Archive-name: music/piano/general-faq
Posting-Frequency: monthly
Last-modified: September 15, 1996
Version: 1.5a


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

==========================================================

changes from version 1.4
   additional copyright websites
   minor corrections
   [8.7] printing out staff lines

==========================================================
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?
  [8.7] Printing staff lines using postscript codes?

[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 three official and three draft 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


_____________________________________________________________


[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  A#2  B3  C4  ...  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


[8.7] Printing staff lines using postscript codes?

(courtesy of anonymous someone on the net)
Try creating a file with the following postscript command 
lines, and print it out on a postscript printer.

%!
% blank page of 12-line music paper
0 setlinewidth
/staffline{newpath dup 75 exch moveto 480 0 rlineto stroke} def
/staff{dup 5 exch 20 add {staffline} for} def
95 53 678 {staff} for
showpage


_____________________________________________________________


[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.  Also take a look at 
the Copyright Office web pages at:
   http://lcweb.loc.gov/copyright/
   ftp://ftp.loc.gov/pub/copyright/circs/
   gopher://marvel.loc.gov:70/00/.ftppub/copyright/circs/

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.


[9.6] More...?

Martha Beth Lewis has written up a section on commonly asked 
questions regarding music copyrights.  The URL is 
http://www.serve.com/marbeth/music_copyright.html

Also, check out Copyright FAQ at 
ftp://ftp.aimnet.com/pub/users/carroll/law/copyright/faq/


_____________________________________________________________


[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
==========================================================


