The concept of using dynamic markings (which indicate the relative loudness of different sections in the music) in sheet music came about around the same time as the piano — for good reason. Before the invention of the piano by Bartolomeo Cristofori in 1709, most composers were confined to writing most of their pieces for either the harpsichord or the clavichord; neither instrument had the capability to play both soft and loud sounds easily.
The reason for this is that the basic internal design of both the harpsichord and the clavichord follows the design of a stringed instrument. However, instead of having one’s fingers in direct contact with the string, as with a guitar or a fiddle, harpsichords and clavichords are fitted with a plucking mechanism inside the instrument itself. When a certain key is pressed, the corresponding internal string is plucked by the mechanism. No matter how hard or soft you press the keys of either instrument, the resulting volume is pretty much the same. Therefore, clavichords were used for quiet pieces of music that required lots of vibrato (quavering quality to notes that usually comes from a stringed instrument), whereas harpsichords were used for louder, brighter-sounding pieces.
Although the piano looks a lot like these two other instruments, it’s really very different. The piano incorporates a hammer-and-lever mechanism that strikes each string with the same force as the human finger on the piano key did; this is why the piano is considered a percussive instrument. The piano made both quiet and loud sounds possible on the same instrument, and, therefore, in the same musical piece. This is why the piano was originally named the gravicèmbalo col pian e forte, or “harpsichord with soft and loud.” The name was later shortened to pianoforte and, finally, to piano.
Since its inception, the piano has been the universal tool of choice for composing music, because almost every note you would ever want to work with is present on the keyboard, right there in front of you. Most pianos have at least 7 octaves to work with, and concert pianos can have more than 12 octaves.
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Robert Smythson (1535-15 October 1614) was an English architect. Smythson designed several notable houses during the Elizabethan era. Little is known about his birth and upbringing; his first mention in historical records occurs in 1556, when he was a bricklayer in the house at Longleat, built by Sir John Thynne (ca. 1512-1580). He later designed Hardwick Hall, Wollaton Hall, Burton Agnes Hall, and other major projects. Historically, several other Elizabethan houses, such as Gawthorpe Hall, have been attributed to him for stylistic reasons
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Answer: During the Romantic era, piano music was intended for professional performers only. The rise in popularity of the piano was an important factor in shaping the musical culture of the Romantic era. manufacturing remained unchanged until the technical advances of the early twentieth century
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