The relationship between final hammer velocity and maximum amplitude of radiated piano sound was investigated. Piano tones with varying hammer velocities were produced by a computer-monitored acoustic piano containing optical sensors and solenoids, and the sounded tones were recorded and digitized for analysis. Maximum amplitudes over the duration of the sounded tones were linearly proportional to piano hammer velocities for a range of frequencies and hammer velocities. Changes in room acoustics did not alter the linear relationship. Measurements of maximum amplitudes of individual tones and combined tones (dyads) also indicated a linear relationship between the sum of the maximum amplitudes of the individual tones and the maximum amplitude of the dyads. These findings indicate that the principle of superposition holds for peak amplitudes of sounded piano tones. Findings are discussed with regard to production and perception of musical dynamics.