TextData=\qc\f002\ Keyboards are probably the most popular musical instruments in the world. Their distinct arrangement of black and white keys has become a universally recognized symbol of music and music-making. \par\par From centuries old craftsmanship to the electronic wizardry of today's computer-driven synthesizers, the world of keyboards is fascinating territory to explore. Click any of the categories above to start your tour.\i0\plain
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TextData=\qr\li2670 Although the modern keyboard did not really emerge as a significant musical device in Western music until the 1400s, some organs date as far back as 200 BC. Early keyboards \par\qr\li3315 \f002 which contained the now familiar pattern of black and white keys became increasingly popular in Europe in the 1500s and the 1600s. Among the different types of \par\qr\li3480 \f002 stringed keyboard instruments were virginals, spinets, clavichords, and harpsichords. In these early \par\qr\li3270 \f002 instruments, the actual number of keys as well as the thickness of the strings and the manner in which the sound is produced varies a bit from instrument to instrument. This is why each one has a slightly different tone color.\par\qr\li0 \f002
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TextData=\qr\li2670 These early predecessors of the modern piano, and the even more modern synthesizer, permitted one player to play many different notes simultaneously using both hands on the \par\qr\li3315 \f002 keyboard. The sound of some of these instruments is very unique and different from the sounds of more modern keyboards. This is a result of the \par\qr\li3480 \f002 materials used in their construction and the relative simplicity of the playing mechanisms employed in these early \par\qr\li3270 \f002 keyboards. Modern keyboards tend to sound much fuller and richer in tone than some of these early keyboards, especially to our 20th century ears.\par\qr\li0 \f002
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TextData=\ql\ri780 This beautiful spinet was made in Italy in 1550. Its ornate case was decorated with paintings and ivory carvings. Its "white" keys had a cherrywood stain; its "black" keys were ebony and carved ivory.Highly \par\ql\ri4785 \ql\ri4515 \f002 decorated keyboards like this became known as art case instruments. Making art case instruments is still fashionable today, but very expensive, since the ornate \par\ql\ri4860 \f002 work must be performed by hand by skilled craftsmen. A spinet is very similar to a harpsichord. However, this spinet did not have legs, so it had to be placed on a table to be played.
Caption=Italian Spinet (1550)
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TextData=\ql\ri780 In a spinet, sounds were created by a small lever attached to the key inside the instrument. Protruding from this lever (also called a jack ) was a small object called a plectrum. Usually this was a hard piece of \par\ql\ri4695 \f002 leather, although sometimes the hard quill of a bird's feather was cut into a fingernail-like shape. When a key was \par\ql\ri4980 \f002 pressed, the lever with the plectrum would \par\ql\ri5445 \f002 pluck the strings. That's what gives these instruments their plucked sounds.
Caption=Italian Spinet (1550)
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TextData=\ql\ri735 Spinets were not very loud instruments. Generally, they were used to play solos or accompany singers or instrumentalists. The spinet had a range of just over 4 octaves, 49 notes to be exact. This was a common \par\ql\ri4815 \f002 range for keyboard instruments of that time. By comparison, the modern piano has 88 notes.
Caption=Italian Spinet (1550)
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TextData=\qr\li165 No one is sure where the name virginal originated, but it was widely used throughout England and Northern Europe to refer to instruments that were similar to spinets. In literature, the earliest known references to virginals date \par\qr\li4785 \f002 back to around 1460. As in the spinet, sound is produced by a plectrum attached to a lever which plucks the string when a \par\qr\li5655 \f002 key is pressed. This virginal has a very limited range, just over 3╜ octaves.
Caption=Flemish Virginal (1580)
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TextData=\qr\li165 It was light and small enough to be moved from place to place. Its outer case was designed for durability, not decoration, although a beautiful landscape scene decorated the inside lid. From its small size, short range, and the fact \par\qr\li4785 \f002 that its exterior was painted a drab, solid color, one can surmise that this virginal was designed for traveling. \par\qr\li5655 \f002 The sound of this instrument was probably fairly soft and could be used to play solos or accompany singers and musicians.
Caption=Flemish Virginal (1580)
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TextData=\qr\li4140 This virginal was made in England in 1641 and is still in excellent condition. The outstanding craftsmanship and \par\qr\li4980 \f002 artistry in this instrument is immediately apparent. Look closely at the fine inlay work which borders the entire case, inside and out. The painted landscape on the underside of the lid was far different \par\qr\li2685 \f002 than the Italian and Flemish instruments. This virginal had a range of 4╜ octaves and is larger than the other virginal and spinet we have seen.
Caption=English Virginal (1641)
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TextData=\qr\li1935 In the harpsichord, sound was produced in the same way as in a spinet or virginal. However, because this \par\qr\li3255 \f002 instrument was larger than the virginal or \par\qr\li3480 \f002 spinet, and because the strings were \par\qr\li3420 \f002 thicker, this harpsichord was considerably louder than those instruments. It also had a much fuller sound. This instrument had a 4╜ octave range, which was common for the time. The keyboard had ebonized black keys and cherrywood white keys. \par\qr\li0 \qr\li3510 \f002 \par \par
Caption=Italian Harpsichord (1619)
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TextData=\qr\li2400 A manual is a keyboard for the hands. Made in Italy in 1619, this very ornate instrument is a single \par\qr\li2790 \qr\li3435 \f002 manual harpsichord. Most later \par\qr\li2490 \f002 harpsichords had two manuals (keyboards) so \par\qr\li3690 \f002 the player could get different sounds at the same time. During this era, it was very common to decorate nearly every inch of the instrument case and, as you see, on this harpsichord, very little was missed. There are little, angelic cherubs on the case and lid, and the legs are ornately carved. \par\qr\li0 \f002 \par \par
Caption=Italian Harpsichord (1619)
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TextData=\ql\ri3360 This detailed drawing shows the plans for building a harpsichord. It dates back to the 1460s and comes from France. This proposed instrument was to have a range of 3 octaves. These plans also illustrated four possible systems for the plucking action which produced the sound. Harpsichords were mentioned in European literature in the mid-1400s, around the same time as virginals.
Caption=Harpsichord Schematic (c. 1460)
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TextData=\ql\ri3225 Dating from 1736, this exquisite example of a two manual harpsichord from the French Baroque era has eight legs to support its \par\ql\ri3630 \ql\ri3465 \f002 weight and keep its wooden frame from warping. Note the extraordinary \par\ql\ri3750 \f002 craftsmanship in the detail of the case and the carving of the gold legs. Notice that the colors of the keys are \par\ql\ri7200 \ql\ri4005 \f002 inverted. The "white" keys are ebonized while the "black" keys have slabs of ivory affixed to them. This was common on many keyboard instruments, including pipe organs, during this era.\par \par \par
TextData=\ql\ri3225 Because of the complexity involved in constructing an instrument with two keyboards and many sets of strings \par\ql\ri3465 \f002 stretched over a wooden frame, this harpsichord was considerably larger and \par\ql\ri3630 \f002 heavier than others we've seen before. This harpsichord had a range of 5╜ octaves, 64 notes, which also added \par\ql\ri3750 \f002 to its overall size. Its tone was fairly bright and had a nice ring.\par\ql\ri4005 \f002 \par\ql\ri7200 \f002 \par
TextData=\qr\li4190 Early clavichords were the immediate predecessor of our modern piano and a model for the newly-emerging fortepiano. \par\qr\li2685 \qr\li4980 \f002 Notice that the clavichord had the same arrangement of white and black keys as is used today. Built in 1744, this German clavichord's white keys were covered in real ivory. On the outside, the clavichord resembled the virginal \par\qr\li3000 \f002 and spinet, but inside it was significantly different. In virginals, spinets and harpsichords, sound was produced by plucking.
Caption=German Clavichord (1744)
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TextData=\qr\li4140 It didn't matter whether you pressed the keys forcefully or lightly, the level of loudness always remained the same.In \par\qr\li4980 \f002 the clavichord, sound was produced by a tangent striking the strings when a key was pressed. Now the player could change the level of loudness or softness by adjusting how hard the keys were depressed, getting a wide variety of levels. The clavichord's keyboard had a range of 5 octaves, 60 notes.
Caption=German Clavichord (1744)
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TextData=\qr\li180 Wolfgang Amadeus Mozart was one of the first composers to write a considerable amount of important music specifically for the newly developing pianos. During the 1750s, these early pianos were called fortepianos, a term \par\qr\li3015 \f002 which meant loud-soft in Italian and pointed up the difference between them and the harpsichords and spinets of the day. This first engraving depicts the young Mozart seated at a harpsichord. His sister stands beside him, singing, while their father accompanies them on the violin. The second engraving depicts \par\qr\li4920 \f002 the same family grouping several years later gathered around a fortepiano. By the time Mozart was in his 20s, the fortepiano had overtaken the harpsichord in \par popularity.
Caption=Etchings of Mozart at the Fortepiano
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TextData=\ql\ri480 Looking closely, you will notice knee levers beneath the keyboard. These function similarly to foot pedals on later pianos. The right lever sustains, permitting the strings to continue sounding after they are struck by the little hammers attached to the keys. The left lever shifts the keyboard slightly to the right, making the overall sound softer.The major advantage of fortepianos and early pianos over their predecessors was that the pianist \par\ql\ri7200 \ql\ri4455 \f002 could now play many different levels of intensity, from extreme softs to booming louds. This was impossible on keyboard instruments where sound was produced by a plectrum plucking the strings.
Caption=Mozart Era Fortepiano (c. 1760)
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TextData=\ql\ri3000 Keyboard instruments where sounds were produced by plucking belonged to the string family. However, the sounds in fortepianos \par\ql\ri3300 \f002 and pianos was produced by one object \par\ql\ri3735 \f002 striking another. This necessitated changing the classification for these new instruments from string to \par\ql\ri4590 \f002 percussion. This fortepiano has a range of five octaves. Six legs support it and the entire frame is made of \par\ql\ri3930 \ql\ri4260 \f002 wood.
Caption=German Fortepiano (c. 1800)
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TextData=\ql\ri3135 Built in London, England, in 1802, this fortepiano is an important instrument in the \par\ql\ri3405 \f002 transition from early keyboards to the modern piano. As you can see, it has \par\ql\ri3855 \f002 two foot pedals which replaced the knee levers of the earlier fortepianos. In later instruments, \par\ql\ri3870 \ql\ri4440 \f002 these pedals were moved to the center, allowing the pianist to sit with his/her legs together instead of spread \par\ql\ri3570 \f002 apart. This instrument has a mahogany case and trestle legs to help support its considerable weight. The frame and body are constructed entirely of wood \ql\ri3770 \f002 and the white keys are covered in ivory. The instrument has a 5╜ octave range.
Caption=English Fortepiano (1802)
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TextData=\qr\li2400 The pipe organ evolved over many centuries. In the 1600s, it became known as the "King of Instruments" because it had developed into a \par\qr\li3345 \f002 powerful performance instrument which \par\qr\li3945 \f002 put a multitude of different sounds, and combinations of sounds, in the hands of a single player.The \par\qr\li4035 \f002 modern pipe organ is a fairly complicated device consisting of many different sizes and shapes \par\qr\li3870 \f002 of pipes, a wind supply to the pipes, several keyboards for the hands, one keyboard for the feet, and complex couplers connecting everything together. Many of the beautiful organ cases conceal the complex inner workings that make this instrument so special.
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TextData=\ql\ri3400 Because an organist must play with both hands and both feet, playing the organ requires considerable training and coordination, as well as musicianship. One of the greatest organists of all time was Johann Sebastian Bach (1685-1750). He composed over 200 pieces for this instrument; these are still performed and studied today. The pipe organ's development through the centuries is an interesting phenomenon to study, especially as it relates to uses in religious worship. Let's take a look at some of the important innovations as we examine different organs.
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TextData=\ql\ri3615 The origins of the modern pipe organ can be traced to one of the oldest instruments in the world: the pan \par\ql\ri2775 \f002 pipes. Pan pipes are hollowed out reeds of different lengths, into which the player blows air to produce sounds. The two examples shown here represent different pitch ranges. The \par\ql\ri1950 \f002 principle is fairly simple: the shorter and thinner the pipe, the higher the pitch; the longer and thicker the pipe, the lower the pitch. The pipes shown in these photographs are arranged from shortest to longest, or highest to lowest \par\ql\ri555 \f002 tones. If you compare these pictures with the photos of the modern instrument, you will notice that the pipes in the pipe organ are arranged \par\ql\ri195 \f002 similarly to the pan pipes. However, the pipes in the pipe organ are inverted. This is because the air is blown into them from the bottom, not the top.
Caption=Pan Pipes
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TextData=\qr\li2430 The modern pipe organ can be traced back to the hydraulis, or water organ, which was used as early \par\qr\li2565 \f002 as 200 BC. Some historians claim that Alexander \par\qr\li3750 \f002 the Great used a form of this instrument in his Indian campaign of 317 BC. The air pressure that provided the power for the pipes of \par\qr\li2805 \f002 the hydraulis came from water being pumped from one cylinder into another. This water made such an impressive sound, one early writer called it "the resounding instrument that could be heard for sixty miles."
Caption=Diagram of a Hydraulis
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TextData=\qr\li2595 The hydraulis was used in military rituals and to accompany the slaughter of early Christians in the arenas of Europe. It is a strange irony that the organ which descended from this early instrument eventually became the most powerful musical instrument in Christian worship in the West. However, it was not until well into the Renaissance era that instruments, in general, were permitted in Christian worship services. This most likely was because of the negative associations with these early instruments. The basic principles of design and construction for later organs were established in these early instruments. The closest \par\qr\li2760 \f002 modern-day descendant of the hydraulis is the calliope, which was powered by pressurized steam. During the 1800s-1920s, many traveling circuses throughout America and Europe used calliopes to announce their arrival.
Caption=Side View Diagram of Hydraulis Pipes
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TextData=\ql\ri2010 This is a picture of the remains of a clay pipe organ found in the ruins of the lost city of Pompeii, Italy. The city of Pompeii was destroyed in a sudden eruption of Mount \par\ql\ri2580 \f002 Vesuvius in 79 AD. The city was lost and forgotten for many centuries, until it was rediscovered in \par\ql\ri3075 \f002 1748. This clay organ is one of the artifacts recovered from the excavations of Pompeii. These excavations are still on-going today. \par\ql\ri5010 \f002 Even though much of the instrument was damaged, the familiar arrangement of the pipes is clearly evident and very closely \par\ql\ri4845 \f002 resembles the arrangement on a modern pipe organ.
Caption=Clay Organ Pipes Excavated from Pompeii
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TextData=\qr\li4545 This depiction of a pipe organ from the Utrecht Psalter dates from the year 850 AD in Belgium.The drawing, although crude by today's standards, clearly shows someone sitting at an instrument resembling a pipe organ.This organ appears to have been powered by water pressure, like the earlier hydraulis. Notice the big canisters underneath the instrument. The water in them was used to produce air pressure which was transferred from the canister to the pipes.
Caption=Image of a Hydraulis from the Utrecht Psalter
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TextData=\ql\ri4080 This diagram illustrates how complex a pipe organ from the 1600s had become when compared to earlier instruments. Here, the player is seated in front of three keyboards for the hands and a pedalboard (keyboard) for the feet. The main case is \par\ql\ri3870 \f002 cutaway so you can view the linkages from the keyboard to the valves on the pipes. These opened to let air into the pipes when a key was pressed.
Caption=Cutaway Diagram of Organ Player and Pipes
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TextData=\qr\li2445 Because the player needed both hands and feet to play the instrument, another person, or several people, often helped pump the bellows which provided the wind power for the instrument. In modern instruments, an extra person to pump the \par\qr\li2775 \f002 bellows is no longer required. An electric motor \par\qr\li3585 \f002 now pumps the air.
Caption=Diagram of Bellows and Pumper
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TextData=\qr\li1725 Most of the larger organs were permanent fixtures in the churches which housed them. However, there were times \par\qr\li2340 \f002 when organs needed to be portable, or at least \par\qr\li3180 \f002 moveable. The portative organ, a small version of the instrument, was developed for \par\qr\li3915 \f002 such instances. Here we see an \par\qr\li3585 \f002 example of a fine instrument made in France in the 1600s. This instrument was played by one hand while the other hand pumped the bellows to supply the wind power needed to produce sound.
Caption=Portative Organ (c. 1600)
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TextData=\ql\ri2175 By the 1600s, early organs had evolved into the impressive instruments which most of us envision when we think of pipe organs today. This particular \par\ql\ri2700 \f002 instrument is from the Netherlands and was designed and built by several generations of craftsmen. The style of the case is decidedly Baroque, highly ornate and decorated. It was completed in the early 1700s.
Caption=Organ at St. Bavokerk, Netherlands (1735-8)
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TextData=\ql\ri2130 There are well over 2,000 pipes of all sizes, materials, and tone color in this instrument. The player sits behind \par\ql\ri2985 \f002 the first small chamber of pipes; these conceal the keyboards from view.
Caption=Organ at St. Bavokerk, Netherlands (1735-8)
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TextData=\qr\li3765 This magnificent instrument in St. \par\qr\li4365 \f002 Florian Market Church in Vienna, Austria, was played by the Austrian composer \par\qr\li4245 \f002 Anton Bruckner (1824-1896). It is now named after him, although it was built long before his lifetime. The design of the case is noticeably Baroque, \par\qr\li4335 \f002 with its considerable decoration and numerous statues. There are over 2,700 assorted pipes in this \par\qr\li4140 \f002 instrument, giving it a commanding sound.
Caption=Bruckner Organ, Vienna (c. 1780)
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TextData=\ql\ri1170 This instrument, an example of contemporary craftsmanship, was built by the Peragallo family of New Jersey. Unlike Baroque \par\ql\ri3570 \f002 instruments, which only permitted viewing of the facade pipes in the case, this modern design displays more of the actual pipe-work. This provides an \par\ql\ri3990 \f002 indication of how many pipes are contained in one instrument.
Caption=St. Brendan Organ, New York (1981)
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TextData=\par\par\par\par\par\ql\ri3990 \f002 The organ console (keyboards) for this instrument is placed at a distance from the pipes and is connected by electronic cables. \par\ql\ri4230 \f002 The sound is still created by wind being blown through the pipes when a key is pressed.
Caption=St. Brendan Organ, New York (1981)
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TextData=\ql\ri5205 The next two pictures illustrate what is required to \par\ql\ri4365 \f002 play a pipe organ.The first shows a player sitting at \par\ql\ri4860 \f002 a console in front of the manuals, the keyboards played by the hands. This organ has three \par\ql\ri5010 \f002 manuals, with many tabs and buttons around the keys. With these the player can \par\ql\ri4485 \f002 select which pipes and combinations of pipes will sound when the keys are \par\ql\ri570 \f002 played.\par
Caption=Close-Up of Three Organ Manuals
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TextData=\qr\li3060 This illustration shows the pedalboard, the keyboard for the feet. Both feet are used to \par\qr\li3945 \f002 play the low bass notes; the sound \par\qr\li4455 \f002 for these notes is produced by the longest, widest pipes. There is also a foot pedal for increasing the loudness in one set of pipes. These pipes are enclosed in a box \par\qr\li4575 \f002 called the \i1 swell chamber \i0.
Caption=Close-Up of Pedalboard
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TextData=\qr\li3915 The Hammond organ is the instrument that set the standard for electric organs. Invented by Laurens Hammond in 1934, the electric organ immediately became a success. This instrument is a veritable workhorse, and most of the original instruments are still being used today. They can be \par\qr\li4275 \f002 found in professional recording studios and are especially popular in rhythm and blues, gospel, and rock music.This diagram illustrates how the \par\qr\li4785 \f002 Hammond organ is structured.
Caption=Diagram of Hammond Organ
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TextData=\ql\ri5460 One of the features that \par\ql\ri3750 \f002 makes the Hammond organ unique is the inclusion of drawbar controllers. \par\ql\ri3450 \f002 With these controllers, the player can create hundreds of different sound combinations. There are 18 preset sound \par\ql\ri4620 \f002 combinations built into the instrument. These range from very soft to very full combinations. The Hammond organ has two manuals (keyboards) for the hands. A full pedalboard is used by the feet to play bass notes. There is also a crescendo pedal which controls the volume.
Caption=Harmonic Controllers on a Hammond Organ
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TextData=\qr\li690 Instead of pipes inside the instrument, this instrument has very carefully crafted pitched brass reeds. These are similar to the reeds found in harmonicas and accordions, but much thicker and larger. The wind is supplied by bellows inside the instrument which are filled with air when \par\qr\li4335 \f002 the feet alternatingly pump the two foot pedals. Knee levers control opening and closing shutters inside the instrument which either constrict the sound or let it out fully. These permit the player to get different levels of loudness or softness.
Caption=French Harmonium (1865)
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TextData=\qr\li3615 The modern piano had its design beginnings in early keyboard \par\qr\li4875 \f002 instruments like the clavichord and fortepiano.The first \par\qr\li5100 \f002 pianos were developed in Italy by Bartolomeo \par\qr\li4905 \f002 Christofori as early as \par\qr\li4680 \f002 1709. Unlike earlier keyboard instruments, pianos had "dynamic range", they could achieve varying levels of soft and loud. On a harpsichord, for \par\qr\li2790 \f002 example, no matter how hard you pressed the keys, there was only one level of loudness. Pianos, however, could play at varying levels.\par
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TextData=\qr\li4985\par\par\par\par\par\par\par\par\par\par After many \par\qr\li2935 \f002 modifications, pianos gradually gained acceptance, and toward the end of the 1700s, most composers preferred them over harpsichords. Mozart was the first major composer to write for and perform on the piano. Beethoven, Chopin and Liszt followed his lead. \par\qr\li495 \f002 By the end of the 1800s, the piano had become the single most popular instrument in homes and institutions across America and Europe.
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TextData=\ql\ri1605 The grand piano is the most recognized piano. Usually grands have three strong legs to support their massive weight. Ludwig van Beethoven's (1770-1827) last grand piano had a \par\ql\ri2295 \f002 particularly strong sound. Built by Konrad Graf, this piano had four strings (wires) per note instead of the usual three. Many people assumed that this was \par\ql\ri2850 \f002 specially built for Beethoven because he was going deaf. However, in an effort to get a more \par\ql\ri3810 \f002 powerful sound, Graf was building many pianos this way. Beethoven wrote 32 solo sonatas and five spectacular piano concertos. These utilized the piano's full range of \par\ql\ri3270 \f002 emotional expression and made new technical demands on the players' performing skills.
Caption=Beethoven's Last Grand Piano (c. 1820)
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TextData=\qr\li3555 Length is what distinguishes a full grand piano from a "baby" grand. Generally, a piano qualifies as a \par\qr\li4065 \f002 "grand" piano if it is 6 feet or longer. Full concert grands are usually just under 9 feet long. \par\qr\li4380 \f002 Shown in this section are two Yamaha baby grands. Called \par\qr\li4185 \f002 "Disklaviers," these are "player pianos" which have a very sophisticated, well-concealed playing mechanism built in.
Caption=Yamaha Baby Grand Disklavier
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TextData=\qr\li3555 Baby grands can range from 4 to 6 feet long and are most often found in homes, studios, and lounges. \f002 Yamaha \par\qr\li4065 \f002 and other manufacturers offer baby grand pianos in polished white or ebony finishes.
Caption=Yamaha Baby Grand Disklavier
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TextData=\qr\li2400 In this overhead view of a baby grand piano you can see the difference in proportions between the full \par\qr\li2970 \f002 length concert grand shown earlier and the shorter "baby" version.The musical difference \par\qr\li3660 \f002 between the shorter baby grand and the longer concert grand is especially \par\qr\li4590 \f002 evident in the lower bass notes. The full grand's extended sounding body and longer bass strings give it a richer, louder sound than the baby grand. The baby grand, however, is actually preferable in more intimate settings and in chamber music involving several other performers along with the piano.
Caption=Top View of Baby Grand Piano
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TextData=\ql\ri2010 For many craftsmen, the decorative appearance of the outer case of the grand piano was as important as the mechanical components of the instrument. The outer \par\ql\ri2355 \f002 cases of these "art case grands" were meticulously designed and a wide variety of styles emerged over \par\ql\ri2865 \f002 the years. The examples shown here should dispel any notion that pianos come only in basic black. Made by a European builder in the \par\ql\ri3675 \f002 1920s, this parlor grand comes with an upholstered, matching bench. Its unique eight carved legs and exquisite \par\ql\ri4350 \f002 blondewood veneer make a lasting impression. You can sense that this instrument is an object of art - not just a mechanical device on which to produce music.
Caption=Blondewood Parlor Grand Piano (c. 1920)
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TextData=\qr\li3705 This beautiful instrument was built by Erard, the famous piano builder from \par\qr\li5145 \f002 Paris, France, in 1855. Its design is an interesting blend of the traditional black case and some ornate brass \par\qr\li5025 \f002 ornamentation - known as ormolu - affixed to the exterior. Notice that this instrument has a square-backed \par\qr\li3360 \f002 cabinet, different than the round-backed instruments we have seen. This particular instrument was awarded a Seal of Honor for its design and craftsmanship at the Paris Exposition of 1867.
Caption=Erard Grand Piano (1855)
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TextData=\qr\li3090 This instrument was built by Ernst Kaps in Dresden, Germany, in 1877. At the turn of \par\qr\li3660 \f002 the century, it was brought to England and completely restored. Its entire case is veneered in satinwood and \par\qr\li3810 \f002 rosewood. The panels were painted by C. Feldwicke & Sons of Brighton, England. A decorative motif of garlands and floral swags was used throughout to enhance the pastoral theme of the paintings.This piano is still in excellent condition and is often used for soirees and intimate concerts.
Caption=Ernst Kaps Grand Piano (1877)
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TextData=\qr\li3315 A very impressive instrument, this Erard grand piano was built in 1905. There are \par\qr\li4620 \f002 four different types of wood used in the case, and the design was modeled after the "Bureau de Roi", one of the most valuable pieces of furniture ever built, now on view in Versailles, France.
Caption=Erard Grand Piano (1905)
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TextData=\ql\ri0 The Boesendorfer company of Vienna, Austria, has been building pianos since the time of Beethoven. This "Mighty Boesendorfer" is an example of 20th century \par\ql\ri4800 \f002 design. The design of the legs and the pedals of this instrument give it an almost "high-tech" appearance.This piano's most interesting \par\ql\ri5505 \f002 innovation is the hydraulic lift which holds the \par\ql\ri5565 \f002 lid open. In conventional grands, there are usually two pegs to hold the lid up.
Caption=Boesendorfer Grand Piano (c. 1960)
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TextData=\ql\ri0 If the short peg is used, the sound of this Boesendorfer is not as full as when the long peg is used. With this hydraulic device, the lid can be opened to many \par\ql\ri4800 \f002 different levels; this expands the variety of tonal nuances possible.
Caption=Boesendorfer Grand Piano (c. 1960)
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TextData=\ql\ri4155 The upright piano is also referred to by some as a "cabinet grand." This design is useful when a full sounding piano is needed in a space that cannot easily accommodate a grand \par\ql\ri4650 \f002 piano. The tone of most upright pianos is very full sounding and, in some \par\ql\ri4530 \f002 cases, even comparable to that of a grand. This is a Steinway upright piano with \par\ql\ri4335 \f002 a walnut case and matching bench.
Caption=Steinway Walnut Case Upright Piano
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TextData=\ql\ri4620 This Yamaha upright model has the Disklavier "player" unit built right into the cabinet. This piano has a rich, full tone and can be found in many homes, \par\ql\ri5055 \f002 studios, and schools. The inclusion of the Disklavier unit makes this a very versatile \par\ql\ri4875 \f002 piano. It will play back preprogrammed performances or record anything you play into it and then play it back with uncanny accuracy - \par\ql\ri3090 \f002 including the pedals.
Caption=Yamaha Upright Model Disklavier
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TextData=\ql\ri2325 This illustration provides a very clear picture of the size and space relationships between an upright \par\ql\ri3540 \f002 piano, a grand piano, and a full concert grand. You can see the amount of space saved by an upright as compared to a grand. A grand will take up a large portion of any room, whereas an upright can be placed against any wall.
Caption=Grand, Baby Grand and Upright Pianos Compared
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TextData=\qr\li4665 A spinet piano occupies almost the same amount \par\qr\li5160 \f002 of space as an upright piano. It also has several other advantages. Spinets are much less expensive than full uprights or grands. They are also easier to move than other types of pianos. There are some very good spinet pianos available. The tone produced by a spinet \par\qr\li1545 \f002 is not as full or rich as that of a full upright or grand, but it is more than adequate for small rooms or apartments.
Caption=Oak Cabinet Spinet
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TextData=\qr\li5070 This spinet and the one on the preceding \par\qr\li5520 \f002 page are produced by the Story & Clark Piano Company. The opening above the pedals, called the \i1 tone escapement \i0 panel gives this design a fuller sound than other spinets.
Caption=Walnut Cabinet Spinet
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TextData=\ql\ri5220 This picture shows the soundboard and the cast iron plate and strings of a spinet piano. It is interesting to compare this design with those of the baby grand and the concert grand. This is a very compact, functional design which gets the maximum amount of sound in a small space.
Caption=Illustration of a Spinet's Soundboard
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TextData=\ql\ri4560 At one time - especially before the days of commercial recordings - the \par\ql\ri4905 \f002 "player" piano was a very popular instrument. With a player piano, people could have music played mechanically on a real instrument simply by pumping the piano's \par\ql\ri4785 \f002 pedals. Most player pianos were "roll players" - they played music from punched hole paper rolls.\par\ql\ri7200 \f002
Caption=Oak Case Player Piano
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TextData=\qr\li4770 George Gershwin was one of many famous musicians who recorded \par\qr\li5025 \f002 on these piano rolls so that people could play his performances back on their own instruments. Many of these recordings are still available and player pianos are still being made today. Shown here are a few outstanding examples by the Story & Clark Company.
Caption=Oak Case Nickelodeon
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TextData=\qr\li4770 This is a gorgeous replica of a nickelodeon. Sometimes nickelodeons \par\qr\li5025 \f002 were called "orchestrations" because they had several different mechanized instruments built into them, along with a player piano.If you look closely through the leaded glass, you may be able to see the xylophone, some drum heads and even castanets.
Caption=Nickelodeon with Orchestration
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TextData=\qr\li4215 These are close-ups of some of the individual components encased in the nickelodeon we \par\qr\li3690 \f002 just viewed. Notice how there are many different instruments included with the piano. All of these instruments play from piano rolls \par\qr\li4275 \f002 which have been punch-performed. Many museums in America and Europe house spectacular examples of these mechanical \par\qr\li3720 \f002 musical wonders.
Caption=Close-Ups of Nickelodeon Orchestration Instruments
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TextData=\qr\li4845\par\par\par\par\par\par In the world of musical \par\qr\li4710 \f002 instruments, synthesizers \par\qr\li4245 \f002 have become a very familiar sight. You will see them in the \par\qr\li3750 \f002 bands of popular TV shows like The David Letterman Show, The Tonight \par\qr\li3135 \f002 Show, and Saturday Night Live, and hear them in many popular songs on the radio. Every recording studio has a collection of synthesizers in its arsenal of instruments. \par\qr\li3750 \f002 \par
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TextData=\qr\li3030 When we use the term synthesizer, we usually mean an instrument which attempts \par\qr\li3690 \f002 to create or emulate the sounds of different instruments by using \par\qr\li4410 \f002 electronics. Many musicians refer to the pipe organ as a kind of early synthesizer \par\qr\li3720 \f002 because it put so many different sounds at the disposal of one player.The control panel of a modern \par\qr\li5370 \f002 synthesizer is very similar to the selection knobs of the pipe organ and permits the player to select from a range of built-in sounds.
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TextData=\qr\li1725 Leon Theremin, a Russian born inventor-musician, was one of the earliest pioneers in the development of electronic \par\qr\li1995 \f002 sound producing machines. He developed the instrument \par\qr\li2460 \f002 which bore his name -- the Theremin -- and which was used in several concerts and film scores in the 1920s and 1930s. He obtained a United States patent for his instrument in 1928. The instrument has a range of 4 ╜ octaves. The player controls the pitch by moving his right hand toward or away from the vertical pitch antenna. A vibrato effect can be achieved by moving the right hand rapidly back and forth through a small distance. The player controls the loudness of the tone by moving his left hand toward or away from the horizontal volume antenna.
Caption=Theremin (c. 1925)
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TextData=\ql\ri2760 In the 1950s, Princeton University housed a huge RCA Mark II Synthesizer. This huge computer was used by the earliest electronic musicians to generate unique sounds, which were then recorded to tape and used in live performances as well as on vinyl and tape recordings. It was said that RCA pioneered this instrument in the hope that it would replace \par\ql\ri5415 \f002 musicians. Some of the music from this monster machine was actually used on commercial radio station "breaks" during the 1950s.\par\ql\ri7200 \f002
Caption=Milton Babbit at the RCA Mark II Synthesizer
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TextData=\qr\li210 This machine was used for music composition by Milton Babbitt, Mario \par\qr\li1140 \f002 Davidovsky, Vladimir Ussachevsky and other pioneers in electronic music.
Caption=The RCA Mark II Synthesizer (1956)
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TextData=\qr\li2565 Most people credit Robert Moog with starting the commercial synthesizer revolution with his development of the Moog Synthesizer in 1965. Early synthesizers permitted the user to create \par\qr\li2955 \f002 unique sounds by changing different parameters of the instrument's tone generators. The tone generators were \par\qr\li4230 \f002 oscillators which created simple waveforms which, when combined, \f002 created interesting sounds.\par\qr\li4995 \f002 \par\qr\li0 \f002
Caption=Robert Moog and a Moog System 15
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TextData=\qr\li4635 Early synths were monophonic, they could only produce one note (or pitch) at a time. Most of \par\qr\li5220 \f002 the music produced on MOOG synthesizers was recorded to tape in the studio. Using multitrack techniques, the player could layer different musical \par\qr\li2805 \f002 lines, one at a time, creating full-sounding recordings, from music that was performed and recorded note by note. The Minimoog, shown \par\qr\li1530 \f002 here, was the first commercially available synthesizer in the US.\par\qr\li0 \f002
Caption=Minimoog (c. 1965)
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TextData=\qr\li3275 Because the Minimoog was monophonic, in many live performance situations, a single artist might use as many as four synthesizers. If a performer wanted to use more than one note at a time, or wanted to have different kinds of sounds available, it was necessary to use several keyboards.
Caption=Multiple Monophonic Moog Synths
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TextData=\qr\li240 This ARP 2500 was introduced in 1970 and had a larger keyboard than the Minimoog, giving it a wider pitch (frequency) range. It also featured \par\qr\li375 \f002 "matrix-switch" patching so that the player didn't have to manage a jumble of \par\qr\li2145 \f002 patch-cords to change sounds. The ARP 2500 pioneered "multi-voice" capability for the synth. Unlike the monophonic synths of the 1960s, the 2500 could play two different notes simultaneously.
Caption=ARP 2500 (1970)
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TextData=\qr\li5070 Roland got into the swing of synthesizer manufacturing by offering a variety of different systems and accessories in the mid 1970s. One of these systems --the System 700 -- contained seven modules that could be arranged in different ways. With the addition of another keyboard, this \par\qr\li3300 \f002 system was capable of producing four different tones at one time.
Caption=Roland System 700 (c. 1975)
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TextData=\qr\li4275 The year 1975 was an \par\qr\li4980 \f002 important turning point for synthesizers. Oberheim Electronics \par\qr\li4755 \f002 unveiled its first commercially available \par\qr\li4920 \f002 polyphonic synthesizer (polyphonic, in this case, means being capable of playing many notes simultaneously). In the same year, Robert Moog \par\qr\li3970 \f002 started developing a polyphonic synthesizer keyboard called the \par\qr\li2945 \f002 Polymoog, which was sold until the early 1980s. \par
Caption=Polymoog (c. 1975)
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TextData=\qr\li3075 The Octave-Plateau CAT made its debut in \par\qr\li3960 \f002 1975. Octave-Plateau Electronics eventually became Voyetra Technologies. The CAT was the \par\qr\li3660 \f002 industry's lowest-priced professional synthesizer at that time. It also came in a smaller version called the Kitten. \par\qr\li3885 \f002 Octave-Plateau also developed a \par\qr\li4110 \f002 joystick synthesizer controller called the CATstick in 1978. This \par\qr\li5055 \f002 was the first universal analog synthesizer controller.\par
Caption=CAT, Kitten and CATStick Synthesizers (1975-8)
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TextData=\ql\ri135\par\par\par\par\par\par\par\par\par\par While this instrument is still known as the Fender-Rhodes by most musicians, its official name is simply the Rhodes piano. Harold Rhodes began developing this instrument in the 1960s and had a commercial 73 note model on the market in the 1960s. It was produced throughout the 1970s. Leo Fender was a partner with Rhodes during these years. Fender was already famous for his guitars and amplifiers. When CBS took over the production and marketing of the Rhodes piano, Harold Rhodes devoted his entire energies to perfecting the modified tuning forks and tuning springs that were responsible for the Rhodes' unique sound, as well as the mechanical action that gave the keyboard its "real" feel for the player. \ql\ri7200 \f002
Caption=Fender Rhodes Electric Piano (c. 1979)
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TextData=\qr\li75 The literature that accompanied the ARP 2600 stated that it could create sounds that would "evoke any mood from funk to fantasy." \f002 Some of the big name artists who used ARP on stage were Pete Townshend, Stevie Wonder, Edgar Winter, and Herbie Hancock. \f002 In 1979, ARP added a newly-designed keyboard to the synthesizer that offered two-note capability. The synthesizer \par\qr\li1560 \f002 also offered pitch bending, delayed vibrato, portamento, interval \par\qr\li1905 \f002 latching, and speed control of the low frequency oscillator. \par\qr\li2655 \f002 The console also offered a choice of pre-wired internal connections or patch cord override for a myriad of combinations. The ARP 2600 was touted as "the ultimate live performance lead line synthesizer" of the 1970s.\par\qr\li0 \f002
Caption=ARP 2600 (c. 1979)
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TextData=\ql\ri4050 Sequential Circuits introduced the Prophet 5 in 1978 at the NAMM show. It featured 5-note polyphony and 40 programmable presets (later models had 120 \par\ql\ri4620 \f002 presets). These synths were produced until 1984. Later models of the Prophet 5 also included digital bus, cassette interface for program storage, and various MIDI implementations. The Prophet 10 was introduced in 1980. \f002 It included a built-in sequencer and had a steep price tag attached to it.\par\ql\ri7200 \f002
Caption=Prophet 5 (1978) and Prophet 10 (1980)
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TextData=\ql\ri4275 The early 1980s saw a variety of very expensive synthesizer systems emerge. The CON \par\ql\ri4845 \f002 BRIO ADS 200 was priced at over $20,000. It looks very impressive and while its prototype \par\ql\ri5325 \f002 was used to provide sound effects for "Star Trek: The \par\ql\ri5025 \f002 Motion Picture", only one model was actually sold. The \par\ql\ri4260 \f002 ADS 200 contained an 8" floppy disk drive for storage and retrieval. There was also a Music Scorer feature for printing music notation.\par
Caption=Con Brio ADS 200 (c. 1980)
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TextData=\ql\ri4290 This is the Fairlight CMI (Computer Music Instrument). \f002 Although it was manufactured \par\ql\ri4500 \f002 in the early 1980's, its early development can be traced as far back as 1971-1972. \f002 These systems were priced \par\ql\ri4305 \f002 between $25,000 to $36,000. \f002 Approximately 300 of these systems were built. By using \par\ql\ri3825 \f002 the light-pen on the graphics monitor screen, the user could literally draw a waveform and the synthesizer \par\ql\ri3345 \f002 would play it back.\par\ql\ri7200 \f002
Caption=Fairlight CMI (c. 1980)
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TextData=\qr\li2580 Don Buchla -- who did much of the pioneering work \par\qr\li2700 \f002 in electronic music synthesis in the early 1960s -- usually preferred touch pads to a piano keyboard as a controller. The use of a touch pad makes the Buchla 400 stand out among his creations. The Buchla 400 has a five-octave piano \par\qr\li4905 \f002 keyboard as its main controller. Buchla is \par\qr\li5640 \f002 also credited with developing the first analog \par\qr\li5970 \f002 sequencer. The Buchla 400 was an attempt to unite all his efforts in one.\par\qr\li0 \f002
Caption=Buchla 400 (c. 1981)
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TextData=\qr\li5115 The Synclavier was another high-end \par\qr\li6015 \f002 digital synthesizer music \par\qr\li5565 \f002 system which made its debut \par\qr\li5220 \f002 in the late 1970s. The Synclavier II \par\qr\li4380 \f002 was available with 8, 16, 24, or 32 voices loaded in. It had a 16 track digital recorder \par\qr\li2505 \f002 capable of capturing from 2,000 to 15,000 notes. The computer for the Synclavier keyboard was an external module which could be expanded. Prices of the Synclaviers ranged from $20,000 to well over $40,000, depending on the options.\par
Caption=Synclavier II (c. 1981)
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TextData=\ql\ri5010 This sleek looking keyboard is the \par\ql\ri5925 \f002 McLeyvier. It was \f002 polyphonic and was \par\ql\ri5445 \f002 capable of printing notation in full score or in \par\ql\ri4500 \f002 parts. The original promotional literature for the McLeyvier stressed its \par\ql\ri3705 \f002 scoring and notation capabilities, both on-screen and in print. It could produce ledger lines and octavo marks, key signatures and time \par\ql\ri2580 \f002 signatures, accidentals, correct groupings of flags, dots, ties & beams, clefs & clef changes, and rests.
Caption=McLeyvier (c. 1981)
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TextData=\qr\li3750 In 1981, Voyetra introduced the Voyetra 8, a programmable \par\qr\li5205 \f002 eight-voice \par\qr\li4935 \f002 polyphonic analog synthesizer. There are \par\qr\li4500 \f002 still many of these synthesizers being used \par\qr\li3975 \f002 today for their unique sounds and versatility. \f002 These Voyetra 8 synthesizers, along with the VPK-5 Keyboards, have become \par\qr\li2970 \f002 valuable collector's items over the past few years. The Voyetra 8 fit into a rack and was one of the first synthesizers equipped with MIDI (Musical Instrument Digital Interface) connectors. The Voyetra 8 was, in fact, one of the first commercial synthesizers to include its own MIDI interface.
Caption=Voyetra 8 (1981)
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TextData=\qr\li3885 This wild looking device is the Moog Liberation. It is a polyphonic synth \par\qr\li3525 \f002 with a separate lead synthesizer. The \par\qr\li3285 \f002 musician would usually play the keyboard with the right hand. \f002 The left hand would work the controllers located on the guitar-like neck. These neck controllers \par\qr\li3090 \f002 included pitch bend, filter emphasis, force sensor, modulation, glide (portamento), and volume. \f002 The Moog Liberation weighed 14 \par\qr\li4575 \f002 pounds, making it a little too heavy for use in long \par\qr\li3720 \f002 concerts.\par
Caption=Moog Liberation (1981)
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TextData=\ql\ri6850\par\par\par\par\par\par\par\par E-mu Systems developed the Emulator II during the early 1980s. It was marketed as a "polyphonic digital sampling keyboard." The Emulator II has the distinction of being the first affordable digital keyboard sampler (around $8,500 compared to the $20,000 to $36,000 for a Synclavier). The Emulator II could be purchased with either 2 floppy drives or a hard drive built in. A sampler is usually used to digitally record sounds from the real world, such as actual acoustic instruments, and use these digital sounds as the basis of its sound synthesis. Some of the first demo samples taken on this instrument were less than musical (sound effects) but impressive, nonetheless.\par\ql\ri7200 \f002
Caption=Emulator II (c. 1982)
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TextData=\qr\li4680 The introduction of the \par\qr\li5820 \f002 Yamaha \par\qr\li5640 \f002 DX-7 in 1983 proved to be a milestone for \par\qr\li4995 \f002 electronic keyboards and digital \par\qr\li4230 \f002 synthesizers. The DX-7 combined superb sounds with complete reliability and an \par\qr\li3345 \f002 attractive selling price (around $3,000). Over 200,000 of these were sold in the model's three-year run, many of which are still in use today. The Yamaha DX instruments were fully user-programmable with preset FM digital instruments.\par
Caption=Yamaha DX-7 (1983)
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TextData=\qr\li4860 Ensoniq introduced the \par\qr\li4980 \f002 Mirage in 1984. This keyboard is a sampler \par\qr\li4620 \f002 which used a custom chip similar to the one that \par\qr\li3765 \f002 ended up in the Amiga computer. This chip was registered as the "Q \par\qr\li3225 \f002 Chip" by the designer, Bob Yannes. The Mirage was the first easily affordable sampler that was mass-marketed. The keyboard was velocity-sensitive and it also \par\qr\li2455 \f002 contained a built-in sequencer. The suggested retail price of $1,700 for the Mirage was well below any other samplers at the time.\par
Caption=Ensoniq Mirage (1984)
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TextData=\ql\ri4305\par\par\par\par\par\par\par\par The Casio CZ-series keyboard synthesizers are among the most affordable and versatile in the consumer market. The \par\ql\ri300 \f002 CZ-1000 is a standard synthesizer with 49 full-size keys and 8-note polyphony. Its 32 preset voices provide realistic original effects. The player can modify these and create original sounds for storage on an optional RAM cartridge. The 61 note CZ-5000 contains a built-in 8 track digital sequencer and 64 preset voices that can be modified to produce an unlimited array of sounds. Newly created sounds can be stored on an optional RAM pack or cassette. \ql\ri7200 \f002
Caption=Casio CZ-5000 and CZ-1000 (c. 1985)
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TextData=\qr\li435 1987 saw the emergence of the Korg M1 Music Workstation. The M1 was available both as a keyboard, and as a rack module called the M1R. It boasted something called AI Synthesis which featured four different types of built-in sampled sound data. The M1 was equipped with a Multi-mode function which let you assign a maximum of eight programs to different sections of the keyboard and play these sections as separate \par\qr\li5640 \f002 synthesizers. The M1 also had a built-in sequencer.
Caption=Korg M1 and M1R (c. 1987)
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TextData=\qr\li255 An unusual contender in the world of MIDI synthesizers is this Solton MIDI Accordion and MS 40 tone module. This system is specifically designed to respond to the correct MIDI channels from the Accordion keyboard, the correct dynamic curves, and even offers the ability to select the chord system \par\qr\li3765 \f002 used (International, French, or Belgian). The Solton MS 40 tone module comes with 256 orchestral voices pre-loaded as well as 12 drum sets containing 192 percussion sounds.
Caption=Solton MIDI Accordion and MS40 (c. 1992)
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TextData=\ql\ri7035 The Kurzweil name has always been associated with high-quality synthesizer keyboards. In the Kurzweil 2000, the company has combined ROM (Read-Only Memory) sample playback, digital sampling, sound design, composition and sequencing in one compact, easy-to-use, portable unit. The Kurzweil 2000 utilizes Kurzweil's proprietary V.A.S.T. (Variable Architecture Synthesis Technology) synthesis system to produce both realistic and flexible sounds, as well as to make the 2000 extremely easy to play. The K2000 has a wide range of inputs and outputs for varied combinations of MIDI, audio, and storage devices.\
Caption=Kurzweil K2000 (c. 1993)
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TextData=\qr\li4575 The Technics brand also has a large variety of \par\qr\li5055 \f002 electric piano synthesizers available. This is one \par\qr\li4680 \f002 of their latest models, the sx-PX207/M. This electric piano synth comes in a simulated wood finish cabinet, giving it the \par\qr\li4290 \f002 appearance of an acoustic spinet piano. \f002 It has ten built-in sounds and complete MIDI compatibility to afford access to other synthesizers as well \par\qr\li1755 \f002 as the sound card of a PC.\par\qr\li0 \f002
Caption=Technics sx-PX207/M Digital Piano (c. 1994)
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TextData=\qr\li4965 In recent years, the most popular kind of \par\qr\li5145 \f002 synthesizer for home use, as opposed to studio use, has become the electric piano synthesizer. This consists of a full 88 note keyboard with soft pedal and damper pedal, just like a real piano. In most models, the keys are weighted so \par\qr\li1895 \f002 that the user has the feel of playing a regular acoustic piano. The most popular of these electric piano synthesizers is the Yamaha Clavinova series. There are many models and styles to choose from.\par\qr\li0 \f002
Caption=Yamaha Clavinova CVP-69 (1995)
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TextData=\qr\li5025 The different Clavinova models present a wide \par\qr\li5340 \f002 variety of sounds and sequencing (recording) \par\qr\li5085 \f002 features built right into the instrument. In addition, these keyboards are great as MIDI controllers for any other synths, tone modules, or even your multimedia PC. The MIDI connectors tie them all together.\par\qr\li1095 \f002 \par\qr\li0 \f002
Caption=Yamaha Clavinova CVP-79A (1995)
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TextData=\ql\ri1065 Yamaha recently introduced the QS300 with an amazing 932 built-in voices and 22 different drum kits. This keyboard synthesizer also offers full compatibility with the General MIDI standard as well as with the Yamaha XG format. The sequencer features flexible \par\ql\ri5415 \f002 automatic accompaniment functions and includes a huge storehouse of 3,093 preset phrases and 100 preset styles that provide complete \par\ql\ri1035 \f002 backing band parts in a variety of musical styles.\par\ql\ri7200 \f002
Caption=Yamaha QS300 (1995)
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TextData=\ql\ri5745 The new generation of synthesizer keyboards of the 1990s include \par\ql\ri4785 \f002 Yamaha's W7 and W5 Music Synthesizers. Yamaha's AWM2 tone generation, with 8 megabytes of wave memory, provides 384 realistic voices to select \par\ql\ri585 \f002 from. \f002 These new synthesizers also include dedicated DSP (Digital Signal Processing) stereo effects processors with editable parameters to give studio-quality special effects to any sound choosen. The built-in sequencer has a 100,000 note memory for orchestrations and complex scores. Both are capable of 32-note polyphony and 16 simultaneous voices.\par\ql\ri7200 \f002
Caption=Yamaha W7 and W5 (1995)
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TextData=\ql\ri5940 In the lineup of new digital and acoustic modeling synths is the Technics model sx-WSA-1 Acoustic \par\ql\ri435 \f002 Modeling Synthesizer. Acoustic modeling synthesis is a system of sound synthesis that combines a PCM (pulse code modulation) waveform driver and custom DSP (digital signal processing) modeling resonators. This is designed to give the user virtually unlimited control over the sounds coming from the instrument. This well-designed keyboard has 64 note polyphony, a large graphical display for easy reading and a variety of controllers. The sx-WSA1 comes with two sets of MIDI terminals so that the user can optimize the polyphonic and multi-timbral potential of the instrument.
Caption=Technics sx-WSA-1 (c. 1995)
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TextData=\qr\li5505\par\par\par\par\par The Alesis QS6 is a 61 note \par\qr\li4815 \f002 semi-weighted keyboard \par\qr\li3915 \f002 synthesizer containing 640 \par\qr\li2385 \f002 programs and 500 multitimbral mixes. This gives thousands of timbral (tone color) options to choose \par\qr\li270 \f002 from. In addition, users can create and build their own sounds and combinations and store them on 4MB or 8MB Alesis QuadraCards. There is an advanced effects processor built in for reverb, chorus, flange, delay, and rotating speaker effects. This synthesizer is also capable of delivering 64 voice polyphony. The built-in sounds range from vintage synths to linear non-compressed samples of acoustic instruments.\par\qr\li0 \f002
