The tall vertically strung upright grand was arranged with the soundboard and bridges perpendicular to keys, and above them so that the strings did not extend to the floor. Diagonally strung Giraffe, pyramid and lyre pianos employed this principle in more evocatively shaped cases. The term was later revived by many manufacturers for advertising purposes.
The very tall cabinet piano introduced by Southwell in 1806 and built through the 1840s had strings arranged vertically on a continuous frame with bridges extended nearly to the floor, behind the keyboard and very large sticker action.
Piano making flourished during the late 18th century in the Viennese school, which included Johann Andreas Stein (who worked in Augsburg, Germany) and the Viennese makers Nannette Stein (daughter of Johann Andreas) and Anton Walter. Viennese-style pianos were built with wooden frames, two strings per note, and had leather-covered hammers. It was for such instruments that Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music. The pianos of Mozart's day had a softer, clearer tone than today's pianos, with less sustaining power. The term fortepiano is nowadays often used to distinguish the 18th-century instrument from later pianos.
The soft pedal or "una corda" pedal is placed leftmost in the row of pedals. On a grand piano, this pedal shifts the whole action including the keyboard slightly to the right, so that hammers that normally strike all three of the strings for a note strike only two of them. This softens the note and modifies its tone quality.
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