The Jankó keyboard is a musical keyboard layout for a pianodesigned by Paul von Jankó, a Hungarian pianist and engineer, in 1882. It was designed to overcome two limitations on the traditional piano keyboard: the large-scale geometry of the keys, and the fact that each scale has to be fingered differently. Instead of a single row, the Jankó keyboard has an array of keys consisting of two interleaved manuals with three touch-points for every key lever, making six rows of keys. Each vertical column of three keys is a semitoneaway from the neighboring ones, which are in the alternate rows. Thus within each row the interval from one note to the next is a whole step. This key layout results in each chord and scale having the same shape on the keyboard with the same fingerings regardless of key, so there is no change in geometry when transposing music. Furthermore, the use of multiple rows allows the pianist to more naturally follow the contour of their hand and accounts for the different lengths of the fingers. The configuration retains the colouring of traditional keyboards for pedagogical purposes. For an 88-note keyboard, there would be 264 keys in total, with each note playable by three keys in vertical alignment. In the picture above, the white keys have been coloured to show how the keys are interconnected. Instead of the keyboard is only wide, and the smaller key size allows reaching wider intervals. The Jankó Keyboard caused a stir at the time of its invention, in large part due to its unique look and the intelligent designbehind the keyboard. American piano manufacturer Decker Brothers put the keyboard into production around 1891, and the Paul de Janko Conservatory of Music was established in New York around the same time. There was even a manual written by W. Bradley Keeler called How to Play the New Keyboard. Despite all this, the Jankó keyboard never achieved wide popularity. Music educators were not convinced that the benefits of the new keyboard were enough to challenge the traditional keyboard. Few performers were prepared to relearn their repertoire on a new keyboard with entirely different fingering. Both reasons left keyboard instrument manufacturers afraid to invest in a redesigned keyboard which promised to have only marginal commercial success. Many embodiments of this keyboard have appeared since its conception. Jankó himself originally chose a key shape which resembled the slim, black keys on the familiar piano keyboard. A year later the keys became wider and shorter. Other inventors have filed patents for keyboards which are substantially similar to his design, differing most often in key shape or instrument to which those keyboards are affixed. The most recent patents are for MIDI compatible instruments.
