This was his first time playing a Janko? I don't believe that for a second. If that was the case, this would be THE greatest genius of the piano in the history of mankind.
there was a film team for a documentary of this project for efficiency in education present and they drove the pianist from his home to this museum. They filmed the inside of his home, so it is clear, that the pianist had no janko at home or in reach. Think about a janko pianist who had to play on a normal piano for the first time, where you have to change key positions unmusically. That would be incredible. But to use an isomorphic jankopiano is just logic and henceforth easier. The Korsakov-piece for example says the same thing every four notes, but you don´t recognise it on the normal keyboard. On a Janko you just do what the music says.
@@alfhoc8963 and how many times did you do something for children who can´t afford timeconsuming education ? Don´t worry things won´t improve fast and nobody will ever take the possibility away to use old tools.
The Pfeiffer keyboard may be somewhat different to the Decker one and closer to this retrofit. I'd like to see the keysticks, are they a single lever or like this Peter Reinert keyboard.
To build upon the previous answer, the janko keyboard is narrower than your typical piano mechanism made for traditional keyboards, and what they usually do is use a traditional design for the mechanism and let the levers fan out from the keys. This means you're pressing the extreme keys at a weird angle, so they might have decided that it's more important to have max power in the bass, so they let the bass notes' levers go straight forward and angled more towards the right the higher they went.
By the way, I don't think the horizontal moving part we're seeing here is the actual lever, but is part of a mechanism that suspends the keys above the levers to prevent a problem where the top row gets too little leverage and the bottom row gets too much.
That's right a janko is much narrower than a traditional keyboard. A straight strung piano would help this, less wasted space between sections. Overstringing is too disruptive.
@@iwikal not quite, but near. The perspective of the film doesn´t show it clearly, but only the middle keys go straight forward, the upper and the lower registers fan out increasingly (the further away from the middle the more they fan out). That´s why janko pianos had to be repaired all the time if the pianist got enthusiastic which happened mostly because the jankosystem is structured like music and the acoustics of all notes.
Of course, like on a normal two row keyboard with one row of black keys, it could also be on the same level. Now try to imagine, if the use of the thumb would be easier on a flat configuration. But there are many reasons why Janko did, what he did during his lifetime, which is: he always made approaches to culture and knowledge easier for all mankind. He was truly noble by heart and not by title or heritage. He looked at the human body and his ability to memorize and he listened and studied music. If you listen to music, you know, that transpositions are not as different, as the normal keyboard suggests. A transposition just gives a different colour to the same meaning. But the meaning stays the same. This truth can be heard, but not felt while playing on a normal key configuration, where similar notes have to be played in different ways if transposed. But the same fingerings and grips result in different melodies, if playing a normal keyboard. This ended with janko for us pianists. Now we could play with similar finger movements what is similar in music. Thus janko followed the music and ignorants follow their prejudices and their limitations to hear, see and feel the reality , especially the reality in music. Janko would be everywhere, if only there could be more possibilities to try it out on a real janko instrument.
I think you misunderstand how the layout works; let me illuminate things: There's actually only two sets of keys, just like on a traditional keyboard; except unlike how the traditional Halberstadt layout has a diatonic set of fat, long, close-together keys and a pentatonic set of thin, short, far-apart keys-all of which have a flat and level surface from tip to back-the Janko has two whole-tone sets of keys, each key broken up into raised sections of equal size and spacing, giving the false appearance of there being more keys than there really are: i.e., each key of one of the whole-tone sets has three tiers-three rows for every key on the keyboard, adding up to a total of 6 rows since there's two main sets. So, due to this, the vertical Y-axis (straight upwards) plays the same exact note in the same exact octave since it's just the exact same key but with multiple strikepoints that are progressively raised like a staircase. The horizontal X-axis (left and right) goes in whole tones and the diagonal axis (also left and right) goes in semitones, which is similar to a Halberstadt-and also like a traditional piano, left plays lower and right plays higher. For example, playing diagonally left always goes down in semitones no matter if it's up-left or down-left, and vice versa for going up in semitones. So, since pitch is still played from left to right, all you have to do to play a glissando is to slide across a single row of keys, much like sliding across the white keys of a Halberstadt. So why is the Janko layout arranged like this? Well, the reason for each strikepoint being equally sized and spaced is so that a given interval is the same physical distance no matter where you start. The strikepoints are also spaced and shaped so that it's a lot easier to avoid accidentally missing keys, pressing the wrong key, or pressing two keys next to each other at once; both when normally fingering and when making large jumps. The reason for building each key to have cascaded rows (multiple strikepoints at different heights) is to account for the difference in the length and height of each finger. Another reason for the cascaded rows is also why the layout is arranged in two whole-tone sets: they allow one to play every version of the same scale (B major, C major, etc.)-aswell as every version of the same chord (Bmaj., Cmaj., etc.)-with the exact same fingering pattern. This means you only need to learn two versions of a type of scale (2 for major, 2 for minor, etc.)-one version for each hand since they're mirrored-instead of 24 like on the Halberstadt. Another reason for the whole-tone arrangement in particular is that the span of an octave is shorter, which means those with small hands (which includes children aswell as *_the majority of_* women) can play large intervals they previously couldn't, and those they already could with less strain. To conclude, the Janko layout was designed with ergonomic hand shapes and hand positions; and easier fingering, jumps, and interval spans; in mind. It's overall an easier to learn, aswell as easier and more comfortable to play, note layout. The main reasons for its continued obscurity are a combination of the music world holding staunchly to tradition, and early Janko keyboards having mechanical kinks that hadn't been worked out before most people gave up on it. Nowadays, Janko keyboards don't have the same flaws, but manufacturers aren't interested in trying again.
Your questions can all be answered, of you look on your fingertips when spreading your hand. They form a circle with the thumb lower than the other fingers, but very useful to transport the hand if you use all 88 notes. One of the reasons, why the six or seven or more rows configuration is liberating, is this form of the human hand. Among many other reasons, there are those, which look at the music, as it is composed very often, which means, composers often use related keys to repeat parts of their composition in this other key. For example : The piece is in C major, then part of it might be repeated in G. If you practice it on just two rows on a janko piano, which is possible, you would start using 3 rows when the repetition in G major starts, because thus you could just use what you already did. But if you want to play the whole piece in any key, or even improvise about it, then many rows give you many options, not to calculate while playing about the key configuration but just to follow your inner hearing. You can just do, what you feel and hear on a janko keyboard with six or more rows, especially, if you want to improvise on studies of liszt or chopin like baron paul of janko did. It is not easily explained, but can be experienced by trying it out on a janko. That is why I always encourage museums, to let people play on their janko pianos. Seeing it, just horrifies people. Making music on it, liberates the musician in ourselfes.
der pianist besitzt so ein instrument nicht zu hause heißt der pianist besitzt so ein instrument nicht zu hause. Virtuosität muss man auf der normalen Idiotentastatur haben, sonst kann man darauf keine Konzerte geben, zumindest keine anspruchsvollen auf internationalem Niveau. Warum sollen Fingergeschwindigkeit und musikalisches Gedächnis auf einem Jankoklavier auf einmal verschwinden ?
Es stimmt, wir haben den Pianisten besucht und ihn ins Museum begleitet. Dabei sind auch kurze Filme entstanden, in denen er das Klavier erklärt. Du kannst sie bei mir auf dem Kanal ansehen. th-cam.com/video/cb67ykXJc8o/w-d-xo.html
beautiful and beautiful
This was his first time playing a Janko? I don't believe that for a second. If that was the case, this would be THE greatest genius of the piano in the history of mankind.
Very hard to believe, indeed
there was a film team for a documentary of this project for efficiency in education present and they drove the pianist from his home to this museum. They filmed the inside of his home, so it is clear, that the pianist had no janko at home or in reach. Think about a janko pianist who had to play on a normal piano for the first time, where you have to change key positions unmusically. That would be incredible. But to use an isomorphic jankopiano is just logic and henceforth easier. The Korsakov-piece for example says the same thing every four notes, but you don´t recognise it on the normal keyboard. On a Janko you just do what the music says.
@@paulvonjankozuehren5037, the classical keyboard is not idiotic, it's simply not well-suited for equal temperament or transposition.
@@alfhoc8963 and how many times did you do something for children who can´t afford timeconsuming education ? Don´t worry things won´t improve fast and nobody will ever take the possibility away to use old tools.
Yeah, this guy has many hours at a Janko. You don't play with that kind of speed and accuracy without perfect muscle memory.
It would be interesting to see the Pfeiffer keysticks as Decker patent us497426 (1893) is the most recent explanation online.
please explain: 'Pfeiffer keysticks'? Explanation of what?
The Pfeiffer keyboard may be somewhat different to the Decker one and closer to this retrofit. I'd like to see the keysticks, are they a single lever or like this Peter Reinert keyboard.
Link doesn't work, its squeezehead.com Peter Reinerts retrofit keyboard ''taking some of the ideas built into Janko actions by Pfeiffer''
there's something weird going on at 5:52. The hammer mechanism which is moving seems to be far away from the keys being played?
I would speculate there is more leverage is available on the lower parts of the keybed
To build upon the previous answer, the janko keyboard is narrower than your typical piano mechanism made for traditional keyboards, and what they usually do is use a traditional design for the mechanism and let the levers fan out from the keys. This means you're pressing the extreme keys at a weird angle, so they might have decided that it's more important to have max power in the bass, so they let the bass notes' levers go straight forward and angled more towards the right the higher they went.
By the way, I don't think the horizontal moving part we're seeing here is the actual lever, but is part of a mechanism that suspends the keys above the levers to prevent a problem where the top row gets too little leverage and the bottom row gets too much.
That's right a janko is much narrower than a traditional keyboard. A straight strung piano would help this, less wasted space between sections. Overstringing is too disruptive.
@@iwikal not quite, but near. The perspective of the film doesn´t show it clearly, but only the middle keys go straight forward, the upper and the lower registers fan out increasingly (the further away from the middle the more they fan out). That´s why janko pianos had to be repaired all the time if the pianist got enthusiastic which happened mostly because the jankosystem is structured like music and the acoustics of all notes.
Too bad the audio levels are clipping. Amazing instrument though!
All Janko keyboard has cascaded like rows. Couldn't it be with all rows at same level? Thank you
Of course, like on a normal two row keyboard with one row of black keys, it could also be on the same level. Now try to imagine, if the use of the thumb would be easier on a flat configuration. But there are many reasons why Janko did, what he did during his lifetime, which is: he always made approaches to culture and knowledge easier for all mankind. He was truly noble by heart and not by title or heritage. He looked at the human body and his ability to memorize and he listened and studied music. If you listen to music, you know, that transpositions are not as different, as the normal keyboard suggests. A transposition just gives a different colour to the same meaning. But the meaning stays the same. This truth can be heard, but not felt while playing on a normal key configuration, where similar notes have to be played in different ways if transposed. But the same fingerings and grips result in different melodies, if playing a normal keyboard. This ended with janko for us pianists. Now we could play with similar finger movements what is similar in music. Thus janko followed the music and ignorants follow their prejudices and their limitations to hear, see and feel the reality , especially the reality in music. Janko would be everywhere, if only there could be more possibilities to try it out on a real janko instrument.
But how does one do a glissando all the way down the keyboard?
I think you misunderstand how the layout works; let me illuminate things:
There's actually only two sets of keys, just like on a traditional keyboard; except unlike how the traditional Halberstadt layout has a diatonic set of fat, long, close-together keys and a pentatonic set of thin, short, far-apart keys-all of which have a flat and level surface from tip to back-the Janko has two whole-tone sets of keys, each key broken up into raised sections of equal size and spacing, giving the false appearance of there being more keys than there really are: i.e., each key of one of the whole-tone sets has three tiers-three rows for every key on the keyboard, adding up to a total of 6 rows since there's two main sets.
So, due to this, the vertical Y-axis (straight upwards) plays the same exact note in the same exact octave since it's just the exact same key but with multiple strikepoints that are progressively raised like a staircase. The horizontal X-axis (left and right) goes in whole tones and the diagonal axis (also left and right) goes in semitones, which is similar to a Halberstadt-and also like a traditional piano, left plays lower and right plays higher. For example, playing diagonally left always goes down in semitones no matter if it's up-left or down-left, and vice versa for going up in semitones.
So, since pitch is still played from left to right, all you have to do to play a glissando is to slide across a single row of keys, much like sliding across the white keys of a Halberstadt.
So why is the Janko layout arranged like this?
Well, the reason for each strikepoint being equally sized and spaced is so that a given interval is the same physical distance no matter where you start. The strikepoints are also spaced and shaped so that it's a lot easier to avoid accidentally missing keys, pressing the wrong key, or pressing two keys next to each other at once; both when normally fingering and when making large jumps.
The reason for building each key to have cascaded rows (multiple strikepoints at different heights) is to account for the difference in the length and height of each finger.
Another reason for the cascaded rows is also why the layout is arranged in two whole-tone sets: they allow one to play every version of the same scale (B major, C major, etc.)-aswell as every version of the same chord (Bmaj., Cmaj., etc.)-with the exact same fingering pattern. This means you only need to learn two versions of a type of scale (2 for major, 2 for minor, etc.)-one version for each hand since they're mirrored-instead of 24 like on the Halberstadt.
Another reason for the whole-tone arrangement in particular is that the span of an octave is shorter, which means those with small hands (which includes children aswell as *_the majority of_* women) can play large intervals they previously couldn't, and those they already could with less strain.
To conclude, the Janko layout was designed with ergonomic hand shapes and hand positions; and easier fingering, jumps, and interval spans; in mind. It's overall an easier to learn, aswell as easier and more comfortable to play, note layout. The main reasons for its continued obscurity are a combination of the music world holding staunchly to tradition, and early Janko keyboards having mechanical kinks that hadn't been worked out before most people gave up on it.
Nowadays, Janko keyboards don't have the same flaws, but manufacturers aren't interested in trying again.
Would you tell me what is the real limitation of a a 5-Row or 4-Row Janko Keyboard? Thank you
Your questions can all be answered, of you look on your fingertips when spreading your hand. They form a circle with the thumb lower than the other fingers, but very useful to transport the hand if you use all 88 notes. One of the reasons, why the six or seven or more rows configuration is liberating, is this form of the human hand. Among many other reasons, there are those, which look at the music, as it is composed very often, which means, composers often use related keys to repeat parts of their composition in this other key. For example : The piece is in C major, then part of it might be repeated in G. If you practice it on just two rows on a janko piano, which is possible, you would start using 3 rows when the repetition in G major starts, because thus you could just use what you already did. But if you want to play the whole piece in any key, or even improvise about it, then many rows give you many options, not to calculate while playing about the key configuration but just to follow your inner hearing. You can just do, what you feel and hear on a janko keyboard with six or more rows, especially, if you want to improvise on studies of liszt or chopin like baron paul of janko did. It is not easily explained, but can be experienced by trying it out on a janko. That is why I always encourage museums, to let people play on their janko pianos. Seeing it, just horrifies people. Making music on it, liberates the musician in ourselfes.
4 rows is enough. playing on 3 rows at a time
peut-on trouver le même piano à Paris?
I don´t know, peut-etre ! Round keys are original janko keys, by the way. Janko advised round keys because of the many advantages they have.
On peut en trouver un à Bâle, au Musée des instruments de musique.
Was heißt "Der Pianist besitzt so ein Intrument nicht zu Hause" ?? Wie hat dann der Pianist eine derartige Virtuosität erreicht?
der pianist besitzt so ein instrument nicht zu hause heißt der pianist besitzt so ein instrument nicht zu hause. Virtuosität muss man auf der normalen Idiotentastatur haben, sonst kann man darauf keine Konzerte geben, zumindest keine anspruchsvollen auf internationalem Niveau. Warum sollen Fingergeschwindigkeit und musikalisches Gedächnis auf einem Jankoklavier auf einmal verschwinden ?
Es stimmt, wir haben den Pianisten besucht und ihn ins Museum begleitet. Dabei sind auch kurze Filme entstanden, in denen er das Klavier erklärt. Du kannst sie bei mir auf dem Kanal ansehen. th-cam.com/video/cb67ykXJc8o/w-d-xo.html
Who's the pianist??
Write me per email, I will tell you: eliaspfeffer@gmail.com
Elias Piano Music thanks! Wrote to you
His name is Detlef Graul. He taught my daughter for many years and is, without doubt, a musical genius.