Piano Guidance
Photo by Yaroslav Shuraev Pexels Logo Photo: Yaroslav Shuraev

Why are grand pianos black?

So most pianos are black because it was easier / cheaper for companies to manufacture them. As a corollary to this topic, it is actually also the same reason why many harpsichord manuals have reversed key colors.

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You're unlikely to see a classical piano concert with a piano that is anything but black. One of the reasons is that 95% of all concert pianists are Steinway Artists. Another reason is that black Steinways are the least expensive. A Steinway artist has to have a performing career, agrees to feature the words "Steinway Piano" on his programs, and agrees to exclusively use Steinway pianos in public performances. In exchange for this, Steinway guarantees to make a piano available (for a price) at any concert he plays. To accomplish this, Steinway has its dealers participate in the Concert and Artist program, maintaining a separate inventory of several C&A pianos, and handling maintenance, tuning, pickup and delivery. Now, since black Steinways are the least expensive (see Tim's answer for why), it follows that a dealer will provide only black pianos for concerts. The current list price for "Satin Ebony" is currently $157,379, whereas Mahogany, the cheapest wood finish, is $182,700, so we're not talking about small numbers here.

An exception you might see is this one:

This is Steinway's 500,000th commemorative piano, which sometimes makes the rounds. I got to attend a concert with Ruth Laredo playing it soon after it was made, and it is the only classical piano concert I've ever attended where the piano wasn't black. (In fact, it was a two-piano concert, and the other one was black.) Classical pianists are much less concerned with appearance than they are with tone, so they don't really care what color the piano is for the most part. If a concert pianist fell in love with the tone of a piano that wasn't black, and had the means to be able to ship it to all of his concerts, then maybe you would see a concert on a differently-colored piano. The only ones I can think of who used their own pianos are Horowitz, whose Steinway was black (still is, actually), and Victor Borge and his Bösendorfer, which was also black. In the end, I'd say that the reason that big-time rockers have a lot of different-colored pianos is because they have enough money to buy whatever piano they want and ship it wherever they want.

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While it's totally possible to play with long nails and even be a professional pianist, it's much easier to play with shorter nails. You get more...

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What does CT mean in music?

Located at the top of the first page of music text, caption titles present the most essential information from the TP such as the composer's name, the title of the work and the opus number.

Located at the top of the first page of music text, caption titles present the most essential information from the TP such as the composer’s name, the title of the work and the opus number. In certain Wessel scores, the caption title also includes the name attributed to the piece by the publisher, the number of the work within the series to which it belongs, the number of the ‘book’ and the dedicatee. In the CTs of three impressions an arranger’s name appears (3–1b-BR, 8–1a-W, 65–1f-B&H), while in 1–1-W there is the indication ‘Nouvelle édition corrigée’. The CTs of three English editions refer to their respective editor (see 5–1-W, 10/1-6–1-W, 10/7-12–1-W, 11–1-W). Analogous caption titles can also be found within the body of many editions, namely at the top of the first page of music text of either the constituent works in a given opus or individual movements or sections in a single piece (e.g. 13–1-Sm, 13–1-KI, 15–2-B&H, 17–2-B&H). In the latter case they some­times appear in the middle of the page, at the start of a new section (e.g. 13–1-W). A limited number of editions lack a CT altogether, among them 1–1-BRZ, 2–1-HAt, 5–1-BRZ, 27–1-B&H, 43–1-SCHU and PolGm–1-CY.

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