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Cristofori's great success was in solving, without any prior example, the fundamental mechanical problem of piano design: the hammers must strike the string, but not remain in contact with the string (as a tangent remains in contact with a clavichord string) because this would damp the sound. Moreover, the hammers must return to their rest position without bouncing violently, and it must be possible to repeat a note rapidly. Cristofori's piano action served as a model for the many different approaches to piano actions that followed. While Cristofori's early instruments were made with thin strings and were much quieter than the modern piano, compared to the clavichord (the only previous keyboard instrument capable of minutely controlled dynamic nuance through the keyboard) they were considerably louder and had more sustaining power.

The huge changes in the evolution of the piano have somewhat vexing consequences for musical performance. The problem is that much of the most widely admired piano repertoire — for example, that of Haydn, Mozart, and Beethoven — was composed for a type of instrument that is rather different from the modern instruments on which this music is normally performed today. Even the music of the Romantics, including Liszt, Chopin, Schumann, and Brahms, was written for pianos substantially different from ours. The interpretation of these works on modern pianos poses a variety of problems.

A piano or pianoforte is a musical instrument classified as a keyboard, percussion, or string instrument, depending on the system of classification used. The piano produces sound by striking steel strings with felt hammers that immediately rebound allowing the string to continue vibrating. These vibrations are transmitted through the bridges to the soundboard, which amplifies them.

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