I consider to be a new category of instruments.
However, while some companies have made enhancements to piano design over the years – accelerated actions, tension resonator systems, etc. – there hasn’t really been any fundamental changes to the instrument in over 100 years other than manufacturing technologies.
This perception changed for me somewhat over the weekend. While I was attending the NAMM show since I had the opportunity to try many different pianos from all over the world. I kept coming back to the Mason & Hamlin piano booth and trying their new composite actions.
I spoke at length with Bruce Clark – the designer of Mason & Hamlin pianos about these new actions which are made almost entirely from carbon fiber, not wood. And to be perfectly honest, I have been skeptical of the benefits of the use of synthetic materials being utilized in actions.
My original feeling was, “If it ain’t broke, why fix it?” The type of piano actions we see in most pianos made from wood, leather and felt have been around for over a century; they have worked well for a long time; why change now? But this weekend I had a chance to really put them through their paces and I was pleasantly surprised!
The very interesting thing about this new design from Mason & Hamlin (and there are new technologies by other companies, notably Kawaii) is that they are so lightweight in the action that the keys do not need to be weighted with lead. This basically means that there is less mass in the key and it takes less inertia to overcome. There is a quickness, a lightness, and a response that really has to be experienced to understand; they feel different from traditional piano actions!
But the question is; are these better actions? Will this be the future of pianos one day?
Let’s just jump to the conclusion that they are better actions for the sake of discussion. If this is the case, how is it possible to transition? In that I mean there are a lot of different obstacles these pianos and actions must overcome in order to become mainstream.
First of all, Mason & Hamlin produces around 150 pianos a year; so these actions are not very prevalent at the moment. While Kawai produces far more pianos, their actions are a hybrid utilizing wooden shanks and composite materials together, so they aren’t radically different in feel from traditional actions.
The problem is this: what would happen if you bought one of these pianos with the newest synthetic actions that are easier to play. Would you have difficulty transitioning in performance to a traditional piano? This is a serious question for concert pianists and pianists of all skill levels since typically you can’t take your piano with you to performances.
Another problem is unless these types of actions become somewhat commonplace, technicians may not have the skills needed to keep them regulated properly. They are very different actions that require new techniques for adjusting. Each new action design requires piano technicians to learn new skill sets.
Perhaps these pianos really are the future and the next great innovation in the instrument is underway. Or is it just another one of the advancements to the piano that has fallen by the wayside over the years? Only time will tell.
I’m very interested to hear your thoughts on this matter. Please contact me Robert Estrin: Robert@LivingPianos.com 949-244-3729
9 thoughts on “The Evolution of the Piano”
It is my hope and ideal that piano evolution will accelerate rapidly in the next few decades, with new technologies emerging with a frequency only possible by fierce competition, as it was before. Right now, we’re stuck in the old Steinway standard that’s been dominant since the early 20th century, due to standardization enacted by both consumer and fabricator. Only a few makers are daring to try new things, such as “proper” upright actions (Fandrich), treble quatrochords (Borgato), different wrap wire (Stuart & Sons), plain wire scaling (Adrian Mann), and soundboard impedance register breaks (early Fandrich).
For me, the innovations I want to see the most are the revival of the bridge agraffe and the extension of the keyboard across a variety of manufacturers. Only two regularly make extended range pianos: Boesendorfer (C0 to C8) and Stuart (CO or F0 to F8), and only a few are driving the reappearance of the bridge agraffe (Phoenix, Steingraeber, Stuart & Sons). I listened to sound samples of the Stuart and it make me wish such a device should have become common since its introduction centuries ago. Extra keys? We may not even be finished extending past the limit the Stuart has gone to (102), technically and compositionally. I know Artur Cimirro certainly isn’t (he wrote a piece for a compass of C0-B8!). Let’s hope what remains to be seen on this front will be interesting.
Dan
There are many innovations happening with pianos today. Charles Walter is offering pianos with smaller keyboards to accommodate people with small hands! You make mention of some extremely unique design elements and expanded keyboards offering an alternative from the narrow Steinway standard. In fact, far simpler differences in scale design can achieve dramatic alternatives in sound and performance.
It would be nice to think that just as the number of boutique manufacturers of wind instruments that has flourished with flutes and French horns for example, would see a similar creation of high quality micro manufacturers in pianos. However, the challenge is overcoming a standard. The piano has become so narrowly defined mostly due to economic considerations. We will see how much room there is for unique expressions in piano manufacturing. There certainly are exciting developments in design.
Robert Estrin
Hello Robert,
Here are my thoughts on these devevelopments.
The question you mention on the video of, “Why fix something that is not broken” is a very valid question. I believe another question should also be asked and explored, “Is this composite action made for improving the sound of the piano and/or the ease of playing certain dynamics on the piano or are these developments added to the action because of lowering manufactoring cost and possibly the lack of quality wood available to have a consistent action”? I guess what I am trying to say is that no development will occur in any piano unless there is a financial advantage as well. I am not saying this is a bad improvement it may very well revolutionize the construction of the piano’s action but we also must realize that this improvement on the surface appears to be a way to also reduce the cost of manufactoring the action.
The labor and the supply of quality wood to make actions must also be a concern.
It may also be a concern that the used piano market is a bigger competitor each year in selling new pianos and these select piano makers realize they must come up with something different or continue to lose out to a higher quality used piano at the same if not lower price as their new pianos.
An issue that could develop is in areas of the country where there is a significant change in climate throughout the year. The action and the rest of the wooden components of the piano will be at at odds with each other possibly causing problems.
We will all win if in the end all these developments help in or enjoyment of the piano, lower manufactoring costs and improving the consistency of the actions.
Ignacio-
You bring up many good points. The fact is, there are many entry level pianos that have plastic components in their actions. The sourcing and crafting of wood parts is demanding and costly. So, it is logical that many, large, Asian production facilities stamp parts out of plastic in place of the traditional wooden parts in order to reduce costs and facilitate consistency. However, pianos like Mason & Hamlin and Shigeru Kawai are top tier instruments that are utilizing synthetic materials for other reasons.
The other question about how the carbon fiber materials effect sound or performance, In talking with Bruce Clark, who does design work on the all carbon fiber Wessell, Nickel & Gross actions and Mason & Hamlin pianos, I got enlightening answers. Apparently the strength and rigidity of the carbon fiber shank in particular makes the hammer escape the string more quickly instead of the microscopic, secondary bounces that occur from the flexing of wooden shanks. Therefore, a theoretically purer tone is achieved.
As for touch, it is always ideal to have as little mass as necessary for top performance. Having less inertia to deal with makes the action more responsive.
The last issue is of paramount importance. How do hybrid actions which contain both wood and composite materials deal with the natural swelling and contracting of wood parts? The issue is compounded by the possibility of new materials being utilized in place of the traditional felt bushings at all points of friction.
So, there is much to discover here! We must continue watching piano development closely.
Robert Estrin
When I was looking for a piano, I tried Kawaii and a few of the brand new pianos. Does “action” effect sound?? For the most part I didn’t like how many of the “newer” pianos sounded…they seemed “hollow”, not full, not rich.
So, are the two connected or is it strictly in the wood and the quality of the piano making?
Francine-
Action indeed can effect sound. The fact is, even simple differences in action like hammer weight and hammer alignment can effect the sound dramatically. However, you are absolutely right – the wood and quality of pianos have a profound impact on the sound and playing of a piano. The fact is, there are many cheaper pianos out there that while remarkable for the low prices, don’t have the same rich, rewarding sound. Not only that, but many fine hand-made pianos may not be at their peak for a number of years as things settle in and the voicing becomes stable. When the piano is played, the hammers get harder and the tone opens up. (It’s a natural progression that can be hastened with hammer hardeners and such.)
Thanks for your observations.
Robert Estrin
It is interesting to learn that Mason & Hamlin, in particular is using a new technology in their action. I have a beautiful Mason & Hamlin model CC concert grand that was built in 1919, and rebuilt 20 years ago, and it has an absolutely gorgeous sound, with the longest decay you can imagine. Many great pianists have played it and they all marvel at its wonders. But I can see where there may be some improvement in the ease of touch in the action, using a lighter weight composite. I would be interested in trying the new action.
“Are we there yet”? Probably not. I have a Bosnedorfer 225 and a Roland 700GXF so I have some familiarity with “state of the art” analogue and digital pianos. If we consider any musical instrument as something to help the artist communicate their message, their emotion, their feelings, I think we are continuing to evolve in lots if areas, including the piano. Consider the CEUS attached to the Bosendorfer for playback. Here we marry digital and analogue for the artist to “learn” what their exact message is by recording and then sitting in the audience to experience how their message is recieved. Consider Roland which is working on booth sound (piano sounds) and touch with the GX, the GXF, and now the NX, all in an effort to help the artist make music with a “digital piano”. Consider a Steinway I played a while back that had an adjustable touch to the keyboard implemented by putting magnets as the counter weights in the keys and then subjecting these magnets to adjustable magnetic fields that would make the key’s easier or harder to play, all adjustable so that some ranges of keys were easier and some where harder to depress. Consider the Fazioli with 4 foot pedals rather than the traditional 3, allowing even more control of string/hammer interactions by the artist. I don’t have deep knowledge of microphones or speakers for recording and playback of digital pianos, but I’m sure there continues to be innovation there as well. And I’d be remiss if I didn’t mention the value sound engineers bring to venue’s for listening to live music; not to mention engineers of hearing aids. Therefore, we’re not there yet, thank goodness!
Dick-
Wow – there is so much insight to respond to! The technology is exciting. Consider the fact that it is possible to play a piano remotely from another piano live. This is being done with systems like Yamaha Disclavier. New collaborations are possible with sharing technologies like Skype where you can play together even though you are in different cities. As broadband opens up, these types of things will become commonplace.
The realm I find most fascinating and promising is that of hybrid pianos. These are instruments that utilize real piano actions but produce sounds digitally. Beyond just sampling where the notes of a piano are recorded, some of the most compelling technologies utilize physical modeling which creates complex interactions of sound like you have inside a piano.
Look for more on digital and hybrid pianos coming on Living Pianos.com soon!
Robert