A guitarist plays notes either by playing one of the six open strings on the guitar, or by pressing down one of the six strings at a certain point (fret) on the neck of the guitar. A pianist

presses (strikes) the piano’s keys in different places on the keyboard to create notes. Both musicians can play a wide variety of notes including all naturals, sharps, and flats. Thinking of the

difference in octaves, a piano has 88 keys (notes) in over eight octaves, where a typical guitar (and its six strings) is capable of four and-a-half octaves.
The strings of the guitar are tuned to E, A, D, G, B, E, low to high, and have corresponding notes on the piano. Middle C (the note C) on the piano is the same as the 5th string, third fret on the

guitar. Thus the guitarist’s lowest note, E, corresponds to the E below middle C on the piano. Some say notes to be played can be easier seen on the piano, while others claim finding the same notes

on guitar as being the easier task.
You may ask the question, can a guitarist play music written for the piano? Or can a pianist play music written for the guitar? The answer is yes with the following caveats. It can be quite a

challenge for a guitarist to play music written for the piano. Whereas a piano player can play 10 notes simultaneously (ten fingers), a guitarist can play only six notes at the same time (strumming

the six strings of the guitar). However, an experienced guitarist can “arrange” piano music into a recognizable form that can be played on guitar. 
To further define the differences between piano and guitar, it might be helpful to think of the bottom three strings of the guitar (the lowest sounding, or bass strings) as corresponding to what

the left hand plays on the piano, and the top three strings of the guitar (the three thinnest strings) as what the right hand plays. This is a very general statement (and is not proven in fact or

practice) but helps separate and define the two instruments. The root of a chord on guitar is usually played on one of the bottom three strings with the remaining strings used to complete the

chord. And as a general rule, the left hand of the piano is used to play the root of a chord with the remaining fingers (in both the left and right hand) used to complete the chord.
A guitar and piano can easily play in unison, showing that all the strings of the guitar have corresponding strings on the piano. Both are capable of complex and full-sounding music on their own

and also can be played to beautifully compliment each other.
A final difference is that single notes on the piano are created by the hammer in the piano action striking two or three strings (depending on where the notes are played on the keyboard), while the

same note on a guitar is generated by one string only. (Please note these are generalities to view the overall picture of the relationship between the two instruments and not hard-and-fast facts.)

Sight reading means that after seeing it written a musician can play the music on his or her instrument with some degree of accuracy. It does not mean that one plays it perfectly, but at least adequately. Some display this ability by humming or singing the written music without the aid of an instrument. Others, by being able to play the music without having to first analyze it, break it down, or practice individual passages. It’s more about recognizing intervals, chords and chord shapes, and groups of notes (phrases) than individual notes. Sight reading is taught (or learned by) most musicians and is often used to measure a musician’s level of musicianship.
Sight reading (sometimes called sight singing or sight playing) is very advantageous for the musician. Having the ability to hear the notes before they are played makes for more accurate playing and learning new pieces in shorter amounts of time.
One of the best ways to speed up the process of sight reading is studying music theory. Knowing the structure and mathematics of music brings about a better understanding of how it is written (displayed on the page). Studying the relationships between notes and chords brings about visual cues that can be used to sight read. And having a good understanding of time and key signatures helps a great deal when seeing a piece of music (and sight reading it) for the very first time. Time and key signatures tell you, in advance, what to expect. For example, knowing a piece of music is in the key of D (two sharps) tells you that whenever the notes F and C appear, they are played as sharps. And knowing a piece is in 3/4 time gives the musician a great understanding of the time values of notes and rests.
Looking for patterns in music is another great way to learn to sight read more quickly. Being able to recognize passages that are repeated allows the musician to look forward and concentrate on other parts of the piece (e.g., knowing that a certain melody line appears many times in a piece of music allows the musician to concern themselves with the music before and after the repeated passage). Written music also has a degree of symmetry and understanding this can help with an overall sense of music structure.
Having recordings of a variety of different kinds of written music is another great way to quickly develop sight reading skills. Carefully and accurately following the recording (with its sheet music) goes a long way in being able to recognize melodies, chords, bass lines and the basic “road maps” of written music.
Most of those who teach sight reading agree that it’s very important to not stop to correct mistakes. They say to never go back to a previous section—complete the sight reading in one “pass”). In other words, think of yourself as sight reading a piece with other musicians as in a performance, and you have to “keep up” with them. Though this might be frustrating for the present, it will speed up the overall process.
Finally, we all learn by doing, so the more your practice the skill, the sooner you’ll be able to master it.

 Music is written in notation that includes a staff  (five horizontal lines), ledger lines, time and key signatures, and other symbols that tell what notes are to be played and how long they are to be played. In addition to notes, rests of varying lengths are used. They are represented by certain symbols, and appear in measures when needed. It’s very common to have both notes and rests in a single measure. Measures and bar lines (the vertical lines separating and defining a measure) give written music its structure.
Placement of notes occur on the staff of five lines and the four spaces between them. Notes that occur above or below the staff are marked with ledger lines. It’s this placement that determines the note’s name (pitch). For example, the note on the top line of the staff (treble clef) is the note F. The note in the second space of the staff is the note A. Notes of three or more played together are called chords and they appear as notes “stacked” on top of each other.
The notes used in modern notation are either “natural,” “sharp,” and “flat.” These words refer to the pitch of a note. For example, the notes Db (flat), D, and D # (sharp) are different notes (tones) from each other.  On piano, for example, the three notes are played in adjacent keys, left to right.
A musician must not only know how to play the notes displayed (such as the pressing the corresponding keys on a piano, or pressing the proper valves on a trumpet), but how long (duration) the note is to be played. Notes are measured in note values (length of time) using a system of ovals, dots, stems, and flags.
The time signature of a piece of music appears at the beginning of each line. Common time signatures include 4/4, 3/4, 2/4, and 6/8. The first, or top number, represents beats per measure. The second, or  bottom number, tells the musician what kind of note gets one beat. In other words, 3/4 time means there are three beats to a measure and a quarter note receives one beat. 6/8 time means there are six beats per measure and an eighth note receives one beat.
A number of different clefs are used to indicate how the music should be read. These include the G or treble clef, the C or alto clef, and the F or bass clef. These clefs tell the musician on which lines, spaces, or ledger lines the notes will appear. For example, in the treble clef, the first line of the staff is the note C. In the bass clef, the note on the first line is G. Most piano music is written for both clefs with the left hand playing (in general) the notes of the bass clef and the right hand playing the notes of the treble clef.
Music’s rhythm and tempo are determined by beats per minute (bpm) and the use of various words and phrases that define the style of the music. Other terms such as pianissimo and forte tell the musician how loudly or softly to play a note or passage. Also, there are markings that direct the musician to repeat a section, go back to the beginning of the piece, or to jump ahead to a certain point in the composition.

A scale is a series of notes in ordered intervals (distances between notes). The notes of a scale appear (and are thought of) as “steps” (tones). Perhaps the best way to understand scales is to

first understand a major scale (Do, Re, Me, Fa, So, La, Ti, Do). The steps of a major scale are: Beginning note - whole step - whole step - half step - whole step - whole  step - whole step - half

step. In the case of a C major scale, the notes would be: C-D-E-F-G-A-B-C with a half step (semitone) between E and F, and B and C. In the case of a G major scale, the notes would be: G-A-B-C-D-E-

F#-G with a half step between B and C, and F# and G. (Another way to “call out” a G major scale would be to say it’s a major scale beginning with the note G.)

A scale’s name is determined by the notes in the scale and their relationship to each other (and is almost always named by the first note of the scale). For example, a minor scale is different than

a major scale in that there is a half step (one piano key up or down) between the second and third notes of the scale, and a whole step (two piano keys up or down) between the third and fourth

notes (as shown in the paragraph above).

Compare this C minor scale with the C major scale above. The C minor scale: C-D-Eb-F-G-A-B-C (the note E is now Eb, a half step or one key lower). And compare this G minor scale with the G major

scale: G-A-Bb-C-D-E-F#-G (the note B is now Bb, a half step or one key lower). (Another way to “call out” a G minor scale would be to say it’s a minor scale beginning with the note G.)

The term “scale” also refers to the type of scale such as chromatic, whole tone, and diminished scales.

A chromatic scale consists of only half steps (semitones). At the piano, you would play every key in succession (up or down—ascending or descending). Here are the notes of a G chromatic scale: G-

G#-A-A#-B-C-C#-D-D#-E-F-F#-G. (Notice that there are no black keys between the notes B and C and E and F. On the piano, these notes are represented by two white keys being next to each other).

Although a chromatic scale always consists of the same notes in the same order, it is named by the note used to begin the scale.
 
A whole tone scale is a scale where each note is separated from another by a whole step. There are only two whole note scales: C, D, E, F#, G#, A#, C and B, Db, Eb, F, G, A, B. Each contains six

notes and are often called hexatonic scales.

Each tone of a diminished scale is one and a half steps apart.

The term modal refers to scale names such as Lydian, Ionian, and Dorian that tell the musician which notes are in the scale. We’ll define those fully at a different time.

Double the melody in your left hand for a smoother sound

How To Finger a Chromatic Scale

Making Rapid Runs Out Of Arpeggios On The Piano

Aside from the academic study of music theory, which explores the theories surrounding music issues, such as whether or not a piece of music fits into one category or another, music theory is really the nuts and bolts of music.   It’s the way that music is composed, and performed.  Whether you are thinking about musical harmony, the way a concerto is orchestrated, and even the simple basics of how to read music, then you’re thinking about aspects of musical theory.

The first question that many people just starting out on their music journey often ask is “Do I really need to know this stuff?”  The answer depends on what you want to do with your music.  There are many successful recording artists who can’t read music never mind distinguish a symphony from a sonata.  This implies that you don’t need to have any knowledge of music theory in order to be a successful musician.  However musicians who can do this to a great level are few and far between.  Even if you are pitch perfect and can compose and play a piece of music entirely from memory, you can’t easily share this music with others unless they have similar skills.

Music theory allows musicians from all backgrounds to come together on a level playing field.  Each of them understand the piece of music in front them.  They know what key it is to be played in - vital if they want to create harmonies.   They know what time it’s in so that they can get the beat right.  The composer will have noted on the music manuscript how the piece is to be played - terminology that means slowly, softly, “with gusto” and so on.  Those who compose understand the common music forms and by understanding the range of each instrument are able to combine different combinations of instruments playing harmoniously together.  They know the instruments to work with for the kind of music they are composing, and can compose both melody and base lines that sound right whether played independently or together. 

If you have a good ear for music and know the fundamentals of how your musical instrument works, then you may have no use for music theory.  On the other hand, if you want to compose music that you’d like to share with other musicians, if you want to play with other musicians in an orchestra or band, or  if you want to be able to play a piece of music that someone else has composed and you haven’t heard played, then some basic understanding of music theory is required.

Imagine that you can look at any music score and instantly be able to sight-read it, which means you could sit down with your instrument and by reading and understanding the notations made by the composer you are able to play that piece of music in the way that the composer intended.  With little more than a basic knowledge of music theory, such as being able to read music and understand some simple, common musical terms, you could do that.  Even if that’s not a skill you would use often, as a musician, isn’t it a skill you’d like to have?

Arpeggios — Broken Chords On The Piano

Proper piano instruction is an element extremely vital to learning the instrument well. Though it’s very possible to be a self-taught piano player, piano lessons can really increase the speed and efficiency with which one learns the instrument. That’s not to say that great piano instruction makes great piano players overnight; even the most naturally talented pianists still play for years before they consider themselves advanced. But proper piano lesson instructions will maximize those years to the fullest and ensure that the student is learning the correct techniques.

Though teaching styles always vary from instructor to instructor, piano instruction generally covers the same basic areas: fingering, , music reading, scales, technique, and sight reading. The early lessons will cover fingering and posture, making sure the student knows how to hold his or her hands and where to put them on the keys; series of scales practiced repeatedly will be the basis of this area. Piano instruction will then move on to notation essentials, starting with the basics of notes and key signatures and time signatures and then moving forward to more advanced concepts in rhythm, tempo and dynamics.

Many of these concepts are introduced into the piano instruction while the student is learning to read music, a practice that runs through the entire course of the piano instruction. Teachers will assign short, easy pieces to kick start the student’s music reading knowledge and eventually move forward to more advanced pieces. Sight reading, the ability to play a piece of music without ever having seen it, is sometimes placed sporadically throughout the piano instruction, after a student is fairly well-versed in reading music.

One crucial element of piano playing that is often left out of traditional piano lessons is the study and practice of chords and music theory. To learn to read music without understanding the theory behind the music and the chords and chord progressions that form the music is almost like teaching a surgeon to cut without understanding the human anatomy and it’s interrelated parts. The student will be able to play the piano from a piece of sheet music, but take that music away or have it blow off the piano and he or she is immediately in big trouble.

There is a famous story about a lady who was a concert pianist and could impress people with her playing, yet when asked to play “Happy Birthday” at a party had to decline with great embarrassment because she didn’t have sheet music for the song handy. To be tied to the written music is a shame, when learning chords and music theory adds so much to the value of piano instruction.

Given a healthy dose of music theory and chord instruction mixed in, all of the other elements of piano instruction eventually begin to work hand in hand. Piano instruction then becomes an intricate web of gaining bits of detailed knowledge little by little and understanding the music that’s being played without fully realizing that it’s being gained.

Then playing the piano becomes more fun and a joyful event that can be shared with full understanding of the theory and form that lies behind each song.

Inversions: Chords Upside Down

Many people get all confused when chords are turned upside down. They recognize them when they are in root position, but when you stand them on their head…well, it gets kind of fuzzy for folks.

That’s understandable. We grow up playing chords in root position, which means that the name of the chord is on the bottom, with the other two notes an interval of a 3rd above each other. (E is a 3rd above C, and G is a 3rd above E). For example, when we play the C chord in root position, C is the lowest note in the chord, so it seems obvious that it is the C chord.

But when we see the C chord with E on the bottom, or G on the bottom, it’s not so obvious, partly because the chord is no longer a stack of 3rds.

Chords upside down are called “inversions”.

Here’s the deal:

Every 3 note chord (called a “triad” — trio — tricycle — meaning “3”) can be played in 3 different positions — inversions:

Root position = The name of the chord is the bottom note

1st inversion = The name of the chord is the top note

2nd inversion = The name of the chord is the middle note

So when C is the lowest note of the C chord, it is called “root position”. When C is the top note of the C chord, it is called “1st inversion”. And when C is the middle note of the C chord, it is called “2nd inversion”.

So a root position triad (a triad is a 3-note chord) is a stack of 3rds; actually, a minor 3rd on top of a major 3rd. A first inversion triad is a stack with an interval of a 3rd on the bottom and a 4th on top. A second inversion triad is a stack with an interval of a 4th on the bottom and a 3rd on top.

So what?

Here’s what: Each inversion has it’s own sound, so you can get a variety of sounds by using one inversion and then another. Each inversion also has its own feel, so some pianists find it easier to use a particular inversion than others, particularly to move smoothly from chord to chord.

So what happens when there are more than 3 notes in a chord, as in a 6th chord or a 7th chord?

Same deal — it’s just that now there are 4 positions of the chord instead of 3 as in a triad; root position, 1st inversion, 2nd inversion, and 3rd inversion. That gives the pianist lots of choices for voicing and fingering.

There’s no law, either, that a pianist has to use all the notes of a given chord. If I want a more open sound, I might leave out the 5th of a 4-note chord, and just use the root, 3rd, and whatever the other note is — 6th, 7th, major 7th, 9th, or whatever.

For example, I might voice a C7 chord with E on the bottom, skip the G, then include the Bb and C. Or I might play it as an arpeggio (broken chord) by playing a low root an octave lower, then play the 5th, then the 3rd an octave higher, and then come back to the Bb.

The choices are almost infinite, and the more complex the chord, the more exciting voicing choices there are.

So don’t settle for just one position of a chord — stand it on it’s head and experiment with all the luscious choices for voicing it to create a sound all your own.

Keys With Two Names — Chords With Two Names

What would I learn if I took Music 101 in college?

Most major college Music 101 courses are specialized and designed for a specific program. In other words, you’ll find a Music 101 class for classical music, dance and theater, performance, or theory (among many others). Which 101 class a student chooses is mostly determined by their major. For example, a college may offer separate degree programs, including a Bachelor of Arts in Music Performance, Bachelor of Arts in Theory and Composition, or Bachelor of Arts in Music Education. In most schools, each major has a particular program of study and may have it’s own 101 class with specific points of study.

In general, a college-level Music 101 class covers a number of topics including music notation, composition, piano, performance (some whether the student plays an instrument or not), and ear training (sight singing). A significant amount of time is spent on piano studies (some colleges call the class “Keyboard Skills”) where the student learns basic composing skills, explores different styles of music, and begins their study of music theory. The student may also be asked to be a part of a choir or chorale, and study the human voice as a musical instrument.

For those students not familiar with reading music, some 101 classes include the study of basic music terms as well as the various signs and symbols present in written music. The student will also study key and time signatures, various scales, and dynamics. Normally, at the end of such a class, the student is required to demonstrate what they have learned via a written exam or by playing a piece on the piano. Along with these hands-on offerings, many colleges and universities offer a class in the physics and science of sound (which may lead to a career as a recording engineer).

In keeping up with advances in computer recording and digital media, The Julliard School of Music, for example, offers a class in Music Technology where students pursue specialized areas of study such as digital music production, film scoring, and the use of computers in performance. Other schools, such as the Berkley College of Music, includes a 101 section on the business aspects of music including artist management and promotion

For the most part, a Music 101 class will not require prerequisite studies (particularly those 101 classes that are of a general nature). All that may be needed is eligibility and the desire to learn. These classes are often a continuation of a high school (or college) Music Appreciation class, with a focus on topics such as music in culture, history of music, seeing music as an art form, and an appreciation of the process of recording and producing CD titles (albums and singles). Being able to play an instrument or having  background in vocal studies may not be necessary. This type of a Music 101 class can often be found at the community college level or, in some cases, part of a community continuing education program.

Learn one chord progression — learn an entire song

One note played alone is termed a “unison.” Two notes played simultaneously  or adjacently are called “intervals.” Three or more notes in combination are termed “chords.”

So if C and D are played simultanously the distance between them is called “a 2nd.” C and E would be a 3rd, C and F a 4th, C and G a 5th, C and A a 6th, C and B a 7th, and C and C an octave. (Octaves — notes with the same name — are considered as a type of unision.)

Intervals also have different flavors — there can be major intervals, minor intervals (like C and Eb), diminished intervals (like C and Gb), augmented intervals (like C and G#), and perfect intervals (like C and F and C and G — so called because they have a perfect relationship — they are in each other’s scale).

To learn more about intervals go to http://www.playpiano.com/Articles/unisons-intervals.htm

So intervals simply measure the distance between any two notes. There are two types of intervals: consonant and dissonant. The most consonant intervals are 3rd and 6ths, while the most dissonant intervals are 2nds and 7th. 4th and 5th are somewhere inbetween — depending on the context.

Professional musicians often play from “lead sheets”, and I’ve noticed that most amateurs don’t quite understand what a lead sheet it, so I thought I would briefly define it.

A lead sheet is a piece of music that contains only the melody (tune of the song) and the chord symbols that go with it (and sometimes the lyrics). Musicians read the melody while taking their clues from the chord symbols. Let’s say the song starts on a “C” and the chord symbols above it is Fm7. That means that the musician would play the Fm7 chord with C as the top note of the chord. For an example of what a lead sheet looks like, please go to http://en.wikipedia.org/wiki/Lead_sheet

Collections of songs in lead sheet formats are found in “fake books” available in music stores.

Playing piano isn’t just good for the soul. It’s good for the mind too. Playing piano has many applications in daily life, including work/career. Many medical professionals such as doctors agree, despite few scientific studies on the matter, that playing piano can help anyone in their career work, including medical technicians of all kinds.

The benefits to playing piano are universal. They apply to just about any type of career. Specifically though, medical workers can reap a number of benefits from regularly tickling the ivories. Some of these include:

1. Increase in mental acuity. It’s a fact that piano playing stimulates both sides of the brain. Not many activities do this. The left brain is responsible for logic, ration, objectivity and smart decision-making. The right brain is more holistic, random, creative and intuitive. All of these are critically important skills for doctors. They must daily make rational decisions based on science and education.  Medical technicians are also frequently forced to rely on intuition when it comes to diagnosing complicated and less common disorders. Playing piano sharpens both of those abilities.

2. Improved coordination. Studies have shown that pianists generally have better physical coordination than non-players. This is particularly true when it comes to activities that require use of the hands and reliance upon fine motor skills. Doctors must daily use their hands in medical practice. Some, like internists, anesthesiologists and surgeons rely heavily on the ability to use their hands effectively. Practicing the piano can keep the hands in top shape. That’s likely good news for patients going in for surgery.

3. Strengthens the hands. It’s already been noted how important a doctor’s hands are. Playing piano not only improves coordination; it helps build the muscles in the hands too. Fingers remain nimble, resulting in a steady hand holding that scalpel or laser.

4. Keeps hearing sharp. Pianists tend to have a more acute sense of hearing than non-musicians. Doctors rely on their hearing to listen to patients describe symptoms. They also need sharp ears for hearing heartbeats and listening to diagnostic equipment. A doctor who plays the piano won’t miss even the smallest heart murmur.

5. Encourages and aids relaxation. Who doesn’t need to wind down after a hard day’s work? Doctors often work long hours and late nights. The medical profession can be highly stressful. Doctors cannot afford to make stress and fatigue-related mistakes. Mistakes can cost patients their lives and health and wreak havoc on a physician’s insurability. Playing piano has long been proven as an extremely effective relaxation aid. It can slow the pulse, soothe the heart and calm blood pressure. Relaxation can be further enhanced by playing music in particular sequences (i.e., starting with lively fast-paced songs and winding down to slow, lilting melodic tunes). Remember, during physical exercise it takes about 20 to 30 minutes to achieve optimum heart benefits. Playing the piano is similar: it takes about 20 minutes of playing the piano per day to achieve optimum benefits of relaxation.

Some of the best amateur pianists are doctors. Dr. Henri Delbeau, a New York internist and professor of medicine, is one of those. Delbeau is an avid pianist. He has won a number of prestigious amateur piano competitions, including the Boston International Piano Competition for Exceptional Amateurs. He has been the featured guest pianist with a number of symphony orchestras.

Patients like those of Dr. Delbeau may have a little extra assurance of professional care when their doctors are also pianists. Playing piano can be said to benefit both doctors and those they cares for.

Aside from learning to play the keyboard just for fun, students often choose to play the keyboard because it is said to be easier than learning to play a piano.

Having these additional options available makes the keyboard a more versatile and useful instrument, not to mention that they are also portable and significantly less expensive than pianos.

Ways to Learn to Play Keyboard

Music fans have several choices in how they can learn to play the keyboard, depending on their personal financial situation, their level of commitment, their learning style, and their previous experience with reading sheet music.

1. One way to learn to play keyboard is to teach yourself. This method of learning the keyboard takes a lot of practice, self-discipline, and trial and error. If you aren’t already familiar with notes and chords, you’ll need to learn that on your own first. This is the least expensive way to learn to play keyboard. You will likely have to purchase books, CDs, an online membership, or sheet music to get started though.

2. Another inexpensive way to learn to play the keyboard is to play the virtual version through an online keyboard site or CD. This provides an easy way to learn the keys and practice without investing in the keyboard until you are sure it is something you want to stick with.

3. Another option is to hire a professional to teach you to play the keyboard. This option can be a little pricy, and finding the right instructor may take a little extra time, but it can be the best option for someone serious about playing the keyboard.

Before You Play the Keyboard

Though leaning to play the keyboard may be easier than learning to play the piano, learning how to play songs requires just as much practice and commitment. The only prerequisite for playing the keyboard is being able to read sheet music. Learning to read notes and chords is a good place for beginners to start.

Easy Songs to Play on the Keyboard

Don’t expect to be able to play songs from the radio right off the bat. Learning to play keyboard takes a lot of time and effort. The best way to learn is to start with easy songs and concentrate on one short song each week. As the song becomes easier for you to master, you can move onto the next song or make minor changes to the same song to create a different effect.

Tips for Playing the Keyboard

No matter what method you choose to lean to play the keyboard, the same simple tips apply:

1. Nothing replaces the good old-fashioned advice to practice, practice, practice.

2. Use gradual progression from the easiest songs to the more complicated ones.

3. Don’t expect to sound like a professional keyboard player when you are learning to play the keyboard.

So you want to learn to play music? You’ve never had a lesson on an instrument and don’t even know where to start? Learning to play music can be as simple or challenging as you want. Whether you want to learn the guitar, the piano or the tuba doesn’t matter. Just challenge yourself and you’ll be making music before you can say embouchure.

First of all, there are many instruments that are very easy to learn. The simplest is the kazoo. The pitch of a kazoo is entirely controlled by your mouth. No fingerings to learn. Just put it to your mouth and buzz.

Moving up the scale are other mouth instruments, such as the harmonica and melodica. The harmonica takes seconds to learn but a lifetime to master. Harmonicas come tuned in a certain key, so that there are no out-of-key notes. As long as you use the proper harmonica for the key, you’ll sound musical. Of course, there are many other techniques to learn, but for the beginner trying to learn to play music, the simplicity of the harmonica is great.

The melodica is a keyboard instrument that is powered by air from your lungs. You blow into the mouthpiece and play the keyboard like a piano. The only difference is that the keyboard is facing away from you, perpendicular to your body. Most melodicas cover only an octave or two, giving you a smaller range.

The piano is another great instrument to start learning to play music. Every note is laid out in front of you, with nothing hidden. Using the white keys, you can play anything in the key of C. The amount of musical expression attainable on the piano is unmatched by other instruments, as it’s both a melodic and percussive instrument.

There are many benefits of learning to play music as an adult. Increased confidence, mental stimulation and sheer joy are just a few of them. Imagine entertaining friends with your new skills! Maybe you always wanted to have your own band and never pursued it in your youth. Learn to play music as an adult and have the musical fun that you missed. It’s never too late to stimulate your mind in new and exciting ways.

You’ll meet new people when you become a musician. It’s surprising when you learn who secretly always wanted to play in a band or hold an audience enraptured through a Debussy piano piece. From CEOs to maintenance workers, there are part-time musicians everywhere you look. Maybe your boss, the secret guitarist, will find out that you’re learning to play music. Suddenly you’re a new blip on the radar and you have a buddy to jam with on Sundays.

Whatever your reasons for learning to play music as an adult, you’ll love it. Pick up a simple instrument like the kazoo or a vast one like the piano and practice. Find a cheap guitar, some online instruction and learn your favorite songs by the Who. Buy a harmonica, start a campfire and play the blues. The possibilities are endless, as long as you keep your enthusiasm and continue to practice.