Features article index
This section has longer articles on various aspects of the piano and synth, including playing technique, improvisation, composition, theory, practice, and preparing for performances.
10 books to help your child learn to play piano and keyboard
June 27, 2009
Here are my recommendations for books that will help your child learn how to play the piano and keyboard, including identifying and playing notes and reading sheet music, plus some simple collections of children’s songs that you or your child can learn to play.
1. Usborne’s First Book of the Piano (with CD)
Featuring cute cartoons, large easy to use pages and diagrams, and plenty of well-known pieces of music to learn with, the Usborne First Book of the Piano is a great introduction to the piano for youngsters.
Buy The First Book of the Piano with CD
2. Usborne’s First Book of the Keyboard
Has similarities to the “First Book of the Piano” but is great if you’ve just bought a child’s first electronic keyboard because it also covers the basic features found on most music keyboards.
Buy First Book of the Keyboard
3. The Fantastic Big Book of Childrens Songs
A huge collection (67) of songs including some modern favourites: The Addams Family Theme, Blue’s Clues Theme, Bob the Builder, Linus and Lucy, SpongeBob SquarePants theme song, Thomas the Tank Engine and Welcome to the Blue House.
Buy The Fantastic Big Book of Childrens Songs
4. Really Big Book of Children’s Songs
Another “big book” from the same publisher as above.
Buy the Really Big Book of Children’s Songs
5. Very Easy Piano Tunes
A lovely book in the same style as Usborne’s First Book of the Piano, featuring a lot of easy to play traditional songs including Merrily We Roll Along, The Grand Old Duke of York, London Bridge is Falling Down, Home on the Range, Lavender’s Blue, Scarborough Fair and Auld Lang Syne.
6. Disney’s My First Songbook for Easy Piano: 1
The first in a series of books that will help you to play Disney favourites, including Cruella De Vil, A Whole New World, The Bear Necessities, Under the Sea, Beauty and the Beast and more.
Very simple arrangements and delightfully presented.
Buy Disney’s My First Song Book for Piano
7. The Big Book of Nursery Rhymes & Children’s Songs: 169 Classic Songs Arranged for Piano, Voice and Guitar
Also useful for those wanting to play the guitar, this is a huge collection of more traditional songs for you and your child to play and sing together.
Buy The Big Book of Nursery Rhymes & Children’s Songs
8. Kid Songs: Easy Play for All Keyboards
Book can be used with piano and keyboard instruments and comes complete with coloured stickers for labelling the notes. It’s also well illustrated.
Buy Kid Songs: Easy Play for All Keyboards
9. Progressive Electronic Keyboard for Young Beginners: Book 1 / CD Pack
The first in another series of electronic keyboard learning books. This one comes with an audio CD and features graded lessons using 20 well-known children’s songs as examples.
Buy Progressive Electronic Keyboard for Young Beginners: Book 1
10. The Music People
Quite an old book (1980) and one that I grew up with. Cute cartoon notes and rests explain basic musical theory and example using the piano among other instruments.
31 Brilliant Piano Photographs
June 24, 2009
Here are thirty-one really cool photos of upright and grand pianos, their innards and their surroundings, arty and close-ups.
Click on any of the photos to go to the original Flickr photostream and to view them in larger sizes — many benefit from being seen in much greater detail, particularly those of the insides of pianos.
Enjoy.
1. Grand Piano by Spojení
I love the perspective and colours on this grand piano. Spojení describes it as a “lousy picture” but I really like it.
2. Grand Piano by Kentfield
Yes, really is made out of LEGO. Ironic that this Grand Piano is in fact a tiny model.
3. Grand Piano by crabchick
Another grand piano’s inside here, again with lovely colouring. I love the patterns formed by the strings and how plush everything looks.
4. Grand Piano by unforth
A lovely ornate 19th grand piano, so decorative.
5. Miro Grand Piano by codepo8
Just love the colours and sense of fun of this Schimmel grand piano. Definitely one for the kids… of all ages.
6. Grand Piano by pajp
OK, it’s a really blurry and grainy shot but I still see something artistic in this piano.
7. Under the Hood by warrenski
Yes, another grand piano’s innards. More subtle colours to the previous photos.
8. The Piano by Arjun01
The interior of a baby grand piano, in black and white. Definitely click through to the full size image as the lines of the hammers and strings is pretty special.
9. Ivories by Jono Rotten
Photo of a weathered piano, dirtied keys, fading and bronzing of the ebony.
10. The Piano’s Been Drinking by Hryck.
A close up of damaged keys, this piano’s not in a happy state at all but it’s definitely artistic even if it would be uncomfortable to play.
11. Torley on Piano - awesomelicious art by Wynter Bracken
Just love the colouring on this art composition.
12. Piano Tombstone by NatalieMaynor
Definitely an original gravestone, this.
13. Piano Keys by mararie
These types of shots are very common, but I love the light falling on these keys and the texturing that comes out from them.
14. Piano by MaltaGirl
Lovely black and white shot of an upright piano.
15. Fats Domino’s Piano, Post Katrina by delgaudm
“In the Cabildo in Jackson SQuare, there is a small room with artifacts that will be included in a Katrina Exhibit. One of the items on display is Fats Domino’s piano. This was a practice piano of his, and is pictured on one of his album covers.”
16. Piano Keys by Gog Llundain
Another close-up of piano keys — F, F# and G — with texturing.
17. Dirty Piano Keys by eflon
Shouldn’t let a piano get into this state, but it’s a great shot nonetheless.
18. Piano Strings by easement
More lovely colours and geometry.
19. Chickering piano by ktylerconk
Close-up of the logo of this Chickering piano.
20. Hammer of Piano by Hoder Slanger
Close-up of a piano hammer mechanism.
21. 2 Remaining Pianos by Luiza
Graffiti on these pianos which have been placed outside. Very interesting shot.
22. Moo Piano by Frostey
Definitely decorated as a cow, this upright piano in the meeting house of Friends Camp, South China, Maine.
23. Piano by t.spang
Another piano in house surroundings, with great reflections coming from the polished body and lovely shadow effects.
24. Piano Keys by isaac bowen
A really clean shot of this keys close-up.
25. 2.16.09: ivory by Team Dalog
I really love the colouring, out of focus photo. “A set of keys that haven’t been tickled in a while, I must say. You can see middle C is a little lower than the rest of ‘em, and the reason for this is that it gets stuck all the damn time.”
26. My Love Affair With the Piano by cristina.m
Piano keys trailing into the distance. Lovely perspective and colouring here. The structure of the foreground keys is great.
27. Abandoned by eflon
This is probably the piano that yielded its dirty piano keys. Definitely abandoned. Great shot though.
28. A better class of busker? (mono) by Mrs Logic
This amazing photo definitely needs a closer look. Wonderful composition, bizarre setting.
29. Hammers and Brass by chelseagirl
Another really cool piano innards shot, golds and oranges.
30. The Pink Octave by active metabolite
Just love how this photo has been composed. Great colour.
31. Chords by sanbeiji
Superb close up of the piano strings.
How to label and write notes on the piano keyboard: a basic guide
May 19, 2009
Introduction
I created this “How to label notes on the piano keyboard” article based on a reader’s question.
Karen writes:
My 10 year old daughter has a 54 key keyboard and is teaching herself to play it. She is already mastering the songs from Mary Poppins along with some current chart music using her own ear.
My problem is that she wants me to be able to label the keys for her with the letters and numbers, but I know nothing about this and from what I have found on the internet it just confuses me further. I have spent a long time reading stuff on the notes and octaves but got no further.
This guide will hopefully make it easy to create a system that not only works now but can be used as a stepping stone to reading and writing standard musical notation.
Basic Keyboard Layout
Before embarking on labelling the notes of the keyboard, it’s important to understand how the keyboard is laid out — its structure.
If you look at any keyboard you will see that it is made up of a repeating series of 12 keys. How many times that series repeats depends on how many keys the keyboard has overall.
Here’s one section of a keyboard, starting with the white key immediately to the left of the pair of black keys, and finishing with the white key immediately to the right of the group of three black keys.
This set of 11 keys - seven white notes and five black notes - repeats across the whole keyboard. The pattern may well be cut off at the left and right ends of the keyboard, but this is the pattern of keys you’ll see repeated on any keyboard instrument.
Basic Labelling Techniques
The highlighted key in the diagram above is often called C (as in the third letter of the alphabet). It’s also known as “do” (from the do-re-mi scale that you’ve no doubt heard of from The Sound of Music).
The next white note to the right is labelled D (or “re”) followed by E (”mi”), F (”fa”), G (”sol”), A (”la”) and B (”ti”), before returning to C (”do”).
Only seven letters or sounds are used to describe the white notes on a keyboard, and they form a run of notes known as a scale.
The black notes are labelled in relation to the white notes they sit in between.
Each black key immediately to the right of a white note are said to be “sharp” and each black key immediately to the left of a white note are said to be “flat”.
You can probably see that, when using letters of the alphabet to name the notes, each black note can have two names.
To the immediate right of C is C sharp (C#), though it is also known as D flat (Db) because it’s also to the immediate left of D.
The complete run of notes in the diagram above — both black and white notes — is:
C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab - A - A#/Bb - B
Twelve distinct notes.
If using the “do-re-mi” scale then each black note only has one name. The complete run of notes is:
do - di - re - ri - mi - fa - fi - sol - si - la - li - ti
But if this set of eleven notes repeats across the keyboard, how can you tell one “C” from another “C”, or an “A” from another “A”, or an “F#” from another “F#”?
This is where I’m going to recommend working only with the alphabetic names of notes. I personally find it easier, and shorter, to write down notes this way.
Firstly, it’s important to find out where “Middle C” is. On a full-sized piano, that’s generally the “C” closest to the middle of the instrument, but on a smaller keyboard with less notes, that might not be the case.
To help you find it, play all the “C” notes on your keyboard until you find the one that sounds the closest to the following note:
Middle C [MIDI file. Most modern PCs should play this automatically when you click on it]
It’s worth starting to learn what that particular C - Middle C - sounds like so that you can find it easily on any other keyboard or piano you might want to play.
We’re now going to introduce some numbers so that it’s possible to identify all the different notes on the keyboard.
“Middle C” will be known as “C4″. Why C4? Well, on a large piano it’s likely to be the fourth “C” counting up from the left hand side of the keyboard.
This is a fairly standard naming convention. It doesn’t matter if you don’t have that many notes on your keyboard.
This means that the first C to the left of “Middle C” will be “C3″, and the one to the left of that is “C2″, and the one to the left of that is “C1″. And so on (you’ll probably have run out of notes by now).
And, unsurprisingly, the first C to the right of “Middle C” will be “C5″, followed by “C6″, then “C7″.
Finally, all the other notes slot into place just as before, but with the correct number after them. Always ensure you have a complete run from A through to G using the same number before starting with a new number.
What about the black notes? Well, for now you can either call them “sharp” or “flat”, or if you really want to you can label them as both.
Here’s a fully labelled diagram that you can use to help you label your keyboard. Click on it to see the full sized version.
Practically, it’s probably worth using lightly coloured sticky labels that you can write the name of each note on and then stick either directly on each key, or above it on the casing of the instrument.
Writing Down Notes
Now that you’ve labelled the keyboard, how do you go about writing down the notes that you’ve played so that you can go back in the future and play them again?
It could be as simple as writing down the letter and number combination for every note that you play, but this doesn’t take into account the length of each note, or if there are any gaps/pauses in the music (often known as “rests”).
If you play mainly “by ear” and are writing the notes down mainly to jog your memory, this might not matter.
The first two lines of “Twinkle Twinkle Little Star” might simply look like this:
C4 C4 G4 G4 A5 A5 G4 F4 F4 E4 E4 D4 D4 C4
And if you know the tune well, you’ll automatically play each note with the correct length.
If you are interested in recording the length of each note, you could put the names of each note into a grid. To do this, you’ll need to count each “beat” in the music. The beat is a steady rhythm.
For “Twinkle Twinkle Little Star” it’s easiest to count in groups of four. Here’s how the first two lines would look.
| 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 |
| C4 | C4 | G4 | G4 | A5 | A5 | G4 | — | F4 | F4 | E4 | E4 | D4 | D4 | C4 | — |
You’ll see that I’ve used a dash where a note needs to be held on for more than one beat.
If there are any sections of music where nothing should be played, you could simply write an “X” or a “/” to indicate that nothing should be played (not even a held on note).
You might find in more complicated music that sometimes there’s more than one note in a beat. Then you’ll have to squeeze more notes into each space on the grid.
For example, here’s the first two lines of “Castle on a Cloud” from Les Miserables:
| 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 | 1 | 2 | 3 | 4 |
| A4 | B4 C4 | B4 | A4 | A4 | G#3 | A4 | — | A4 | B4 C4 | B4 | A4 | G3 | F3 | E3 | — |
Do you get the idea?
That’s just one method for writing down music in a fairly simple way.
It would start to get more complicated if you wanted to write down music where more than one note is played at the same time.
You could create a taller grid and write down groups of notes, but you’d have to remember which fingers on each hand you’d used to play them.
If you want to read other people’s music, you’ll probably find that it’s been written using standard modern musical symbols. It’s also very useful for writing down more complicated music.
That’s a bit much to handle in this article, though we’ll come back to it in future articles.
For now, if you’re feeling brave, you can read this Wikipedia article on modern musical symbols.
I hope this guide helped you. If you have any questions do feel free to leave a comment below and I’ll help you out as much as I can.
Yamaha P155 digital piano: Complete specifications and gallery
April 25, 2009
If you want the lowdown on Yamaha’s new portable digital piano, the P155, then look no further. Here are complete specifications, pictures, and comparison with Yamaha’s earlier P series instruments.
Overview
- The Yamaha P155 features samples taken directly from the CFIIIS 9-foot grand piano
- Uses Yamaha’s Pure CF sampling technology with minimal audio post-processing
- Dynamic Stereo Sampling (DSS) technology features 4-level piano sample
- Key off and open strings samples
- Graded Hammer technology - lower keys are heavier
- 128 note polyphony
- 12W x 2 speakers
Detailed Specifications
| P155 Specifications | |
| Keyboard | 88 keys, Graded Hammer (GH) |
| Tone Generation | 4-level AWM Dynamic Stereo Sampling |
| Pure CF Sampling | YES |
| Key-Off Sampling/Stereo Sustain Sampling | YES |
| Damper Resonance | YES |
| Polyphony (Max.) | 128 |
| Voices | 17 |
| Reverb | 4 types |
| Brilliance | 3 types |
| Effect | 4 types |
| Dual | YES |
| Split | YES |
| Metronome | YES |
| Tuning/Transpose | YES |
| Scale Tuning Types | 7 types |
| Song Recording | 2-track recording/playback, 3 User Song |
| Preset Songs | 7 Demo Songs, 50 Piano Preset Songs |
| Jacks & Connectors | |
| MIDI | IN/OUT |
| Headphones | 2 (stereo 1/4″ jack) |
| Pedals | Sustain Pedal, AUX Pedal |
| AUX OUT (Variable) | L/L+R, R (1/4″ jack) |
| USB TO DEVICE | YES (song data storage) |
| Amplifiers | 12W x 2 |
| Speakers | (12 x 6) cm x 2 |
| Dimensions (W x D x H) | 52-1/2″ x 16-13/16″ x 5-1/2″ |
| Weight | 18.6 kg (41 lbs.) |
| Colors | P-155: Black with Mahogany top-board P-155B: Black with Ebony top-board P-155S: Silver with Cherry top-board |
Pictures
Comparison
- Step up in (doubling) polyphony from P140 / P120
- Return to P120’s variable output level 1/4″ audio jacks
- USB output options
- More scale tunings available
- More advanced sampling
Buy Yamaha Digital Pianos
Ten toy pianos you and your child will love!
February 17, 2009
Not got the space or budget for your budding Rachmaninov to play a full-size piano? Or do you want something smaller and more colourful for little Chopin to test before investing in a larger, more expensive keyboard?
Take a look at Piano and Synth Magazine’s guide to the current range of toy and realistic miniature pianos. There’s sure to be one that your musical child will love.
1. My First Piano Red II
A 25-key (two octave) tabletop toy piano that’s ideal for toddlers aged six months to two years.
It comes with a songbook containing a collection of familiar tunes which along with Schoenhut’s patented Learning System (based on colour) which has been specially designed to build a child’s confidence and develop basic playing skills.
The keys are the same width as a real piano, so children learn about stretching even while their hands are growing.
Chromatically tuned, the lovely chime-like notes are produced by little hammers striking precision-ground, German steel music rods.
My First Piano Red II - £69.99 from Amazon
2. New Classic Toys 0157 Piano Black
An octave-and-a-half (18 keys) black wooden piano and is stated as suitable for ages 3+. It has full width keys.
New Classic Toys 0157 Piano Black - £39.95 from Amazon
Also available in pink
3. Melissa & Doug Learn-to-Play Piano
A highly colourful two octave piano which includes tambourine, cymbals, maracas, clacker, tone blocks and a triangle. It won’t produce a huge sound but the 25 hand-tuned keys provide a great start.
Melissa & Doug Learn-to-Play Piano - £61.29 from Amazon
4. Bontempi Grand Piano
A very cheap and colourful introduction to keyboards, this 20-note keyboard is shaped like a grand piano and features detachable legs. It’s suitable for ages 3+.
Bontempi Grand Piano - £7.81 from Amazon
Also available as a 27-note version for £14.66
5. Baby Grand Piano Keyskills Age 2-6
Featuring 30 keys, this wooden baby grand toy piano features realistic plastic keys and a chime-like tone made from small hammers striking steel rods. No tuning required.
Baby Grand Piano Keyskills Age 2-6 - £135 from Amazon
6. Schoenhut Elite Fancy Baby Grand
This fancy high-gloss baby grand piano comes with a matching bench and features 30 full-size keys. It comes with a book and the Schoenhut patented learning system.
Elite Fancy Baby Grand - £139.99 from Amazon
Also available in red
7. Melissa & Doug Grand Piano
A more realistic-looking mini grand piano from Melissa & Doug, still featuring tambourine, cymbals, maracas, clacker, tone blocks and a triangle. Has 30 keys.
Melissa & Doug Grand Piano at Amazon
8. Mood Works traditionally crafted wooden music piano
A 25-key brightly-coloured wooden piano suited for children aged 3+.
Traditionally Crafted Wooden Music Piano With 25 Keys - £39.99 from Amazon
9. Early Learning Centre Grand Piano
A mini electronic baby grand piano with three octave keyboard, a microphone, eight instrument sounds and lots of rhythms and other features, as well as the ability to record and play back audio.
Requires two AA batteries.
£45 from Early Learning Centre
10. Schoenhut 44-Key Baby Grand Piano
For those with a serious amount of money to spend, look no further than the Schoenhut 44-Key Baby Grand Piano. These 44-key, stringed pianos feature perfect pitch and true piano sound.
With a keyboard half the size of that on an adult piano, this 44-key piano’s four and a half octave span allows plenty of room for playing with both hands. Working pedals are easy for children to reach. Schoenhut, leader and innovator in the toy piano and musical toy industry, recognized the need for a mid-sized piano to ease the transition from a toy to a full-sized version. These beautifully crafted stringed instruments were created after months of in-depth collaboration on the design with a reputable, century-old piano manufacturing firm.
Schoenhut 44-Key Baby Grand Piano - £1,795 from Amazon
Also available is the Schoenhut Black 44-key Upright Piano for £1,399.99
Christmas carol concert: ten tips for preparing pianists
October 24, 2008
So, you’ve been asked to accompany the carol singing at your local school, church, social club, in the community, or even on the streets?
Here are ten tips to ensure you’re prepared and confident for the big day.
1. Be prepared
Most people like to know well in advance exactly what’s expected of them, so find out as soon as you can what you’re being asked to do, what format the carol concert will take, what rehearsals are planned, and how the whole thing will run.
Your stress levels will be lower if you have enough time to prepare for the event.
2. Know your skill and commitment levels
Be honest about your level of proficiency. Presumably, you’ve been asked because someone thinks you’re good enough to play, but don’t be afraid to keep things simple if you’re not confident playing more complicated pieces / arrangements, or if you don’t have a lot of preparation time.
If you’re provided with sheet music, and you know it’s too complicated, ask if there are simpler arrangements available.
Conversely, if you’re provided with chord sheets and lyrics, but you work better from manuscript, ask if you can have that instead.
3. Become friends with the organiser
You need to develop a good working relationship with the organiser of the event so that you can discuss how the event will run, flag any problems, and be kept “in the loop” if there are any new developments.
Particularly for more formal services, such as in a high church where there may be readings, liturgy, etc., the service organiser should be able to offer strong leadership so you’re not worried about when and how you should be performing.
4. Playing, singing, leading?
Are you going to accompany a choir or congregation by simply playing piano/keyboard, or are you expected to sing and play at the same time?
Are you “leading” others through your singing and playing, or is someone else directing from the front, or simply leaving it to the group’s knowledge of the music to carry it through?
Don’t be afraid to say if you’re not comfortable / able to play and sing at the same time. You may be able to work with a vocalist who can lead the rest of the group, leaving you to concentrate on playing the right notes.
5. Solo or group?
Are you going to be playing on your own, or with other instrumentalists? This will affect how and when you practice, what arrangements you use, and may require some diplomacy and group-building skills.
If you’re asked to play in a group and are prepared to either lead, or participate in that, be ready to work at honing musical arrangements and performance, dealing with possible creative conflicts, helping less confident musicians, and ensuring everyone knows what they’re doing on the day.
From my experience, many guitarists find all but the simplest carols (and hymns, too) quite difficult to play and make sound good, not because they’re poor musicians, but because many were composed on and for keyboard instruments. Don’t be surprised if guitarists wish to take more of a back seat when it comes to providing volume/body to carols. Solo instruments (cellos, violins, bass guitar) are often easier to work in, and can sound very good.
6. Singing from the same song sheet
Find out from the organiser exactly which carols are to be sung, obtain all the words, and ensure the same tune is being used (some carols have more than one version, particularly British and American variations).
If you have sourced your own music and/or words, ensure that it fits with what’s printed on the programme/hymnbook. Find out if certain verses are to be missed out, or repeated.
7. Practice! Practice! Practice!
If playing/singing solo, find enough time so you’re confident to accompany/lead the singers.
If working with other musicians, schedule in at least two rehearsals, or as many as required so everyone is confident, plus your own solo practices.
Find out whether you will be able to practice in the venue before the event  this can help to familiarise yourself with how you and/or a group of musicians will sound, particularly if you’ve never played there before.
8. Practicalities
Find out whether you will need to provide your own keyboard/digital piano, or whether an acoustic/digital piano will be provided for you.
If playing and singing outside, ensure there’s protection from the elements for you and your equipment, and a safe way to provide electricity for any amplification.
Ensure you’re able to get yourself and any equipment to the venue in plenty of time to set up, particularly if you’re working with a group, and if you will be using a PA system.
If using PA, find out who is setting it up and ask if there will be time to “sound check” everything, even if briefly.
Ensure that you can hear yourself playing and singing in the venue. See if the volume levels of any audio monitors (speakers) can be set at a slightly higher volume than is necessary, when practising, particularly when a large number of choir/congregation is expected  their singing will drown out or soak up your own sound and you may find it hard to hear what you’re playing.
Ensure you have enough light to be able to read the music/words comfortably.
9. Confidence
Be confident! You’ve been asked to do this, so someone believes in you.
Now you’ve accepted, trust in your abilities. If you’re nervous, don’t over-stretch yourself  play within your comfort zone.
With the right amount of preparation and practice, there’s no reason why the carol concert won’t be a great success.
10. Learn and Grow
After the event (maybe not right away) assess how you thought it went as a musician.
Did everything work as it should have? Were you happy with how you performed? What went well? What could have been better?
Make some notes so that, if you do another event, you’ll be even better prepared.
Have fun!
What tips would you add? Share in the comments below.
Playing piano or keyboard without a sustain pedal
February 7, 2008
Have you ever been stuck in a situation where the piano, keyboard, or synth you’ve been playing either has no sustain pedal, or the one that is attached works intermittently, or not at all?
I have, a number of times, and let me tell you it’s not much fun at the time.
Without wanting to sound condescending (apologies if I do), if you’re just starting out on the piano or keyboard, or you’re primarily involved with sequencing or computer-based composition, then you may not realise just how vital the sustain pedal is to many pianists and keyboard players.
When it’s missing, it’s very obvious  at least, to you, if not to your audience.
Here are some ideas for how to get around the problem of a missing or malfunctioning sustain pedal. Feel free to add your own hints and tips in the comments section below.
My First Keyboard: Buying a child’s first electronic keyboard instrument
December 9, 2007
I believe that the buyers’ guide I wrote a couple of years ago still stands as a good introduction to buying a keyboard instrument
However, in this feature I want to look specifically at buying a child their first “serious” electronic keyboard.
My Story
Every child is different, but let me tell you a little of my musical upbringing as it will give you a better idea of where I’m coming from, and hopefully give you some ideas on the way forward for your child / potential musical genius. 
I was lucky enough to grow up in a home with an acoustic upright piano, which I started playing and picking out tunes on from a very young age (say 3 or 4). I think from this my parents realised that I had musical aptitude/talent, and I began taking classical-based piano lessons from around age 5.
I enjoyed this, and was incredibly blessed to have access to the piano (it’s probably why I love the acoustic piano, or as near as I can get to it, to this day). However, from the age of about 12, after seeing someone on stage playing some amazing synth lines and creating sound textures, I wanted to get into electronic music.
My parents agreed, and bought a fairly entry-level keyboard. However, it was enough to get me started in trying out new sounds, rhythms, and even doing some basic sequencing work on my computer.
The point to this is that, whether or not your child shows some interest and aptitude for music, and in particular a keyboard, it’s worth starting with a basic set up and building on that, rather than splashing out on an all-singing, all-dancing keyboard, digital piano, or even an acoustic piano, only for it to be a costly mistake.
Don’t force them - see the interest
I fell in love with keyboard instruments because that’s what was around, but I wasn’t forced to play.
Fashions come and go. Guitars are cool, and many kids want to play them. Don’t force them to play one type of instrument they’re really not interested in. Having said that, if they show interest in a piano (I’ve seen a great many children who love to try to play things on the keyboard, and it’s (arguably) an easier instrument to begin learning/experimenting on than the guitar, especially for small fingers) then go for it.
Make it fun
Though you may pay a bit extra, or sacrifice a bit of sound quality, by getting a keyboard with plenty of functions on, it will make it fun for your child to play, experiment, and learn about music.
If they really get a taste for playing seriously, and when they’re a bit older, they’ll probably find out what kind of things they want their keyboard to do. In fact, if they’re anything like me, they’ll be down at the local music shop every Saturday eyeing up the next model, getting the specifications and the price, and working out how to introduce the concept of a new keyboard to you.
In reality, even today’s relatively inexpensive keyboards do absolutely amazing things, and sound fantastic.
“A keyboard is not just for Christmas” buyer’s guide
December 3, 2007
I just wanted to let you know that a couple of years ago I wrote a five-part series called “A keyboard is not just for Christmas”, a buyer’s guide to pianos and keyboards.
Many of the principles still hold true, so I’d encourage you to take a look if you’re out shopping for a keyboard in the next couple of weeks:
- A keyboard is not just for Christmas: A Buyers Guide (Intro)
- A keyboard is not just for Christmas: Part One: Type
- A keyboard is not just for Christmas: Part Two: Budget
- A keyboard is not just for Christmas: Part Three: Features
- A keyboard is not just for Christmas: Part Four: Extras
- A keyboard is not just for Christmas: Part Five: Manufacturers
Rant: How hypocrisy and shallow mindedness is destroying positive web culture (and music)
October 15, 2007
I rarely rant on Piano & Synth, but a couple of articles have really riled me, and since they mention music (possibly in an attempt to gain a bit of popularity as I can’t see much specific reference to music) I felt compelled to mention it here.
The first “article” which made me mad was about Reason 4 shipping. Reason is a fine piece of software, so I am irritated (as I am sure the developers are  probably an understatement) when I read statements like “It is noted that some people still wish it had VSTs and Linux support, and of course audio recording.” after “Propellerhead Reason 4 Now Shipping (and available on bittorrent sites with a serial keygen).”
People, there’s usually a reason (ahem) why requested features don’t make it into a product, and illegal software downloads is one very big reason. Propellerhead Software are NOT Microsoft, and they don’t have the margins to absorb the impact of the illegal used of their software.
That wasn’t even the rant.
This is…
In an artlcle entitled Avoid the Destruction of Positive Web Culture (and your music) we’re “treated” to a tirade of abuse against a number of web sites and “corrupt people using the net starting as recently as 3-4 years ago”.
Apparently, the social bookmarking site DIGG has articles which are always “posted to make you fear or hate something even if its benign”. Apparently, Slashdot is a better alternative. The writer has obviously never read the tons of vitriolic abuse that the owners of websites featured on Slashdot have to put up with, or indeed the in-fighting in the comments section.
Google is apparently “barf inducing”, though I doubt the writer minds getting listed in the search engine.
Weblogs Inc is apparently “shit”, and apparently only focused on technology, even though when I looked at their home page I found a number of non-tech sites…
And so on.
All this “positivity” (ha ha ha) is supposed to encourage you to “Make music you really care about please. Don’t fall into the cultural contamination in the same way. Companies will come at you with corrupt tactics, marketing, and hype. They will make shitty electronics & software for you to buy. Information affects your brain forever. Pretty soon you could be thinking like them and make shitty music about it. To avoid all the BS in the world you just have to make your own path and don’t look back. Just express yourself, and don’t get hooked onto someone else’s crap.
Take your culture back and start making positive music again!!”
Yes, that indeed is the only part of the article supposedly about music. I wasn’t aware that I had begun to make negative music, though after reading that tirade I think I might just have to.
After all that, the author’s idea of “positive web culture” includes The Pirate Bay. Yes, folks, apparently it’s just A OK to go grabbing whatever content you like, for free, without caring one iota for the content owners. Woo. Yeah, that’s so positive, man.
Having ranted about all of that, I’ve noticed that a lot of the content of “The Chip Collection” is bordering on being a splog, lifted verbatim from other sites. Hypocritical? Yep.
Apologies that this article wasn’t really about music, but that really irritated me.