Bach Keyboard History

The term keyboard, according to the Merriam-Webster Dictionary, is “a musical instrument that is played by means of a keyboard like that of a piano and that produces sounds electronically.” This is the modern definition of a keyboard, as it can be used as a term describing any key-like instrument which does not contain a firmly established identity, such as the clavichord and the harpsichord. The keyboard has been a prevalent instrument since as early as the third century BC, and therefore has encountered a multitude of transformations throughout the ages. As with any musical revolution, not only do the instruments transform, but so do characteristics of compositions and the style in which music is performed. From the Classical
C. Bach exemplify adequate usage of Classical era techniques on the keyboard. J. C. Bach’s composition, “Concerto for Harpsichord or Piano and Strings in E-flat Major,” serves as an ample example of the use and stylistic techniques of the keyboard in the Classical era. The keyboard concerto was a popular genre throughout the classical era, and J. C. Bach was perhaps one of the most influential composers in this category, as he was among the first to compose this particular genre. Throughout this piece, there are three movements, a fast movement followed by a slow movement, and then another fast movement. This organization was extremely typical for solo concertos in the 1700s. The galant style is heard in this piece through the lush ornamentation and sophistication. For example, in measure 17, one can note the elegance in the recurring 32nd to dotted 8th notes. As this composition calls for either a harpsichord or a piano, one might contend that a piano would be better suited, due to the lack of dynamic contrast achievable on the
In 1946-48, John Cage composed “Sonatas and Interludes: Sonata V” for the piano, and placed foreign materials between the strings of the keys in order to produce the unique sound. “He discovered that he could create percussion-like sounds on the piano by inserting small objects between the strings,” (Burkholder, V.3, 542). He was inspired by Henry Cowell, who explored similar methods of experimentation, for example in “The Banshee,” he performed inside the piano directly on the strings. Again, because the piano is ever so diverse in structure, composers can continuously create new sounds and