Chords for Showcasing the 280VC Concert Grand (What makes a Bösendorfer sound so unique - Part 1)
Tempo:
79.95 bpm
Chords used:
G
Em
C
Am
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, hi there.
My name is Ben Klinger, and I am here to introduce the Bösendorfer Model 280 VC,
which is the 9-foot, 2-inch [C] concert grand.
[G] When you walk around Vienna, you'll see tributes to Brahms and Liszt and Schubert and Beethoven, and then there's the Mozart house.
Everywhere you [C] go in Vienna, [Em] it's music, music, music.
[G] Out of this, in the late 1800s, 1828,
Bösendorfer arose, [Em] and
they created a piano that encapsulated the Viennese sound.
And of course, [G] like any manufacturer over the years,
they worked to hone it and perfect it and so forth.
The Bösendorfer is the [Em] longest continuously made piano in the world.
It's been [C] made continuously since 1828, [G] and there are some hallmarks about the piano which make it extremely unique.
[Em] One of the things that makes Bösendorfer unique among [G] pianos is the rim.
This is the rim.
This is the piece that that wraps around the piano.
And when a piano is played,
this [Em] is what happens.
A hammer strikes the string, [G] and the string is
vibrating and it travels over this piece called the bridge.
And the bridge takes all the energy and the vibration
to the soundboard, which is this wooden board underneath all of this.
And the vibration travels down the grain of the
soundboard, and it hits the rim.
Now, most pianos have a very hard rim, usually maple or something like that.
And the maple reflects the vibration into the piano.
Bösendorfer uses a spruce rim.
In fact, it's the spruce in the rim that's the exact same spruce that's in the soundboard.
So it's when that vibration hits the rim, instead of reflecting all that vibration into the soundboard, what it does is the vibration travels
around the rim, and the entire [Em] piano vibrates.
[C] Pianos [G] often struggle with sustain in the treble register,
but Bösendorfer does not, because the entire case vibrates together in concert [Em] with the soundboard.
[C] [G] This is a new series of pianos.
These began being made in
2014, and I think they [Em] began hitting the retail world in
2015.
[C] And between 2015 and say,
[G] 2019, the Vienna Concert Series was rolled out on all the various models.
But the 280BC [Em] is
the flagship.
It's the concert [G] grand.
And as I mentioned, it's a new design.
So Bösendorfer
began [Em] experimenting with different changes to the instrument, which resulted in an amazing,
[G] dynamic,
powerful, clear, beautiful instrument.
The soundboard is fit precisely into the rim.
It's not just set in there or glued in [Am] there like other [G] manufacturers.
It is fit so that it fits in place, and that creates a oneness with the rim
that is more so than it ever was.
And that promotes more clarity,
[F#] more dynamic range, more [Em] power, more expression.
So in a nutshell, that is what [G] has been brought to the new Vienna Concert Series Bösendorfer pianos.
On a side note, when I [Em] talk about the spruce in the rim and in the soundboard,
spruce [G] isn't just spruce.
It's really important that we're using old
wood, wood that is [Em] sometimes hundreds of years old.
And the spruce that is in a Bösendorfer piano comes from the [G] Austrian Alps.
It is some of the oldest
lumber available for harvesting pianos.
[Em] And the reason old wood is important is old wood
has more grain, right?
So if you cut [D] a tree and you look, [G] the older logs
have more growth rings.
And how that translates into a [Em] soundboard or into the rim is you have
[G] more grain when you look at it.
Now, vibration travels down the grain of an instrument.
So the more grain you have, the more [Em] highways for vibration you have.
And again, the more resonant the piano is.
[G] Sometimes people ask me how come they don't see Bösendorfer on all the stages.
And there's a really simple reason for that.
That they only make
275 pianos
worldwide.
So maybe 50 to 70 [G] come into the United States, for example, every single year.
So their interest is not in producing so many pianos that they can fill
institutional demand and be in every single symphony hall across the world.
They can't.
To [C] make the pianos the way that they do, to make the pianos with [G] the love and the care that they do,
they can't really crank them out.
So they're limited in the number that they can produce.
In fact, there are only about
52 [Em],000 Bösendorfer in existence since [G]
1828.
They've only made 52,000 pianos.
And you can compare that to other manufacturers who [Em] have made
600,000 plus or even tens or hundreds of thousands of pianos, just depending on which [G] manufacturer we're talking about.
Now you have heard me talk about
[Em] Bösendorfer and why it's so great and why it's gotten even better.
And yet it's [G] still all words.
So what I invite you to do is to come in to [Em] our showroom and play a Bösendorfer.
I think the proof will be in the pudding.
[G] Thanks so much for taking the time to listen.
[N]
My name is Ben Klinger, and I am here to introduce the Bösendorfer Model 280 VC,
which is the 9-foot, 2-inch [C] concert grand.
[G] When you walk around Vienna, you'll see tributes to Brahms and Liszt and Schubert and Beethoven, and then there's the Mozart house.
Everywhere you [C] go in Vienna, [Em] it's music, music, music.
[G] Out of this, in the late 1800s, 1828,
Bösendorfer arose, [Em] and
they created a piano that encapsulated the Viennese sound.
And of course, [G] like any manufacturer over the years,
they worked to hone it and perfect it and so forth.
The Bösendorfer is the [Em] longest continuously made piano in the world.
It's been [C] made continuously since 1828, [G] and there are some hallmarks about the piano which make it extremely unique.
[Em] One of the things that makes Bösendorfer unique among [G] pianos is the rim.
This is the rim.
This is the piece that that wraps around the piano.
And when a piano is played,
this [Em] is what happens.
A hammer strikes the string, [G] and the string is
vibrating and it travels over this piece called the bridge.
And the bridge takes all the energy and the vibration
to the soundboard, which is this wooden board underneath all of this.
And the vibration travels down the grain of the
soundboard, and it hits the rim.
Now, most pianos have a very hard rim, usually maple or something like that.
And the maple reflects the vibration into the piano.
Bösendorfer uses a spruce rim.
In fact, it's the spruce in the rim that's the exact same spruce that's in the soundboard.
So it's when that vibration hits the rim, instead of reflecting all that vibration into the soundboard, what it does is the vibration travels
around the rim, and the entire [Em] piano vibrates.
[C] Pianos [G] often struggle with sustain in the treble register,
but Bösendorfer does not, because the entire case vibrates together in concert [Em] with the soundboard.
[C] [G] This is a new series of pianos.
These began being made in
2014, and I think they [Em] began hitting the retail world in
2015.
[C] And between 2015 and say,
[G] 2019, the Vienna Concert Series was rolled out on all the various models.
But the 280BC [Em] is
the flagship.
It's the concert [G] grand.
And as I mentioned, it's a new design.
So Bösendorfer
began [Em] experimenting with different changes to the instrument, which resulted in an amazing,
[G] dynamic,
powerful, clear, beautiful instrument.
The soundboard is fit precisely into the rim.
It's not just set in there or glued in [Am] there like other [G] manufacturers.
It is fit so that it fits in place, and that creates a oneness with the rim
that is more so than it ever was.
And that promotes more clarity,
[F#] more dynamic range, more [Em] power, more expression.
So in a nutshell, that is what [G] has been brought to the new Vienna Concert Series Bösendorfer pianos.
On a side note, when I [Em] talk about the spruce in the rim and in the soundboard,
spruce [G] isn't just spruce.
It's really important that we're using old
wood, wood that is [Em] sometimes hundreds of years old.
And the spruce that is in a Bösendorfer piano comes from the [G] Austrian Alps.
It is some of the oldest
lumber available for harvesting pianos.
[Em] And the reason old wood is important is old wood
has more grain, right?
So if you cut [D] a tree and you look, [G] the older logs
have more growth rings.
And how that translates into a [Em] soundboard or into the rim is you have
[G] more grain when you look at it.
Now, vibration travels down the grain of an instrument.
So the more grain you have, the more [Em] highways for vibration you have.
And again, the more resonant the piano is.
[G] Sometimes people ask me how come they don't see Bösendorfer on all the stages.
And there's a really simple reason for that.
That they only make
275 pianos
worldwide.
So maybe 50 to 70 [G] come into the United States, for example, every single year.
So their interest is not in producing so many pianos that they can fill
institutional demand and be in every single symphony hall across the world.
They can't.
To [C] make the pianos the way that they do, to make the pianos with [G] the love and the care that they do,
they can't really crank them out.
So they're limited in the number that they can produce.
In fact, there are only about
52 [Em],000 Bösendorfer in existence since [G]
1828.
They've only made 52,000 pianos.
And you can compare that to other manufacturers who [Em] have made
600,000 plus or even tens or hundreds of thousands of pianos, just depending on which [G] manufacturer we're talking about.
Now you have heard me talk about
[Em] Bösendorfer and why it's so great and why it's gotten even better.
And yet it's [G] still all words.
So what I invite you to do is to come in to [Em] our showroom and play a Bösendorfer.
I think the proof will be in the pudding.
[G] Thanks so much for taking the time to listen.
[N]
Key:
G
Em
C
Am
F#
G
Em
C
_ _ Well, hi there.
My name is Ben Klinger, and I am here to introduce the Bösendorfer Model 280 VC,
which is the 9-foot, 2-inch [C] concert grand.
_ _ [G] When you walk around Vienna, you'll see tributes to Brahms and Liszt and Schubert and Beethoven, and then there's the Mozart house.
Everywhere you [C] go in Vienna, [Em] it's music, music, music.
[G] Out of this, in the late 1800s, 1828,
Bösendorfer arose, [Em] and
they created a piano that encapsulated the Viennese sound.
And of course, [G] like any manufacturer over the years,
they worked to hone it and perfect it and so forth.
The Bösendorfer is the [Em] longest continuously made piano in the world.
It's been [C] made continuously since 1828, [G] and there are some hallmarks about the piano which make it extremely unique.
_ _ [Em] One of the things that makes Bösendorfer unique among [G] pianos is the rim.
This is the rim.
This is the piece that that wraps around the piano.
And when a piano is played,
this [Em] is what happens.
A hammer strikes the string, [G] and the string is
vibrating and it travels over this piece called the bridge.
And the bridge takes all the energy and the vibration
to the soundboard, which is this wooden board underneath all of this.
And the vibration travels down the grain of the
soundboard, and it hits the rim.
Now, most pianos have a very hard rim, usually maple or something like that.
And the maple reflects the vibration into the piano.
Bösendorfer uses a spruce rim.
In fact, it's the spruce in the rim that's the exact same spruce that's in the soundboard.
So it's when that vibration hits the rim, instead of reflecting all that vibration into the soundboard, what it does is the vibration travels
around the rim, and the entire [Em] piano vibrates.
[C] Pianos [G] often struggle with sustain in the treble register,
but Bösendorfer does not, because the entire case vibrates together in concert [Em] with the soundboard.
_ _ [C] _ _ _ [G] This is a new series of pianos.
These began being made in
2014, and I think they [Em] began hitting the retail world in
2015.
[C] And between 2015 and say,
[G] 2019, the Vienna Concert Series was rolled out on all the various models.
But the 280BC [Em] is
the flagship.
It's the concert [G] grand.
And as I mentioned, it's a new design.
So Bösendorfer
began [Em] experimenting with different changes to the instrument, which resulted in an amazing,
[G] _ dynamic,
powerful, clear, beautiful instrument.
The soundboard is fit precisely into the rim.
It's not just set in there or glued in [Am] there like other [G] manufacturers.
It is fit so that it fits in place, and that creates a oneness with the rim
that is more so than it ever was.
And that promotes more clarity,
[F#] more dynamic range, more [Em] power, more expression.
So in a nutshell, that is what [G] has been brought to the new Vienna Concert Series Bösendorfer pianos.
_ On a side note, when I [Em] talk about the spruce in the rim and in the soundboard,
spruce [G] isn't just spruce.
It's really important that we're using old
_ wood, wood that is [Em] sometimes hundreds of years old.
And the spruce that is in a Bösendorfer piano comes from the [G] Austrian Alps.
It is some of the oldest
lumber available for harvesting pianos.
[Em] And the reason old wood is important is old wood
has more grain, right?
So if you cut [D] a tree and you look, [G] the older logs
have more growth rings.
And how that translates into a [Em] soundboard or into the rim is you have
[G] more grain when you look at it.
Now, vibration travels down the grain of an instrument.
So the more grain you have, the more [Em] highways for vibration you have.
And again, the more resonant the piano is.
_ [G] Sometimes people ask me how come they don't see Bösendorfer on all the stages.
And there's a really simple reason for that.
That they only make
275 pianos
worldwide.
So maybe 50 to 70 [G] come into the United States, for example, every single year.
So their interest is not in producing so many pianos that they can fill
institutional demand and be in every single symphony hall across the world.
They can't.
To [C] make the pianos the way that they do, to make the pianos with [G] the love and the care that they do,
they can't really crank them out.
So they're limited in the number that they can produce.
In fact, there are only about
52 [Em],000 Bösendorfer in existence since [G]
1828.
They've only made 52,000 pianos.
And you can compare that to other manufacturers who [Em] have made
600,000 plus or even tens or hundreds of thousands of pianos, just depending on which [G] manufacturer we're talking about.
_ Now you have heard me talk about
[Em] Bösendorfer and why it's so great and why it's gotten even better.
And yet it's [G] still all words.
So what I invite you to do is to come in to [Em] our showroom and play a Bösendorfer.
I think the proof will be in the pudding.
[G] Thanks so much for taking the time to listen. _
_ _ _ _ _ _ _ [N] _
My name is Ben Klinger, and I am here to introduce the Bösendorfer Model 280 VC,
which is the 9-foot, 2-inch [C] concert grand.
_ _ [G] When you walk around Vienna, you'll see tributes to Brahms and Liszt and Schubert and Beethoven, and then there's the Mozart house.
Everywhere you [C] go in Vienna, [Em] it's music, music, music.
[G] Out of this, in the late 1800s, 1828,
Bösendorfer arose, [Em] and
they created a piano that encapsulated the Viennese sound.
And of course, [G] like any manufacturer over the years,
they worked to hone it and perfect it and so forth.
The Bösendorfer is the [Em] longest continuously made piano in the world.
It's been [C] made continuously since 1828, [G] and there are some hallmarks about the piano which make it extremely unique.
_ _ [Em] One of the things that makes Bösendorfer unique among [G] pianos is the rim.
This is the rim.
This is the piece that that wraps around the piano.
And when a piano is played,
this [Em] is what happens.
A hammer strikes the string, [G] and the string is
vibrating and it travels over this piece called the bridge.
And the bridge takes all the energy and the vibration
to the soundboard, which is this wooden board underneath all of this.
And the vibration travels down the grain of the
soundboard, and it hits the rim.
Now, most pianos have a very hard rim, usually maple or something like that.
And the maple reflects the vibration into the piano.
Bösendorfer uses a spruce rim.
In fact, it's the spruce in the rim that's the exact same spruce that's in the soundboard.
So it's when that vibration hits the rim, instead of reflecting all that vibration into the soundboard, what it does is the vibration travels
around the rim, and the entire [Em] piano vibrates.
[C] Pianos [G] often struggle with sustain in the treble register,
but Bösendorfer does not, because the entire case vibrates together in concert [Em] with the soundboard.
_ _ [C] _ _ _ [G] This is a new series of pianos.
These began being made in
2014, and I think they [Em] began hitting the retail world in
2015.
[C] And between 2015 and say,
[G] 2019, the Vienna Concert Series was rolled out on all the various models.
But the 280BC [Em] is
the flagship.
It's the concert [G] grand.
And as I mentioned, it's a new design.
So Bösendorfer
began [Em] experimenting with different changes to the instrument, which resulted in an amazing,
[G] _ dynamic,
powerful, clear, beautiful instrument.
The soundboard is fit precisely into the rim.
It's not just set in there or glued in [Am] there like other [G] manufacturers.
It is fit so that it fits in place, and that creates a oneness with the rim
that is more so than it ever was.
And that promotes more clarity,
[F#] more dynamic range, more [Em] power, more expression.
So in a nutshell, that is what [G] has been brought to the new Vienna Concert Series Bösendorfer pianos.
_ On a side note, when I [Em] talk about the spruce in the rim and in the soundboard,
spruce [G] isn't just spruce.
It's really important that we're using old
_ wood, wood that is [Em] sometimes hundreds of years old.
And the spruce that is in a Bösendorfer piano comes from the [G] Austrian Alps.
It is some of the oldest
lumber available for harvesting pianos.
[Em] And the reason old wood is important is old wood
has more grain, right?
So if you cut [D] a tree and you look, [G] the older logs
have more growth rings.
And how that translates into a [Em] soundboard or into the rim is you have
[G] more grain when you look at it.
Now, vibration travels down the grain of an instrument.
So the more grain you have, the more [Em] highways for vibration you have.
And again, the more resonant the piano is.
_ [G] Sometimes people ask me how come they don't see Bösendorfer on all the stages.
And there's a really simple reason for that.
That they only make
275 pianos
worldwide.
So maybe 50 to 70 [G] come into the United States, for example, every single year.
So their interest is not in producing so many pianos that they can fill
institutional demand and be in every single symphony hall across the world.
They can't.
To [C] make the pianos the way that they do, to make the pianos with [G] the love and the care that they do,
they can't really crank them out.
So they're limited in the number that they can produce.
In fact, there are only about
52 [Em],000 Bösendorfer in existence since [G]
1828.
They've only made 52,000 pianos.
And you can compare that to other manufacturers who [Em] have made
600,000 plus or even tens or hundreds of thousands of pianos, just depending on which [G] manufacturer we're talking about.
_ Now you have heard me talk about
[Em] Bösendorfer and why it's so great and why it's gotten even better.
And yet it's [G] still all words.
So what I invite you to do is to come in to [Em] our showroom and play a Bösendorfer.
I think the proof will be in the pudding.
[G] Thanks so much for taking the time to listen. _
_ _ _ _ _ _ _ [N] _