Break Away II

There are a huge choice of keyboards and digital pianos available today -and quite often that choice can seem really overwhelming. So which one is right for you? Which one will best suit your needs? Even a quick online search will give you more options than it is possible to get through in a week -so before you go out and buy your keyboard, there are a few tips that you need to consider.

1)  Affordability. No matter how conservative your budget, it really shouldn’t be too difficult to find one that will fit. Set yourself a top level that you would pay and don’t go over that. Because the selection is so large, take the time to look around and get the best deal you can.

2)   Weighted action versus synth action. Weighted action simply means that the keys are heavier and therefore behave more like an acoustic piano. Synth action simply means that the keys are a little lighter.  Just a couple of the more technical terms you may come into contact with when buying your keyboard. The weight of the keys transmits to the style of play that you are buying the keyboard for: weighted action is great for the trained pianist or someone who is looking to develop their piano skills; synth action is more suited to those who play a more synthy or techno style, as the keys can be played a lot faster.

3) The number of keys. It can certainly seem that the choices you have when it comes to the number of keys can be almost as far-ranging as the choice of keyboards in the first place! The range goes from as little as 20 right up to 88. The choice is yours: if you are looking to use your keyboard for things like samples, then only a small range is needed and you only need a few keys. For the more experimental, for instance if you are looking to play around with sound development, then you want as many keys as possible.

4) Is an onboard sequencer worth it? This comes down to a very simple factor: If you’re working with a computer, then it probably won’t be necessary. If you’re working without a computer, then yes.

5) Do I need a workstation? If you are already using a computer which handles all of that, paying extra for a workstation may not be the most economical vantage point. This should be weighed against the fact that the workstation is, however, an incredible tool to use. The workstation on your keyboard will perform a myriad of functions, from sequencing to effects.

6) Velocity and aftertouch features. The velocity feature relates to how the sound is produced relative to the amount of pressure given to the keys, for example how quickly they are pressed. The aftertouch feature deals more with the sound that is produced after the keys have been pressed, like when they are resting on the keybed. Whatever use you have in mind for your keyboard, then velocity and aftertouch is something you should definitely be looking for.

7) Maneuverability. If you are purchasing a keyboard in order to take it to gigs, then are another large number of factors that you should consider. Think carefully about getting a hard case for protection, and when you are choosing think carefully about how easy it is to carry -do you really want to be lugging a large heavy object from one gig to another?

When you take the time to find the best keyboard, one that will suit your needs and your goals, then you are much more likely to develop the long-term relationship with your instrument. Think about what is available online -this is often the best way to buy a new keyboard -with the added advantage that they will deliver straight to your door!

Copyright 2009 Lauren Paltrow (Stage Pianist)

The human ear can identify literally thousands of different sounds – your ear is a marvellous organ. The majority of the workings of the human ear are muscle, and, just like any other muscle in the human body, it can be trained to work even more efficiently.

For some people, playing the piano by ear comes quite naturally – they know as soon as they hear a particular series of notes or chords how that combination was played and where the persons hands were on the keyboard. By hearing the same piece of music over and over again you will find it much easier to recognise. Think of it like training a dog – the more you shout a command at the dog, the more it gets used to hearing it and what the necessary response is.

A good example of this ear training is the major third. If you were able to find a very patient friend who didn’t mind sitting at your piano for two days straight and playing nothing but major thirds (for example C and E or F and A), the next time you hear a car horn you would immediately recognise the sound! This is because the vast majority of car horns are “factory-tuned” to a major third.

If you can identify a train whistle as producing a tritone portamento descending, then do you see how easy it would be to learn to play the piano by ear? It can be done, and it can be done relatively easily. Train whistles, car horns, even tannoy announcements! Once your ear is actually trained to identify these certain sounds, you’ll be amazed at how much you recognise them as they occur everyday life all around you.

The initial step is really to find someone who doesn’t mind playing the sounds for you on your piano. Sometimes this can be hard to find, as even the most patient and loyal friend is likely to get a bit fed up  with playing the same sound over and over while you sit and listen! The best solution to this that we have found is get hold of a tape recorder, and record the music. If you can find a recorder with a numerical counter on it, all the better, as you are then able to rewind to any specific spot you like.

You might also want to think about chord progressions as well – they can be a bit more fun than the melodic intervals, and tend to keep you a little more engaged. Most piano teachers, when teaching, prefer to begin with melodic intervals such as skips of a major third or a perfect sixth, so this is a reasonable place for you to start also.

In no uncertain terms, learning to play the piano could not be simpler! The art of training your ear to recognize specific sounds and thus transferring them onto the piano is very much a time-honored tradition, and there is absolutely no reason why you can’t do it yourself.

Copyright 2008 Lauren Paltrow