rec.music.makers.piano FAQ
By Isako Hoshino, forwarded by Jody Kravitz
[ Editor's Note: The rest of the digest today contains the Frequently
[ Asked Questions from the USENET Newsgroup rec.musc.makers.pianos.
[ This FAQ is maintained by Isako Hoshino at MIT. It has a newly
[ revised section (5) on player pianos which I though would be of interest
[ to some of our group. Normally Isako does not like the FAQ to be
[ excerpted. I requested, and he offered permission to prune some
[ of the irrelevant sections if I put some explanation on it that it
[ should not be further distributed in its pruned form. However, this
[ evening there is very little traffic, so I'm including it without
[ any editing. I hope you enjoy it. Please feel free to respond
[ with additions, corrections, etc, both to us, and also directly to
[ Isako.
[
[ Jody
rec.music.makers.piano FAQ-General Topics
----------------------------------------------------------------------------
From isako@mit.edu (Isako Hoshino) Organization Massachusetts Institute of Technology Date 1 Mar 1996 19:06:11 GMT Summary This article is a collection of general information
frequently asked in rec.music.makers.piano Newsgroups rec.music.makers.piano,rec.answers,news.answers Message-ID <music/piano/general-faq_825706942@rtfm.mit.edu>
----------------------------------------------------------------------------
Archive-name: music/piano/general-faq Posting-Frequency: monthly Last-modified: January 27, 1996 Version: 1.4
This is the FAQ (Frequently Asked Questions) list for the newsgroup rec.music.makers.piano.
This FAQ list is intended to present general topics frequently addressed in rec.music.makers.piano. It is posted every month. Updates, additions, suggestions and corrections are always welcome: send e-mail to the address at the end of this FAQ.
This FAQ is periodically posted to rec.music.makers.piano, news.answers and rec.answers. This FAQ is available from rtfm.mit.edu via anonymous FTP under:
/pub/usenet/news.answers/music/piano/general-faq
If you do not have access to anonymous FTP, you may retrieve it by sending e-mail to mail-server@rtfm.mit.edu with the message (leave the subject line blank):
SEND usenet/news.answers/music/piano/general-faq
You also have access to rmmp FAQs on WWW:
http://web.mit.edu/isako/www/rmmp-faq.html
http://www-mtl.mit.edu/~isako/rmmp-faq.html
==========================================================
changes from version 1.3
[5] update
[8] update
========================================================== Rec.Music.Makers.Piano General Topics FAQ
You may run a search using the pattern [#.#] where "#.#" is the topic number.
CONTENTS
[1] About rec.music.makers.piano
[1.1] What is rec.music.makers.piano?
[1.2] Who reads this group?
[1.3] What kind of topics are discussed in RMMP?
[1.4] FAQ lists maintained by this newsgroup
[2] On Piano Playing
[2.1] Am I too old to start learning how to play piano?
[2.2] How do you improve sight-reading?
[2.3] Playing from memory?
[2.4] Ouch! My arm hurts!!
[2.4.1] Repetitive stress injuries
[2.4.2] What's a carpal tunnel syndrome?
[2.5] Is practicing scales, arpeggios, exercises, etc. useful?
[2.6] 101 ways to play Hanon exercises
[3] Teaching! What about teaching piano playing?
[3.1] Checklist for transfer or new students
[4] Digital Pianos
[5] Player Pianos
[5.1] How old are they?
[5.2] What are their values today?
[5.3] Definitions of parts
[5.4] How do they work?
[5.5] Restoring player pianos?
[5.6] Books on player restoration
[5.7] Where can I get Player piano parts?
[5.8] Where can I get new and used music rolls?
[5.9] Any player piano associations?
[5.10] Mailing list?
[6] Harpsichords
[6.1] Where can I purchase a harpsichord?
[6.2] Harpsichord mailing list
[7] How Do I Represent Notes Using "Text" Characters?
[7.1] The "General" notation method
[7.2] The "Piano Technician" notation method
[7.3] The "MIDI file" notation method
[7.4] On sharps and flats
[8] Miscellaneous, Random Tidbits
[8.1] What books discuss the piano literature?
[8.2] Interval nomenclatures?
[8.3] Octave spans of various pianos and harpsichords
[8.3.1] Harpsichord octave spans
[8.3.2] Piano octave spans
[8.5] What's a standard height of a piano keyboard?
[8.6] Klavarscribo?
[9] On Copyright Laws
[9.1] Where do I get the information on copyright laws?
[9.2] Copyright Status
[9.3] Duration of Copyright Status
[9.4] International Protection
[9.5] Derivative Works and Editions
[9.6] Fair Use
[10] Books and Magazines on Pianos
[10.1] Magazines on pianos
[10.2] Random recommended readings on piano playing
[10.3] Some books on jazz playing
[10.4] What books discuss the piano literature?
[10.5] Random miscellaneous reference books
[11] Other Mail Order Companies
[11.1] Music score companies
[11.2] Digital Piano Mail-Order
[11.3] Specialized recordings
[12] Other Sources of Information
[12.1] RMMP Piano Internet Resources List
[12.2] Piano Technicians Guild
_____________________________________________________________
[1] About rec.music.makers.piano
[1.1] What is rec.music.makers.piano?
Rec.music.makers.piano (RMMP) is an unmoderated newsgroup created February 1994, initiated by Tim MacEachern as a newsgroup dedicated for discussions related to pianos. The group's initial intention was to pull together amateurs and professionals interested in piano playing or maintenance without creating prejudice as to whether they play in the classical, folk, jazz, popular or other musical styles.
[1.2] Who reads this group?
The newsgroup subscribers range from beginning piano students and people thinking about starting to professional players and teachers; professional piano technicians to casual do-it- yourselfers -- all share a common interest in the piano.
[1.3] What kind of topics are discussed in RMMP?
rec.music.makers.piano is an international forum for the dissemination of information and discussion of all topics related to pianos, piano playing, piano study and piano music. Articles posted include, but not necessarily be limited to topics such as:
- makes and models of pianos
- piano tuning
- mechanics and maintenance of pianos
- techniques used in playing the piano
- the technical or artistic merit of pieces
- techniques applicable to different musical styles:
classical, folk, jazz, etc.
- difficulty of mastery of pieces
- creating electronic accompaniment to piano playing
- non-acoustic piano-like instruments: digital pianos,
electric pianos, etc.
- composing music for piano
- compositions with a major piano component,
e.g. piano concertos or piano/violin sonatas
- teaching styles and techniques
[1.4] FAQ lists maintained by this newsgroup
There are currently six official FAQ lists maintained by RMMP:
General Topics FAQ (general-faq)
Playing From Memory FAQ (memory-playing-faq)
Piano Maintenance and Purchasing FAQ (maint-and-buy-faq)
Digital Pianos FAQ (digital-pianos-faq)
Digital Pianos Hardware List (digital-pianos-list)
Piano Internet Resources List (internet-resources)
All official RMMP FAQ lists can be retrieved from rtfm.mit.edu via anonymous FTP under the directory:
/pub/usenet/news.answers/music/piano
If you do not have access to anonymous FTP, you can get a copy by sending e-mail to mail-server@rtfm.mit.edu with the message (leave the subject line blank, and replace the "*" with the name written within the parenthesis above):
SEND usenet/news.answers/music/piano/*
You also have access to RMMP FAQs on WWW. Here, both the official and draft documents are available:
http://web.mit.edu/isako/www/rmmp-faq.html
http://www-mtl.mit.edu/~isako/rmmp-faq.html
_____________________________________________________________
[2] On Piano Playing
[2.1] Am I too old to start learning how to play piano?
The answer to this question is an emphatic "No! One is never too old to start!" All you need is love of music, love of the piano, interest, perseverance and enthusiasm!! (well... and an access to a keyboard of some sort) As an "older" student, you actually may have the advantage of quicker understanding of the concepts, and better motivation since you know why you want to play. Also since you are the one initiating the learning process, you have a better chance of succeeding in your goals of becoming a piano player (some kids just start playing because their "parents told them so," and that won't get them too far in the long run).
Piano playing does wonderful things to the human mind and body. There have been reports where an 80 year old person started to learn to play the piano, and in so doing, improved his motor skills, mental agility and overall well-being, and went ahead and became an excellent player! So don't let those 5-year-old seemingly prodigious kids discourage you! Just go ahead and start learning!
[2.2] How do you improve sight-reading?
*** still under construction :-) ***
[2.3] Playing from memory?
Please read "Playing from Memory FAQ" available from anonymous ftp at rtfm.mit.edu under
pub/usenet/news.answers/music/piano/memory-playing-faq
...or whatever similar method you used to get hold of this "RMMP General Topics FAQ".
[2.4] Ouch! My arm hurts!!
[2.4.1] Repetitive stress injuries
Concurrent with the increased use of computer keyboards and mice in the work world at large, there is an increasing incidence of computer related repetitive stress injuries (RSI). Such an injury can interfere with piano playing or even render it impossible. Because of this possibility, here we introduce some sources of information available on the Internet and beyond, containing information on the nature, causes, prevention and treatment of RSIs.
The Typing Injury FAQ.
Available periodically from newsgroups
sci.med.occupational, news.answers, sci.med,
comp.human-factors, and via anonymous ftp from the
newsgroup archives at rtfm.mit.edu in directory
pub/usenet/news.answers/typing-injury-faq/.
A five-part document, Part 5 of which contains copious
references to other information sources.
SOREHAND listserv
RSI discussions by victims and therapy practitioners.
To subscribe, send a message to listserv@ucsfvm.ucsf.edu
containing as the text SUBSRIBE SOREHAND your name.
ftp.csua.berkeley.edu, under directory pub/typing-injury/
An extensive anonymous ftp resource.
books
Emil Pascarelli, "Repetitive Stress Injury: A Computer
Users Guide," John Wiley & Sons, Inc., 1994.
Gyorgy Sandor, "On Piano Playing," Schirmer Books -
A division of Macmillan Publishing Co., Inc., 1981.
Richard Norris, M.D. publications
Dr. Norris is the Director of the National Arts Medicine
Center & Center for Repetitive Motion Disorders at the
National Rehabilitation Hospital in Bethesda, Md.
"The Musician's Survival Manual: a guide to preventing and
treating injuries in instrumentalists," 1993,
International Conference of Symphony and Opera Musicians.
ISBN 0-918812-74-7 $16.95.
This book describes types of injuries, and how to
recognize, treat and prevent them. Other topics covered
are therapeutic exercises and returning to playing after
an injury. A list of performing arts clinics is given in
an appendix.
The book can be ordered from:
MMB Music Inc.
Tel: 314 531-9635
800 543-3771 (USA/Canada)
For people who are unable to locate a proper source of
treatment Dr. Norris has also created a VHS tape titled
"Treatment Options for Repetitive Motion Disorders",
available for $65 directly from him at
National Rehabilitation Hospital
3 Bethesda Metro Ctr. Suite 950
Bethesda, MD 20814
(301) 654-9160
[2.4.2] What's a carpal tunnel syndrome?
Here's an excerpt from "The Complete Canadian Health Guide":
"...Carpal tunnel syndrome (CTS) is an easily treatable wrist and hand disorder, more frequent in women than in men. The problem arises through compression of the median (arm) nerve in its narrow passageway through the wrist, often starts up in mid-life to old age and generally affects both hands, the dominant (most-used) more severely. CTS can arise from certain jobs or hobbies where repeated movements or vibrations inflame the wrist tissues - for instance, knitting, computer keyboard work, driving or operating certain hand held tools such as drills, hammers, chain saws. The disorder is frequently seen among miners, roadmenders and others whose jobs involve use of hand-held tools that vibrate.
"The first hint of CTS is a sensation of numbness or pain, usually on first awakening - as if parts of the hand had 'gone to sleep' - typically felt in the thumb and index finger, but sometimes all the fingers tingle. The tingling sensation worsens on flexing or extension of the wrist, subsiding when the hand is bent inwards or at rest (in a 'neutral' position).
"Numbness from carpal tunnel syndrome may appear after any movement that keeps the wrist overexerted for long periods: stitching, painting, doing manicures or giving a massage. Besides being annoying, the loss may lead to burns (due to lessened sensation of heat, pain, pressure), and the muscle- wasting can make wrist movements clumsy. As CTS progresses, wrist and thumb strength may seriously decline. The reduced grip may make it difficult to grasp even light objects.
"The tingling can be set off or worsened by anything that makes the wrist tissues swell and compress the median nerve. Fluid accumulation during pregnancy or before a menstrual period, a Colles' (wrist-bone) fracture, gout, rheumatic (arthritic) swelling, and adrenal or thyroid disease are typical causes.
"Diagnosis of CTS is relatively easy by the typical night- time or early-morning hand tingling, use of Phalen's test (flexing the hands at a 90-degree angle to see if and when tingling occurs) and Tinel's test (tapping the median nerve at the wrist to see if and how strongly it produces tingling). The sooner the tingling appears, the more serious the condition. Confirmation is with a nerve-conduction study and electromyogram (EMG), in which small electric shocks are applied at different spots along the median nerve and the muscle twitch is charted to show whether, and to what extent, the hand muscle has retained or lost its nerve supply.
"Treatment for carpal tunnel syndrome can be conservative: wearing a light plastic wrist splint at night, taking anti- inflammatory medication by mouth or injection into the wrist, altering sleep positions and avoiding movements that worsen the disorder. With correct therapy, time and patience, the loss of nerve conduction can often be reversed. Sometimes operating tools in a better, more neutral wrist position helps to alleviate the problem. Modern designers are working on vibration dampers, shock absorbers and other ways to lessen the damaging vibrations of hand-held tools.
"If other methods fail to correct CTS, surgery to decompress the nerve may be suggested - a simple procedure done under general or local anesthetic that frees the trapped nerve and usually provides rapid relief. After a few days, stitches are removed, but splints may be needed until the wounds heals..."
[2.5] Is practicing scales, arpeggios, exercises, etc. useful?
You will find differing opinions on this matter, but most pianists will agree that practicing these exercises can help your technique if you approach it with the correct attitude.
Don't simply race through all the notes; treat the exercises as if they were real compositions, and give them just as much attention to phrasing and dynamics. Also, try to find exercises which pertain to the repertoire you are learning. If you are studying a Bach fugue in E minor, for example, careful practice of the E minor, G major, and neighboring scales will help you much more than practicing the A flat major scale. With Hanon exercises, you can increase the difficulty by transposing the studies into different keys, playing them backwards, playing one hand legato and the other staccato, playing them in canon, etc. Be creative!
[2.6] 101 ways to play Hanon exercises
***I'm still compiling this part! Any suggestions would be most appreciated!!!***
_____________________________________________________________
[3] Teaching! What about teaching piano playing?
[3.1] Checklist for transfer or new students
This is a list compiled by Martha Beth Lewis, presented here with her permission. She likes to send a complete report of the student when the student is transferring to another teacher, or vice-versa. If you are a teacher, this would be a good guideline on what to look for when learning about a new student. She does not keep this list confidential - and will share with the student, parent and the teacher involved. It is also suggested to keep a record of the report for future reference.
1. general - when student began study and at what level
(beginner or transfer.; parental attitudes), precis
of personality, mental acuity, cooperative spirit
last recital piece(s) and date(s), any other
instruments played or desired to be played;
other music activities
2. note-reading skills (does student read sharps and flats?
key signatures?)
3. counting skills (eighth-notes yet? sixteenths?)
4. technique studied; include exercises student would have
started with me within the next 6-12 mos.; sight-reading
skills
5. articulation skills (can student play accents? staccato?
sfz? portato? feminine endings? phrase lifts? motif
lifts?)
6. fingering (how much does student do on own?)
7. pedaling skills (damper? sostenuto? half-pedal?)
8. literature studied
9. ornamentation (which ornaments student can play; general
knowledge of performance practice)
10. form and analysis skills, including keyboard harmony
11. ear-training skills
12. composition and improvisation (how much we have done;
whether student seems interested in these areas more than
the norm)
13. memory (how easily and securely student memorizes; how he
feels about memory playing; my recommendation for memory
playing)
14. competitions and adjudicated exams (how student reacts
to these; or how I think he might)
15. motivation (how well student motivates himself; what
external motivators help or hinder)
16. poise (primarily stage presence)
17. summary (general recommendations for teaching strategies
with this particular student; long-term prospects)
_____________________________________________________________
[4] Digital Pianos
Please read "Digital Pianos FAQ" and "Digital Pianos Hardware List" available from anonymous ftp at rtfm.mit.edu under:
pub/usenet/news.answers/music/piano/digital-pianos-faq pub/usenet/news.answers/music/piano/digital-pianos-list
...or whatever similar method you used to get hold of this "RMMP General Topics FAQ".
_____________________________________________________________
[5] Player Pianos
The general subject of player pianos is far too great to try and cover entirely here. Therefore, this list is limited to those instruments most likely to be found at the average estate sale, grandma's basement, or in an old dusty corner of a garage.
This section of the FAQ was contributed by Rick Pargeter. If you have any questions regarding player pianos, please contact Rick at 70702.2016@compuserve.com. If you have corrections, etc., please e-mail the FAQ maintainer at the end of this FAQ.
[5.1] How old are they?
Most common players were manufactured between 1915 - 1929
[5.2] What are their values today?
Generally, an unrestored, average, run-of-the-mill, complete, 70-year-old player is perhaps worth 10% - 20% more than the same vintage non-player. However, it is always best to have it professionally appraised. Some players bring very high values. Player pianos which are grand pianos, original "nickelodeons" (coin-operated commercial units), and reproducing players are usually considered high-value player pianos.
[5.3] Definitions of parts
Bellows - A component usually consisting of two like-pieces
of wood with a cloth hinge at one end, and covered with
a rubberized cloth. One side of the bellows will have
an opening, so that when vacuum is applied, a mechanical
action occurs. Conversely, when connected to pedals and
a check valve is added, they act as a pump, lowering the
pressure in the stack.
Stack - The upper part of the player. This is the part that
plays the piano, and contains the valves, bellows,
spoolbox, and wind motor.
Spool Box - This is the area where the piano roll is
inserted, and is usually behind a set of doors.
Tracker bar - The brass bar in the middle of the spool box
that has all those holes in it. Each hole represents a
note on the keyboard. They are sequential (i.e., C C# D
D# E F F# G G# A A# B). Tubes, usually made of lead,
are connected from the back of the tracker and to the
stack. Each tube is connected to a channel in the stack
that controls a valve connected to the main vacuum
supply from the pump.
Pump - The lower part of the player. The pumping pedals are
connected to the pump. The pump usually contains the
wind motor regulation, and controls to divert the vacuum
to the stack, wind motor, and expression pneumatics.
Expression pneumatic - Since the piano's usual expression
pedals are covered up by the pump pedals, it looks as if
you cannot access them. However, there is a way to
duplicate these pedals through the use of expression
pneumatics. The piano controls are usually located
underneath the hinged key slip. Usually, there is a
button which will control the equivalent pedal function
also. In order to operate the loud pedal, simply push a
button on the control rail, and the loud expression
pneumatic will operate exactly like the loud pedal. In
addition to the loud pedal, there are usually two soft
pedal expression pneumatics.
[5.4] How do they work?
Player pianos use suction, not pressure, to work. As the pedals are operated, air is pulled from the pump and the entire stack is placed under a slight vacuum. This vacuum operates a motor that turns the rolls in the spool box. The piano roll has holes cut in them that when they pass over the tracker bar, the tracker bar's holes are uncovered. A valve is operated when the holes are uncovered that applies vacuum to the striking pneumatic, which plays the note on the piano.
[5.5] Restoring player pianos?
As with any pianos, a key to safely restoring old instrument is patience and time. It is best to have restoration done by a professional; however, anyone with a reasonable mechanical aptitude and patience can restore a player.
The materials used in restoring player pianos are very specialized, and are generally unavailable at your average local stores. Vinyl covering (naugehide) will crack to pieces in a matter of days when used to recover pneumatics. Common rubber hoses (fish tank and automotive style) will collapse and turn brittle in a matter of months, rendering an irreplaceable antique musical instrument useless. Also, white glue, silicone sealers, body filler, tape, etc., have no place in player pianos. The tried and true methods and materials as used when manufactured are to be used in the restoration.
[5.6] Books on player restoration
The main book for player restoration is:
PLAYER PIANO - Servicing and Rebuilding,
by Arthur Reblitz
Published by The Vestal Press
Vestal, NY 13850
ISBN 0-911572-40-6 (pbk.)
For advanced rebuilders:
PNEUMATICS HANDBOOK & Orchestrion Builder's Handbook
By Craig Brougher
[5.7] Where can I get Player piano parts?
The main source for player piano parts is:
Player Piano Co.
704 East Douglas
Wichita, Kansas, 67202
Tel. (316) 263-3241
[5.8] Where can I get new and used music rolls?
New Piano rolls are being produced today. Some of the manufacturers and suppliers are:
Upright & Grand
Eric D. Bernhoft
P.O. Box 421101
San Francisco, CA 94142
QRS Music Rolls, Inc.
1026 Niagara Street
Buffalo, NY 14213-2099
Tel: (716) 885-4600
Fax: (716) 885-7510
AOL Keyword: QRS
QRS Pianomation Center
Solenoid player piano division
(similar to PianoDisc system)
2011 Seward Ave
Naples, FL 33942
Tel: (941) 597-5888
Fax: (941) 597-3936
Play-Rite Music Rolls
401 S. Broadway
Turlock, CA 95380
Bluestone Music Rolls
485 Gatewood Lane
Grayslake, IL 60030
Piano Roll Center
108 Southcreek Circle
Folsom, CA 95630
Collector's Classics
163 Main St.
Thomaston, ME 04861
Pianola Institute
c/o Denis A Hall
6 Southbourne
Hayes, Kent England
Bam-Bam Piano Rolls
1750 Karg Drive
Akron OH 44313-5504
http://users.aol.com/BamRolls
bjelen8875@aol.com
[5.9] Any player piano associations?
Automatic Musical Instrument Collectors Association (AMICA) Suppliers of specialty items are also advertise here. For membership information contact:
Mike Barnhart
919 Lantern Glow Trail
Dayton, Ohio 45431
[5.10] Mailing list?
There exists a group called Automatic Musical Instruments, which has a mailing list maintained by Jody Kravitz. If you want to subscribe, send your request to:
automatic-music-request@foxtail.com
_____________________________________________________________
[6] Harpsichords
[6.1] Where can I purchase a harpsichord?
Here's where you can get a harpsichord:
Harpsichord Clearing House
Glenn Giuttari
9 Chestnut Street
Rehoboth, MA 02769
tel: (800) 252-4304
[6.2] Harpsichord mailing list
Send e-mail to listserv@albany.edu with a message (leave
subject line blank):
SUBSCRIBE HPSCHD-L yourname
_____________________________________________________________
[7] How Do I Represent Notes Using "Text" Characters?
There are three major notation systems being used rather frequently today. When you see a notation on your screen, you will have to judge for yourself which system is being used. In most cases, that shouldn't be too difficult. For instance if you see "RPT" written after the poster's name, you can probably assume they are using the "piano technician" notation (RPT = Registered Piano Technician). And if you start seeing numbers higher than "7" being used after the pitch, you probably can assume the "MIDI" notation system is being used.
[7.1] The "General" notation method
There is a simple alpha-numeric notation system which has been in existence for some time and which may be used in postings on the Internet. It is as follows:
Going up starting at middle C: c1 d1 e1 f1 g1 a1 b1
Continuing up the next octave: c2 d2 e2 f2 g2 a2 b2
And the octaves above that: c3 etc.
...and so on...
First octave below middle C: c d e f g a b
Next octave lower: C D E F G A B
Next octave lower: C1 D1 E1 F1 G1 A1 B1
...and so on...
However, if you decide to print this out in hard-copy,
publications rules change. On hard-copy, the numerals in
the upper octaves are written as superscripts, and those
below middle-C are written as subscripts.
Source: Baker, Theodore, Ed., "Pronouncing Pocket-Manual
of Musical Terms", G. Schirmer, Inc., New York, 1947.
[7.2] The "Piano Technician" notation method
Some piano technicians seem to prefer a different system, which starts with A0 at the bottom and ends with C7 at the top:
A0 B0
C1 D1 E1 F1 G1 A1 B1
C2 D2 E2 etc.
...and so on, until you reach C7
[7.3] The "MIDI file" notation method
The MIDI files sequentially number keys from 1 at the bottom to 88 at the top:
A1 B2 C3 ... B87 C88
[7.4] On sharps and flats
The computer keyboard imposes a few limitations on the use of this notation system. There is a sharp sign (# -- use the "pound" sign) on the computer keyboard, but no flat sign. The lower-case "B" (b) will have to suffice The accidental is written one position to the right of the letter which indicates the note, makes it unambiguous. For example, B# for B-sharp-second-octave-below-middle-C, b1b for b-flat- first-octave-above-middle-C, etc.
_____________________________________________________________
[8] Miscellaneous Tidbits
[8.2] Interval nomenclatures?
Here's a crash course on interval nomenclatures.
perfect unison: 2 notes on same pitch
minor second: 1/2 step
major second: 1 step
minor third: 1-1/2 steps
major third: 2 steps
perfect fourth: 2-1/2 steps
augmented fourth: 3 steps (see enharmonic intervals)
diminished fifth: 3 steps (see enharmonic intervals)
perfect fifth: 3-1/2 steps
minor sixth: 4 steps
major sixth: 4-1/2 steps
minor seventh: 5 steps
major seventh: 5-1/2 steps
perfect octave: 6 steps
perfect consonances: unisons (or primes), fourths, fifths,
and octave are only perfect, diminished or augmented.
imperfect consonances: thirds and sixths intervals
dissonances: seconds and sevenths intervals. only major,
minor, diminished or augmented
Major intervals: 1/2 step larger than minor intervals. only
major, minor, diminished or augmented
Augmented intervals: 1/2 step larger than perfect or major
intervals.
Diminished intervals: 1/2 step lower than perfect or minor
intervals.
Enharmonic intervals: intervals that use the same pitches but
are spelled differently (and thus function differently).
Tritone: augmented fourths and diminished fifths are
enharmonic, and both are commonly referred to as the
tritone. (for example, C to F# and C to Gb are not the
same interval, but they are enharmonically the same)
Other intervals:
compound intervals...larger than an octave
inverted intervals...major becomes minor, etc., but note
that perfect inverts to perfect,
imperfect to imperfect, and dissonant
to dissonant
Sources of this information:
Benjamin, Horvit, and Nelson, "Techniques and Materials of Tonal Music" (Houghton Mifflin, 1975):
[8.3] Octave spans of various pianos and harpsichords
[8.3.1] Harpsichord octave spans
Pisaurensis (1533) = 169mm
Ruckers = 167mm
Pratensis (1612) = 166mm
J. Mayer (1619) = 168mm
Giusti (1676) = 174mm
Italian (1695) = 163mm
Kirkman (1767) = 162mm
Graebner (1774) = 156mm
Clavichord,
Schmahl (1794) = 158mm
[8.3.2] Piano octave spans (All grands unless otherwise noted)
Cristofori (1726) = 164mm
Pohlman (square, 1770) = 178mm
Stein (1780s) = 156, 158, 160mm
Schiedmeyer (1780) = 156mm
Schiedmeyer (1785) = 180mm
Longman & Broderip
(square, 1790) = 169mm
Schantz (1790, 1805) = 160mm
Schmid (1794) = 158mm
Clementi (1805) = 163mm
Erard (Beethoven's
piano, 1803) = 162mm
Walter (1795) = 159mm
Walter (1803) = 153mm
Walter (1815) = 160mm
Streicher (1816) = 158mm
Kirckman (1820) = 162mm
Broadwood (Beethoven's
piano, 1817) = 166mm
Broadwood (1819) = 164mm
Boehm (6 oct) = 158mm
Fritz (c1825 in workshop
of Paul Poletti) = 167mm
Graf (1826, similar to
Beethoven's Graf) = 161mm
J.B. Streicher (1841) = 158mm
Pleyel (1852, cf Chopin's
Pleyel of 1839) = 164mm
Steinway (Hamburg, 1937,
modern range) = 165mm
Bluethner (modern range) = 165mm
[8.5] What's a standard height of a piano keyboard?
28.5"
[8.6] Klavarscribo?
contact:
Klavar Music Foundation
171 Yarborough Road
Lincoln LN1 3NQ
UK
tel: +44 (0) 1522-523117
_____________________________________________________________
[9] On Copyright Laws
The following is a rather simplified summary of materials (Circulars) published by the U. S. Copyright Office, a department of the Library of Congress.
This section not intended to be legal advice, nor is it necessarily error-free. It is included here to give people some basic knowledge pertaining to copyrighted materials.
[9.1] Where do I get the information on copyright laws?
U. S. Copyright Office, a department of the Library of Congress, 101 Independence Avenue, S. E., Washington, DC 20559. Phone (202) 707-3000. The source materials may be obtained on the Internet by gopher or telnet to the Library of Congress at address marvel.loc.gov. For telnet log in as marvel. Select the copyright option from the main Library of Congress menu.
[9.2] Copyright Status
Title 17, U.S. Code provides copyright protection for both published and unpublished works, granting the owner of the copyright exclusive rights over reproduction, creation of derivative works, distribution of copies for sale or rent, and public performance and display.
Copyright protects "original works of authorship" that are "fixed in a tangible form of expression," such as scores or sound recordings of musical works. Works that have not been "fixed in a tangible form of expression," such as improvisational performances that have not been written or recorded, are not protected by copyright. Works for which the copyright has expired are no longer protected; they are in the public domain and cannot again receive copyright protection.
Currently copyright is automatically secured upon the creation of a work (as "fixed in a tangible form..."); publication or registration with the Copyright Office is not required. Before 1978, copyright was generally secured by means of publication with a copyright notice (e.g. Copyright MCMXX by John Doe) or, for unpublished works, registration with the Copyright Office. After March 1, 1989 the copyright notice was no longer mandatory on copyrighted works.
[9.3] Duration of Copyright Status
A work created on or after January 1, 1978 is automatically protected from the moment of its creation, and protection ordinarily lasts for the author's life plus an additional 50 years thereafter.
For works published or registered before January 1, 1978 a first term copyright of 28 years starting on the date it was secured (published or registered as unpublished) was provided. During the last (28th) year of the first term, the copyright was eligible for renewal for another 28 years. For copyrights in effect January 1, 1978 the current copyright law extended the renewal term from 28 to 47 years, giving works with renewed copyrights a total term of protection of 75 years. For copyrights secured January 1, 1964 through December 31, 1977, the 47 year extension is automatic.
This means that as of 1995 all works published during or before 1920 are now in the public domain, as are works published before 1964 for which a copyright extension was not obtained.
Circulars 15, 15a, and 15t contain further information on copyright terms. Circular 22 describes how to search the Copyright Office records concerning the copyright status of a work.
[9.4] International Protection
The United States is a founding member of the Universal Copyright Convention (UCC) since September 16, 1955 and a member of the Berne Convention for the Protection of Literary and Artistic Works. A work by a national or resident of a member country of the UCC or a work first published in a UCC country may claim protection under the UCC.
The U.S. joined the Berne Convention on March 1, 1989. Members of the Berne Union agree to treat nationals of other member countries like their own nationals for purposes of copyright.
For further information on international copyrights see Circulars 38a and 93.
[9.5] Derivative Works and Editions
Regarding derivative versions of previous works, including musical arrangements, adaptations, revised or newly edited editions: the derivative works are independently copyright- able, and the copyrights of such works do not affect or extend the protection, if any, of the underlying work.
I would presume that the concept of a derivative work applies to a musical work which has been edited, and that any additions or changes due to editing is what is being copyrighted, but I have not run across specifics in this regard.
...in other words...
If you want to make a simplified edition of something--you have to use music in the public domain or you have to get permission from the copyright holder. It is sometimes quite a search to find out and to secure permission. But it must be done.
[9.6] Fair Use
The "fair use" of a copyrighted work, including reproduction as copies or recordings for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, research, or parody, is not an infringement of copyright. Fair use is covered in Section 107 of title 17. There is no real definition of fair use, and in court cases each situation is decided based on its own facts. However, four yardsticks have come to be used, which are expressed in section 107 as:
"(1) the purpose and character of the use, including
whether such use is of a commercial nature or is for
non-profit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in
relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for
or value of the copyrighted work."
Most of the applications of the "fair use" concept have to do with books and articles as used in teaching.
...in a nutshell...
Fair use includes:
a) reviews/criticism (including parody),
b) scholarly use (photocopying one section only--
not a complete perform-able portion such as a movement
or an aria; and for study purposes only, not for
"using"--such as photocopying a copy for each student
to use for a form & analysis exercise or test).
c) Copying a page to avoid a page turn is generally
considered fair use.
Fair use does not include:
a) copying to avoid buying the book
b) because it's out of print
c) because there's not enough time to order and receive
another copy,
d) because you can't find who holds the copyright
e) because you need one for your duet partner.
_____________________________________________________________
[10] Books and Magazines on Pianos
[10.1] Magazines on pianos
Clavier Magazine
200 Northfield Rd
Northfield, Ill 60093
Keyboard Companion
PO Box 24-C-54
Los Angeles, CA 90024
focus on teaching at early levels
Piano & Keyboard
PO Box 767
San Anselmo, CA 94979-0767
(415) 485-6946
Piano Explorer
200 Northfield Rd
Northfield, Ill 60093
primarily for piano students (young ones)
Piano Today (formerly Keyboard Classics & Piano Stylist)
223 Katonah Avenue
Katonah, NY 10536
Misc. articles and music both classical & pop/jazz
Sheet Music
PO Box 58629
Boulder, CO 80321-8629
(800) 759-3036
Musical Success Resource Guide
E-mail: Bob101Ways@aol.com
tel: (314) 773-3466
(800) 527-ROCK
This is a free newsletter/catalog which features tips and
tools on how to make money and succeed with your career in
music. Also it contains many promotional listings, it
regularly features tips. You can also ask to be put on
their e-mail list to get regular e-mail updates.
[10.2] Random recommended readings on piano playing
Ward Cannel & Fred Marx, "How to Play the Piano Despite Years of Lessons: What Music Is & How to Make It at Home", Hal Leonard Corp. ISBNJ0-385-14263-3, $17.95, (Video: $39.95, 0-88188-831-1)
Useful especially for someone just beginning to play by
ear (assumes knowledge of basic musical notation, melodies
mostly).
Hal Leonard Corp.
7777 W. Bluemound Rd.
P.O.Box 13819
Milwaukee, WI 53213
(414)774-3630
(800)524-4425
James Friskin and Irwin Freundlich, "Music for the Piano," Dover Publishing. ISBN 0-486-22918-1, ~$10
Book on piano repertoire
[10.3] Some books on jazz playing
Scott D. Reeves, "Creative Jazz Improvisation"
A very thorough book on the application of various scales,
modes, and techniques to jazz chord progressions, and it's
chock full of exercises to boot.
Mark Levine, "The Jazz Piano Book," Chuck Sher Publishing
This book will give you a nice complete introduction to
scale theory, and it contains information on chord voicing
and how to approach different progressions.
Mark Levine, "The Jazz Theory Book," Chuch Sher Publishing
Stephen Nachmanovich, "Free Play: Creativity in Life
and in the Arts."
This book covers improvisation, creativity in jazz playing
[10.4] What books discuss the piano literature?
There are two books reported so far. The definitive classic is "The Literature of the Piano" by Ernest Hutchison, which was written in the early part of this century. For the most part, this book sticks to the traditional Classical and Romantic repertoire, though there is also an interesting discussion of Bach and the pre-Baroque composers. The revised edition, updated by Rudolph Ganz, adds useful sections on more modern composers, as well as commentary on the older material. There are even a few places where Ganz takes Hutchison to task! The two also make recommendations for selection of repertoire. Overall, it is a wonderful book which is not just for reference, but can also be read cover to cover.
A more recent book is "The Art of the Piano", by [???]. This book is more encyclopedic in nature than "The Literature of the Piano", and it does not try to recommend particular works, as "The Literature of the Piano" does. Therefore, it is strictly a reference work, but it is more complete. In particular, there is detailed information on modern compositions written after the publication of "The Literature of the Piano". Unfortunately, nothing before Bach and Scarlatti is listed. There is also an encyclopedic listing of pianists in this book.
[10.5] Random miscellaneous reference books
Paul Cooper "Perspectives in Music Theory", Harper & Row, 1973.
book on music theory
Benjamin, Horvit, and Nelson, "Techniques and Materials of Tonal Music", Houghton Mifflin, 1975.
more book on music theory
John Clough and Joyce Conley, "Scales Intervals Keys Triads Rhythm and Meter", Norton. ISBN 0-393-95189-8, ~$24
programmed text for introductory theory
Dorothy Priesing and Libbie Techlin, "Language of the Piano: A Workbook in Theory and Keyboard Harmony", Carl Fischer Publisher.
focuses on theathing theory in a way that is useful to
keyboard players. Covers theory and some keyboard
exercises.
_____________________________________________________________
[11] Other Mail Order Companies
[11.1] Music score companies
Rec.music.classical.performing has a FAQ containing extensive list of mail-order companies. Please check their FAQ list if you want more.
Dover Publications
31 East 2nd Street
Mineola, NY 11501
Eble Music Company
P.O. Box 2570
Iowa City, Iowa 52240
tel: (319) 338-0313
fast, dependable source for classical music scores.
will help special search for hard-to-get music
Musica Obscura
17 Ebbet Avenue
Wallaston, MA 02170
tel: (617) 773-1947
a source for unusual piano music from classical and
romantic periods. (photocopies, so obviously no recent
music included)
Patelson's
NY
tel: (212) 582-5840
classical music
Patti Music
414 State Street
PO Box 1514
Madison, WI 53701-1514
tel: (800) 777-2884
RBC Music Company, Inc.
4410 Piedras Drive West
San Antonio, TX 78228
tel: (800) 548-0917
(210) 736-6902
fax: (210) 736-2919
E-mail: rbcnote1@aol.com
has huge inventory of all types of piano music.
specializes in educational print music
Order on-line, or be added to e-mail list to receive
promotional flyers or mail outs, send e-mail.
Wadler-Kaplan Music Shop
3907 S. Main
Houston, TX 77002
tel: (713) 529-2676
(800) 952-7526
fax: (713) 529-2844
Sheet music
Yesterday Music Service
1972 Massachusetts Avenue
Cambridge, MA 02140
tel: (617) 547-8263
Extensive selection of scores of all kinds, in any
quantity. They will take special orders of any scores
they don't carry. They also have a walk-in service on
the 4th floor of 1972 Mass. Ave building (near Porter
Square, on Red Line "T" station). Offers student
discounts for walk-in service.
[11.2] Digital Piano Mail-Order
Please see "Digital Pianos Hardware List" maintained by this newsgroup. See section [4] for how to get hold of a copy.
[11.3] Specialized recordings
A company called Academy Records specializes in publishing CD's and cassettes of piano music that one tends to play as a beginning/intermediate/early advanced student. Their offerings include:
Bach "18 Little Preludes"
Bach "Anna Magdalena" w/ "Two-Part Inventions"
Beethoven "Selected Works" (Bagatelles, Fur Elise, etc.)
Burgmuller "25 Easy & Progressive Studies, Op.100"
Clementi "Six Sonatinas, Op.36"
Kabalevsky "30 Children's Pieces, Op.27"
w/ "24 Little Pieces, Op.39"
Schumann "Album for the Young, Op.68"
20th Century Literature (Copland "Cat and Mouse",
Turina "The Circus, etc.)
Music from Jane Bastien's PIANO LITERATURE series, Vol.1-4
For more info. call contact
Academy Records
PO Box 10805
Burbank, CA 91510-0805
tel: (800) 858-1469
_____________________________________________________________
[12] Other sources of information
[12.1] RMMP Piano Internet Resources List
This document is in its draft stage, scheduled to be released as its own FAQ soon. The draft document is currently available through the RMMP FAQ Locator Page (see beginning of this document for URL). This list is a compilation of resources available on the Internet (WWW, Gopher, FTP) which are piano-related or may be of interest to pianists.
[12.2] Piano Technicians Guild
The home office of the Piano Technicians Guild (PTG) is located in Kansas City, MO, and apparently keep the usual 9-5 business hours. Here are some methods to contact them. The PTG's www home page has many interesting and useful information. I highly recommend you to go check it out, if you haven't done so yet!
3930 Washington
Kansas City, MO 64111
tel: (816) 753-7747
URL: http://www.prairienet.org/arts/ptg/homepage.html
E-mail: 75032.3711@compuserv.com
************************** end RMMP General Topics FAQ
I would like to extend my thanks to many in the RMMP newsgroup for bits and pieces of information contained in this FAQ: Martha Beth Lewis, Tim MacEachern, Guy Klose, Larry Fine, Tom Sheehan, John Musselwhite, Ron Torrella, Achim Gratz, carolp@teleport.com (Carolyn), Duncan Vinson, Stephen Birkett, and Virginia Marks for directly contributing to this FAQ. Special thanks goes to Phil Tompkins, for his countless suggestions, proof-reading, contributions, etc. This is what happens when you "volunteer" to help me write this FAQ! :-) If I missed anyone, please let me know! This is really a collective effort of the entire newsgroup.
This document is copyright (c) 1995 by Isako Hoshino. It may be freely distributed in its entirety provided that this copyright notice is not removed. It may not be sold for profit nor incorporated in commercial documents without the author's permission.
This article is provided "as is" without express or implied warranties. While every effort has been taken to ensure the accuracy of the information contained in this article, the maintainer assumes no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein.
Isako Hoshino Internet: isako@mit.edu US mail: MIT Rm 13-3082, Cambridge, MA 02139, USA ========================================================== |
|
|
Mechanical
Music Digest™ Archives
