Every musician needs to know as much about music theory as possible, but often piano players don’t know the relationship of their instrument (the piano) to other instruments such as the trumpet, sax, etc. This short video discusses the importance of knowing these relationships and other aspects of music theory for piano players. After watching the video, come on over to Music Theory For Piano Players.

Music keyboards are electronic marvels of technology. They have the brains of sophisticated computers and the bodies of good old fashioned pianos. Music keyboards range in price and complexity from miniscule to monstrous. Beginners often get overwhelmed by techno speak and musical jargon.

“Music keyboard” is something of an umbrella term. Most people think of electronic/digital pianos. It may also refer to a simple, low-end sampler or a sophisticated synthesizer.

Pianists should first decide what they hopes to accomplish with the purchase of a music keyboard. This will help narrow down the choices considerably. Advanced pianists who plan to perform, for example, have specific needs. They would differ considerably from those of a beginner who just needs something to practice on at home.

Basic music keyboards typically come with a few piano, organ and string sounds. Most have other special effects like reverb and features like built-in metronomes. Additionally, many modern keyboards, even modestly-priced ones, come with MIDI capability. Some may even have USB.

Sometimes it helps to think of buying a music keyboard like buying a new car. You may come in looking for a standard model. Once there you’ll likely be tempted to look at models with fancier features. Some intermediate keyboards offer features like the ability to record, hundreds of sounds, digital synthesizer effects, sequencers or flash memory. This is where the line between musical instrument and computer starts to become blurry.

Basic, entry level keyboards can range from $150 to $500. More sophisticated models can range into the thousands. It’s important to really evaluate your needs, since this is a significant investment.

Go back to the new car analogy. Make a list with two columns. The first column should be a list of features that you can’t live without. The second column should contain those features that would be nice to have, but only if the price is right.

The first column is your starting point. Don’t bother looking at models that don’t meet all of your absolute needs. Start with something that has all those features on that first column. Check out all of the major brands in the same class and compare prices.

Compare brand names too. Some brands historically perform better and produce higher quality sound than others. Those will likely be the more expensive brands. It may be worth paying a little extra for cleaner sound and a product that will last longer.

Next, check out models in the next class up. See which ones have some of those additional features that appeal to you. Lesser quality brands may have many of those “extra” features that you like in a price range that you can still afford. More expensive brand names may be out of your price range once you throw in extra options. Are you willing to sacrifice cleaner sound or a longer lasting product to get some of those extra features?

It’s ideal to shop for your starter music keyboard at a music store rather than a department store. Music stores have salespeople that are more knowledgeable about their products. They’ll be able to provide you with more personal and informed service. It’s usually worth doing this even if you have to pay a little bit more for your product.

Instruments such as a trumpet and clarinet (tuned to Bb) and alto saxophone (tuned to Eb) require transposing. For example, when the written note C is played on a trumpet, it is the same note as an Bb on a piano. Other instruments requiring transposing include English horn, alto flute, baritone sax, and French horn.
For the pianist, it means they must be aware of the keys of these different instruments. For example, if the pianist is accompanying a trumpet player, they need to realize that communicating with them will be difficult unless they “transpose” notes when they speak of them. If they say to the trumpet player, “Let’s start at measure 14, where you come in on the note C,” the pianist is, in fact, looking at the note Bb on their piano music. This ability takes time to learn. But in the case of a piano and a trumpet, the pianist knows that every note they see on their music is a whole note above what the trumpet is playing. The same care has to be taken when purchasing music. Most sheet music of this type will say something to the effect of, “written for piano and Bb trumpet.”
Seasoned musicians know how to do this and after a few months of training (and performing with a number of different instruments), transposing becomes second nature.
When it comes to a vocalist, there is of course, no transposing needed. For example, a vocalist in the jazz group above, will speak (in terms of transposing and instruments of different keys) the same way as the pianist. The vocalist sings the notes C, D or G in the same way, and on the same pitch, as they are played on the piano. Instruments such as guitar, mandolin, banjo, and recorder do not require transposing.
If the pianist is a composer, these differences pose quite a challenge when composing for a number of different instruments. If the composing is done on paper, large “score” paper must be used to easily see the different parts for each instrument. And every time the pianist writes a part for a trumpet, sax, or other instrument that requires transposing, they have to be adept in writing out the part in a different key, paying attention to all the rules and requirements for that key (such as sharps and flats).
Although learning the different instruments in different keys can be difficult at first, it makes for a very well-rounded pianist and musician.

Percussion instruments include the snare drum (and all drums in general), cymbals, tympanis (sometimes called “kettle drums” as they are shaped as such), and exotic instruments such as the guiro, claves, and maracas. These instruments, and the way they are played, go a long way in determining the feel and style of the music. Where a rock band might have a set of drums (snare drum, bass drum, cymbals), Latin musicians used a number of different instruments to create music.

Though most don’t think of it in this way, the piano is a percussion instrument. The tones are made by hammers striking strings, causing them to vibrate. Seeing the inner workings of a piano, and how forcefully the hammers hit the strings, shows why it is considered a percussion instrument.

Music written for a percussionist is quite different than for the pianist. Percussion notation is divided into two types: pitched and non-pitched, the difference being the instruments used. For example, drums (which can be tuned) and cymbals (which cannot).

The notation for pitched percussion is similar to piano music in that notes are placed on the various places on a staff. And similar symbols are used to show volume and attack.

The notation for non-pitched percussion instruments is less formal. A clef with two vertical lines is often used and it appears on a five-line staff similar to piano music. But some percussionist use their own way of noting which instrument is played and when.

Drum tablature (drum tab), used for a drum set (bass drum, snare, hi hat, cymbals, toms) uses the following symbols: CC: Crash Cymbal, HH: Hi-Hat, Rd: Ride-Cymbal, SN: Snare-drum, LT: Low-Tom, HT: High-Tom, FT: Floor-Tom, B: Bass-Drum, Hf: Hi-Hat-w/foot. This tablature can become quite complex as four or more instruments are often played at the same time.

Outside of orchestral and band music, most percussionists do not use any kind of tablature or notation. What they play is entirely up to them and at their discretion (and drawing entirely on their own techniques). However, most strive to create a style and sound that works well with the music, and the musicians they are playing with. And there are definite rules as to when certain percussion instruments are used. A rock drummer may play with a lot of force and intensity, where a jazz drummer plays with more touch and finesse. The best percussionists (drummers) can play a wide variety of music and styles.

For the pianist to play effectively with a percussionist, they have to be able to break down each measure into quarter note (beats), eighth notes, sixteenth notes, even thirty-second beats to be able to communicate with the percussionist. The pianist also needs to understand how and when different percussion instruments are used and for what style of music.

The biggest challenge, of course, is for the pianist to play accurately and precisely. Some pianists may have never worked with a percussionist and may not be capable of playing with the precision required. That being said, working with a percussionist can be a great training tool.

Woodwinds (clarinet, oboe, bassoon, etc.) are different from piano in that they require wind (created by the player) to create a tone (using a reed or reeds to create the vibrations needed for sound). In addition to using different techniques to make the reeds vibrate in different ways, the player also changes the tone (creates the notes) by pressing and releasing (using their fingers) keys that are attached along the length of the instrument, or by covering up, then opening, various holes on the instrument. Saxophones are not considered woodwinds by some as they are made of brass. However, a saxophone is played very much in the same way as most woodwinds. Flutes and piccolos, though made of metal, are often thought of as part of the woodwind family.

As for piano, the type of wood used to make the instrument has a great effect on the quality of sound produced. Certain woods resonate better than others and thus create a better tone. In fact, many lower-priced clarinets are made of plastic and although they provide a serviceable tone, it is not the rich, “wooden” tone coveted by professionals.

Woodwinds are most often found in orchestras and smaller ensembles (although the clarinet can be found in Dixieland or jazz groups). Instruments like the English horn can be found in popular music, while the bassoon may only be found in traditional and ensemble music. There are, however, composers and musicians who explore the use of these instruments in esoteric and unconventional ways. One way to think of the woodwind family is the various instruments mimicking (representing) the human voice such as a clarinet for an alto singer, or a bassoon for a baritone singer. Many modern composer look at this group of instruments in exactly that way.

Woodwinds are tuned by adjusting their length. This is done by repositioning single components of the instrument. The musician often has to twist different sections of the instrument to make these adjustments. The longer the instrument becomes, the lower in pitch a particular note. The intonation of a woodwind is ultimately the responsibility of the player and techniques must be learned to keep the instrument in tune as it is played.

The challenge for the pianist is the fact the some woodwinds play in a different key (a Bb clarinet for example). In order for the two players to play together and communicate, both have to be aware of this and be able to “transpose” the two parts. For example, when the Bb clarinet plays the note C on his or her score, that note is actually the note Bb on a piano score. So music for a Bb instrument such as Bb clarinet or trumpet is written a major 2nd above the actual sound. Music for an Eb instrument such as Eb clarinet is written a major 6th above the piano score, and so on.

Most pianists are used to reading music in a number of different octaves and this is very important when playing with woodwinds because as a group, the cover a wide range of tones. The piano is often chosen as the accompanying instrument of a solo woodwind player or a small ensemble of woodwind instruments. One reason for this is the pianist can easily rehearse each instrument, or easily and accurately play the chords created by the ensemble.

Stringed instruments (violin, viola, cello, bass) are cousins of the piano as they make music with strings vibrating to a certain pitch. But they are different in the sense that the strings of a piano are struck with hammers to create sound, where as a violin player uses a bow to create sound. Sometimes, however, a violinist or other string player plucks the strings with their fingers (as directed in the music as pizzicato). Violin, viola, cello, and bass are not exclusively orchestral instruments. These versatile instruments are used in jazz, country, bluegrass, and other types of music.

A hammered dulcimer is very similar to piano in that strings are struck with hammers to produce tones. Unlike the piano, all the strings of a hammered dulcimer are exposed and easily accessed by the musician. As many as four strings can be struck at the same time to produce chords. The player holds two (sometimes four) shaped wooden hammers, playing the strings in combination to produce chords and melodies. A hammered dulcimer is found predominately in folk music and is known for it’s unique sound.

Even more similar to the piano is the harpsichord, as it has a similar keyboard and notes are produced by plucking (striking) the strings. A great deal of music written for harpsichord can be played on piano (and vice versa) although the sound (and essentially, the style) is different for each instrument.

Other stringed instruments include guitar, mandolin, banjo, ukulele, and harp. All these instruments are tuned in the same way (in the same key) as piano. There is no transposing needed by the pianist (as is required for other instruments such as trumpet and sax). All the notes produced by these instruments can be found on the piano’s range of over eight octaves (where a guitar for example, has a range of only four and-a-half octaves).

Tuning of all stringed instruments, including piano, is done by tightening or loosening the tension of a particular string. As a string is tightened, it is made shorter and thus, vibrates faster and at a higher frequency. Also, the thinner the string, the higher the pitch. The higher pitched strings of a piano are made with piano wire alone, whereas the lower sounding string are wrapped with brass, bronze, or other metal wrapped tightly around a core of piano. Although they may be made out of the same material and in the same fashion, Piano strings are not used on guitar nor are guitar strings typically used on a mandolin, banjo, or ukulele.

The sound of a stringed instrument is created note only by the sound of the strings themselves vibrating, but the strings causing other parts of the instrument to vibrate as well. For example, a guitar’s top (more so than its back and sides) contributes to the sound of the instrument. The same is true of the mandolin and other members of the string family. The soundboard, harp, and basic framework of a piano all contribute to it’s unique sound, As a general rule, the better quality the components, the better the tone of the instrument (with the type and age of the wood being the biggest contributor)

Modern brass instruments include trumpet, trombone, baritone, sousaphone (tuba), and French horn. These instruments create a wide variety of tones by the player forcing air into the instrument causing it to resonate in different ways (at different frequencies)

There are two different types of brass instruments, valved and slide. Valves are used to change the shape and size of the instrument (causing the player’s wind to change its path and length, causing the instrument to resonate in different ways). Brass instruments with valves include cornet, trumpet, and French horn. They utilize piston valves (cornet), or rotary valves (French horn). The musician must learn which combinations of valves produce certain tones while using their embouchure (the position and strength of their lips on the mouthpiece of the instrument) to make tones lower or higher in pitch. Slide brass instruments use a slide to change the length of tubing and thus the tone of the instrument. Most common of this type of instrument is the slide trombone.

Some brass instruments need to be transposed for piano. For example, a Bb trumpet or an Eb alto saxophone. When the written note C is played on a trumpet, it is the same note as an Bb on a piano. It’s very important for the pianist to be aware of this in order to communicate with the trumpet player. The same holds true for the pianist when playing with other instruments that are tuned differently such as a French horn or alto sax.

Music for brass ensembles (four to six brass instruments) often uses the piano as the accompanying instrument. An experienced pianist will be able to help with the ensemble’s performance by helping them rehearse the most challenging passages. The piano, in this case, also helps fill out the arrangement and plays a big part in creating the rhythm of the piece. And, as mentioned above, the pianist must be aware of the different key of each brass instrument in order to communicate effectively with the group. For example, if the group includes a tuba, the pianist must know whether it is a Bb or Eb tuba in order to help rehearse the musician in the most effective way possible.

Big bands (swing, dance, and jazz) contain a number of brass instrument and most, if not all, also include a piano. The pianist helps provides the chord structure, rhythm, and sometimes the melody of the piece. Big band music can be quite complex, particularly when it comes to chord structure and progressions. Quite often, the pianist is playing the same chord as the grouped brass instruments while at the same time contributing to the rhythm and style of the music. A piano is also very common in jazz combos and vocal groups.

Interestingly, many brass instruments are not made of brass at all. Some, like the French horn, are made of nickel silver or other alloys of copper, tin, and nickel. Many brass instruments are silver plated (and they produce a distinctive sound because of this). Although it is rare, some brass instruments are gold plated and are prized for their appearance (more so than the somewhat unique sound they make).

The invention of the synthesizer revolutionized the world of sound recreation. A performer who wanted to recreate a particular sound on stage used to rely on old-fashioned recordings. Today, thousands of sounds, notes and frequencies can be generated in real time on stage at the touch of a button.

A synthesizer is an electronic instrument that can produce various sounds. Its name comes from what it does: it “synthesizes” sound. It works by generating and combining different frequencies. It can produce thousands of different sounds and sound combinations.

Performers who want to add the sound of a car horn to a performance need not use an audio tape of a car horn. Instead, the sound can be generated with the push of a button. The synthesizer can even produce multiple sounds simultaneously, like a horn honk and a bird call, for example.

The earliest known synthesizer was invented by Elisha Gray in the late 1800’s. Gray is more well-known for some of his other inventions, most notably the telegraph and a telephone prototype. Gray was a pioneer in electronics and ahead of his time in many respects. His early device, though somewhat rudimentary by modern standards, paved the way for today’s models.

The next inventor to improve upon the synthesizer was Robert Moog. Moog was a brilliant scientist who received a Ph.D. in engineering physics. He spent his career working with and developing electronic music systems, instruments and devices. Moog is considered by many to be the father of the modern synthesizer.

Moog’s device was the first ever to use a piano keyboard as a controller. Previous prototypes used buttons, dials and levers. This is why they have become largely associated with pianos and electronic keyboards today. However, they can actually be controlled through other means. Guitar synthesizers are an example of this.

Early synthesizers were large and unwieldy, not very suitable for transporting. Moog’s design, plus evolving technology, led the way for smaller and more portable units. These smaller devices are much more practical for performing, especially when traveling is involved.

Today’s synthesizers are highly sophisticated devices. They employ computer technology and are comprised of computer chips and motherboards. The units are compact and relatively self-contained (like today’s computers) and can be transported easily.

The keyboard synthesizer is still popular with musicians, particularly those who perform regularly on stage. Today musicians can also use software synthesizers, also referred to as softsynth. This type uses computer software for digital audio generation. Softsynth is often used for studio recording. Another less common device is the saxophone-style synthesizer.

Modern electronic keyboards usually have synthesizer components, if only in limited form. Mass-marketed electronic keyboard synthesizers are usually rudimentary compared to professional models, which have greater synthesizing capabilities. However, even these rudimentary keyboards demonstrate just how far technology has evolved over the decades. Many features available on the cheapest keyboard synthesizers are more advanced than the best of yesteryear’s technology.

Technology continues to evolve at a rapid pace. Designs are likely to get better and more efficient. Synthesizer sounds will improve in quality. The range of possibilities for sound production and reproduction make the science and engineering a worthwhile investment.

How can one or two musicians sound like a full band? The answer is MIDI. It’s the abbreviation for “Musical Instrument Digital Interface.” It’s the electronic “language” that is “spoken” between different instruments and the main device (computer) controlling them.

Put simply, MIDI allows different instruments to communicate with one another and with a central computer. It could be compared to a group of people who all speak different languages trying to communicate. A person who speaks Spanish could issue a command in Spanish to someone who speaks French. An interface would translate that information into a code. The code would be transferred via a cable to the person who speaks French. That code would in turn transmit the original message in French. That same code could be transmitted to another person in any other language. The message will be understood as long as all are on a common interface.

Musical Instrument Digital Interface allows any MIDI-capable instrument to interact with any other MIDI instrument and/or computer. This makes it possible for one central computer or instrument to control every other device connected to it. The devices are connected via MIDI cables. The cables transmit the information from device to device.

MIDI is most commonly associated with electronic keyboards. The reason is that keyboards were among the earliest instruments to be manufactured MIDI-capable. Electronic keyboards tend to be the preferred instrument for creating MIDI files. Keyboards are also among the simplest to use as command centers for a bank of connected instruments.

Today, however, there are numerous instruments that are manufactured with MIDI interfaces. MIDI guitars and drum machines are common. Wind and brass instruments can also be MIDI capable.

Musical Instrument Digital Interface is different from an audio recording. Audio recording is a replication of sound waves. A MIDI file on the other hand is actually a code. No sound waves are recorded. Instead, a file is created which contains coded information. The information can then be transferred from instrument to instrument or computer. The receiving device “reads” the code, and it is interpreted in that device’s “language.”

Let’s use the electronic keyboard as an example. A musician could play a particular song on the keyboard. MIDI turns that music into a binary code. The code contains information on what keys were pressed. It also interprets things like:

* The amount of pressure applied to the keys.

* The intervals between each key pressed.

* Whether the pitch changes while a key is pressed.

This code can then be transferred to other devices. The same song can be then be reproduced. MIDI files can also be created on a regular computer. The files can then be transferred to various instruments.

It’s even possible to control other devices through Musical Instrument Digital Interface. A lighting system is one example of this. An entire bank of stage lights can be controlled by a computer or even an electronic keyboard.

What does this mean for musicians and performers? One person could conceivably give a stage performance utilizing multiple instruments simultaneously. This same lone musician could even be his own light technician. He can do it all and sing too by simply pressing computer or electronic keyboard keys at the right times.

MIDI revolutionized the world of music and performance. The technology continues to have wide-reaching application possibilities. Its quality has greatly improved since it was first invented in the early 1980s. Today Musical Instrument Digital Interface is considered an essential part of many performer’s and band’s equipment.

When is a C not a C? It’s not a riddle or a trick question. It’s
a musical principle. The answer is: a C is not a C when you’re
playing a transposing musical instrument. And it’s not the
instrument that transposes, unfortunately — some arranger or
the player himself must do that.

To understand what this means, you first have to understand the
definition of concert pitch. Pitch, of course, refers to the
frequency of sound. Concert pitch is the universally agreed upon
definition of the pitch of middle C (and subsequently, every
other note in an octave). From the dawn of written music to the
present day, no matter where on earth you are, middle C always
sounds the same. In other words, every musician in the world
understands and interprets middle C in the same way. This is the
simple definition of concert pitch.

Many instruments, therefore, are manufactured to concert pitch.
This means that when multiple musicians read “C” (or any other
note on a scale) on a musical score, they produce identical
sounds. Instruments that are manufactured in concert pitch
include the piano, some brass instruments such as the trombone
and baritone, some woodwinds such as the flute, oboe, and
bassoon.

Many other instruments are not made to produce concert pitch
sounds. These are referred to as transposing instruments. Many
woodwind instruments and some brass fall into this category.
When a transposing instrument player reads and plays “C” in a
musical score, it sounds different from a “C” played by a
non-transposing instrument.

Therefore, music that is written for a band consisting of both
transposing and non-transposing instruments must be adapted for
individual types of instruments. A typical marching band, for
example, may have the same score of music transposed into two,
three or more different keys.

The clarinet is an excellent example of this. It is a
transposing instrument, typically manufactured in B flat. If a B
flat clarinet and a piano played a “C” at the same time, the
sounds produced would not be the same. In order for a B flat
clarinet to play a note that matches a piano playing a “C,” it
would have to play one whole step higher. In other words, it
would have to play a “D.”

What if the two instruments had to play a song together? Music
for the piano would be written at concert pitch. The same music
would have to be transposed one key higher so that the clarinet
would produce the same sound. Though the two songs appear to be
in different keys, the sounds that each instrument would produce
will match in pitch.

Bb instruments include the Bb clarinet, the Bb bass clarinet,
the Bb tenor sax, the Bb trumpet. Music for these instruments
are written in a key which is a whole step higher than concert
pitch.

Eb instruments include the Eb clarinet, the Eb alto clarinet,
the Eb alto sax, the Eb baritone sax, and the Eb alto horn. Music
for this group of instruments needs to be written a minor 3rd
lower than concert pitch.

F instruments include the french horn and the English horn.
Music for these instruments must be written in a key that is a
perfect 4th lower than concert pitch.

It sounds complicated. You may even ask: why not just
manufacture the clarinet (or other transposing instruments) in
concert pitch? Though it seems this would solve some problems,
there are good reasons that certain instruments produce other
pitches. The B flat clarinet is preferred because it produces a
cleaner, more pleasant sound than a C soprano (concert pitch)
clarinet. In fact, the same is true of many transposing
instruments. So while using transposing instruments make more
work for the composer, in the end it’s all about the product.

Serious musicians are known for their keen sense of hearing.
Since only the best quality sound will do for them, composers
will keep writing scores with both types of instruments in mind.

When looking for a new keyboard, consider the manufacturers of piano keyboards. Look at your budget and then go from there. Does that budget allow you to check out some of the premiere makers out there? Does your budget require you to go with a lesser-known manufacturer?

Some of the names in piano keyboards are Korg, Kurzweil, Roland, Yamaha, Kawai and Moog. There’s a host of others as well, some with a wide model line available. Check each manufacturer’s products from low-end to high-end and compare across companies for features offered. Sometimes a lower-priced model may suit you just as well as a higher-priced one that has many extra gadgets you may never use. The main thing is to make sure any model you choose has a clear, full sound resembling as close as possible a traditional piano’s sound. You don’t want a tinny sound that is more annoying than pleasing.

If you base your decision solely on price, investigate consumer reports and product reviews that may alert you to product flaws. You may find some high-priced models receive more bad press than lower-priced makes. Regardless, don’t let a piano keyboard purchase blow your budget. You can always upgrade down the road.

One important consideration when purchasing a piano keyboard is the warranty. If you’re buying a new brand, make sure the warranty is suitable with no unacceptable “except for” clauses. If you’re buying used, try to buy from a dealer who offers even a six-month warranty on a used product. They’re out there; you just have to look for them.

Consider the type of keys your fingers will run across when you look at piano keyboards. Do you want traditional weighted keys that have the feel of an acoustic piano? Do you want “touch sensitive” keys that spring into action with little downward pressure? Both are available, and checking them out will ensure that it suits your touch. I would certainly recommend that you get both of these features so your keyboard “feels” like a normal acoustic piano.

Consider whether you want a full 88-key piano or one with fewer keys. It depends on what you plan to play, how much you want to spend, and the space you have in a room. You don’t want to feel cramped with a keyboard whose length barely fits into a small room. On the other hand, if you plan on getting better in a hurry, then get an 88 key keyboard from the outset so you won’t have to worry about outgrowing it.

Another thing to consider in a piano keyboard is the number of controls a model has for sound modification. Many keyboards come equipped with settings to make the piano sound like different musical instruments. Some also have voice settings, so certain keys sound like a choir singing. Again, if you want just your typical piano sound, you may not require all these sound controls. To keep your costs down, it’s best to buy a model with only the features you will use.

An important consideration, especially if you live in an apartment or condominium, is sound control. You want a keyboard that allows you to set the volume as low as possible while maintaining quality and clarity of sound. You also want a keyboard that allows for headphone plug-in, so you can play as loud as you need without disturbing anyone.

With today’s “going green” concerns, you may want to investigate the energy use of keyboards. Keyboards that are green friendly are sure to be the latest models and can save you dollars on energy bills. With that extra money, you can upgrade to a higher-priced keyboard later.

Additional things to consider are any special benefits or bonuses for buying. Some music studios sell keyboards and may offer lesson or music book discounts for purchasing from them. Some music stores offer music lessons on premises and may offer free introductory piano lessons with a keyboard purchase.

The final thing to consider when purchasing a keyboard is its capacity for attachments. Aside from the headphones, you may want outlets for an amplifier or a Musical Instrument Digital Interface outlet. This allows you to hook a keyboard into a computer. Of course, the computer also has to have a MIDI input. If your computer doesn’t, you have to buy a USB MIDI adapter. With the proper software program in place, you can play notes on a keyboard and have them show up as written music on your monitor. The computer plays the notes back, and the program stores the played notes on the computer. If this looks like an attractive option, seek a keyboard with this outlet.

Take the time to investigate all the piano keyboard options available to you on the market. There are makes and models to suit your exact requirements. All you need is an investigative attitude to search out the one that’s right for you.

Synthesizers are electronic, keyboard-based instruments that produce artificial, or synthesized, sounds. Many frequently mistake synthesizers for simply portable, electronic pianos, but the differences are extremely vast. While synthesizers can definitely produce a piano sound, their main purpose, usually, is to create sounds not specifically found on any other instrument. And the process of creating these sounds is sometimes very difficult; while some synthesizers come with pre-created sounds, or patches, many come with a clean slate. The synthesizers produce sounds by a series of dials and knobs dedicated to a variety of aspects: oscillation, modulation, sustain, delay and attack, just to name a few. Some synthesizers even create sounds based on a patch bay. Remember old telephone operators that patched calls through based on cords and inputs? Some synthesizers use the same principle (and are generally used by those with an extremely advanced knowledge of their workings). And what’s more, many older synthesizers don’t offer the option of saving the sounds created; instead, the user has to keep detailed records of dial and knob placement, being careful to catch every nuance. To recreate a sound on these synthesizers is to keep very meticulous notes.

I remember meeting Bob Moog back in the 70’s at a trade show in Anaheim across the street from Disneyland. More than any other person, Moog had created the first useable and affordable synthesizer. Soon the big companies in the field such as Yahama and Roland, which had much deeper pockets than Moog, produced many improvements on the synth and made them available to the average working musician. I think I bought my first synth in about 1980 — a Roland that I used for probably 10 years before moving on to something more current.

Synthesizers made their break into popular music during the 1970s and 80s when numerous progressive rock bands began using them to create cosmic, unfamiliar sounds. The use of synthesizers quickly developed into an entirely new genre of music, electronic music, headed by such veterans as Kraftwerk (who, by the way, are still massively popular). They eventually found their way into almost every branch of 1980s popular music — which is probably why they fell so far out of favor. Synthesizers in the mainstream music industry quickly became associated with 1980s bubblegum pop, the very thing that new rock and punk bands were railing against. And even while an electronic music scene thrived (and even revolutionized), synthesizers became known as the outdated kiss of death for popular, mass-audience intended music. The late 90s, however, saw a resurgence in the use of synthesizers among underground rock and punk bands (ironically enough) and have quickly become re-embraced by the popular music industry.

For information on using Synthesizers, click here:

http://www.playpianocatalog.com/electronic-keyboards-amp-synthesizers.html

Even non-musicians are familiar with keyboard instruments. Few people reach adulthood without having had at least one opportunity to bang on a keyboard of some type. However, many people (including musicians) aren’t aware of the history behind keyboard instruments. Their evolution is both fascinating and surprising.

Many people mistakenly believe that the harpsichord was the earliest keyboard instrument. Harpsichords were undoubtedly a precursor to the piano. However, the pipe organ actually predates the harpsichord by some 1100 years. In fact, the pipe organ was the only keyboard instrument until the invention of the clavichord and the harpsichord.

The earliest pipe organs were massive structures. Upon their emergence, few companies actually made pipe organs. Even fewer people were trained to install and repair them. Their size and complexity made them difficult to work with, although the sound they produced was magnificent. Pipe organs often contained multiple keyboards to operate the many pipes and produce the rich sounds that the instrument is associated with. Naturally, this was not the type of instrument that the average person played at home. Most pipe organs were located in churches and concert halls.

Eventually, more compact versions were invented. Pipe organs evolved into regular organs, which most people of today are familiar with. They were more easily afforded by smaller parishes and even private owners. They were also much more compact and easier to repair.

The clavichord entered the scene in the early 15th century. It first emerged as a “practice instrument.” Since not all musicians could afford or had easy access to an organ, the clavichord became a convenient alternative. It provided organists a means for practicing at home without having to go to a church or other location to find an organ. Clavichords were smaller than today’s piano and may be compared to today’s smaller keyboard synthesizers, minus the need for electricity.

It was likely very shortly after that the harpsichord was invented. The harpsichord more closely resembled today’s piano. This may be part of the reason that people believe the harpsichord was the first keyboard instrument. Modern pianos are based on a very similar design to its predecessors. Harpsichords, however, were much smaller (though larger than the clavichord). The harpsichord had many variations that operated on the same basic musical principles. Some of these include the virginal, the spinet and the clavicytherium.

Like music trends always do, the harpsichord fell out of fashion upon the advent of the piano. The piano, though usually a bit larger, produced a cleaner sound. Harpsichords became all but obsolete within just a few decades. Ironically, harpsichords have come back into fashion in recent years because of their unique and distinctive sound. They are often heard as part of the backup for many contemporary songs, though relatively few people actually own a genuine harpsichord.

The piano is by far the most common keyboard instrument today. They are found in nearly every school and church in North America, as well as in millions of private homes. Most every music student has at least some piano training. They are one of the easiest instruments to learn to play and provide a good musical basis for learning other instruments.

Of course, with an electronics-loving society came the natural evolution of the piano to a plug-in version. These are commonly referred to as synthesizers. Aside from the obvious difference from the piano in the requirement of electricity, synthesizers are capable of mimicking many different instruments. Even the most rudimentary of synthesizers usually have several different instrument modes. The more complex the machine, the more sounds it is able to reproduce. More expensive models are extremely complex and technical. Their technology is of such quality that it can be difficult to distinguish their sound from the actual instrument they are mimicking.

New advances in technology, especially in computers, are being made every year. How this will affect the further evolution of keyboard instruments remains to be seen. It appears, though, that the good old fashioned piano is here to stay for awhile.

When is a C not a C? It’s not a riddle or a trick question. It’s

a musical principle. The answer is: a C is not a C when you’re

playing a transposing musical instrument. And it’s not the instrument

that transposes, unfortunatly — some arranger or the player

himself must do that.

To understand what this means, you first have to understand the

definition of concert pitch. Pitch, of course, refers to the

frequency of sound. Concert pitch is the universally agreed upon

definition of the pitch of middle C (and subsequently, every

other note in an octave). From the dawn of written music to the

present day, no matter where on earth you are, middle C always

sounds the same. In other words, every musician in the world

understands and interprets middle C in the same way. This is the

simple definition of concert pitch.

Many instruments, therefore, are manufactured to concert pitch.

This means that when multiple musicians read “C” (or any other

note on a scale) on a musical score, they produce identical

sounds. Instruments that are manufactured in concert pitch

include the piano, some brass instrumnets such as the trombone

and baritone, some woodwinds such as the flute, oboe, and

bassoon.

Many other instruments are not made to produce concert pitch

sounds. These are referred to as transposing instruments. Many

woodwind instruments and some brass fall into this category. When

a transposing instrument player reads and plays “C” in a musical

score, it sounds different from a “C” played by a non-transposing

instrument.

Therefore, music that is written for a band consisting of both

transposing and non-transposing instruments must be adapted for

individual types of instruments. A typical marching band, for

example, may have the same score of music transposed into two,

three or more different keys.

The clarinet is an excellent example of this. It is a transposing

instrument, typically manufactured in B flat. If a B flat

clarinet and a piano played a “C” at the same time, the sounds

produced would not be the same. In order for a B flat clarinet to

play a note that matches a piano playing a “C,” it would have to

play one whole step higher. In other words, it would have to play

a “D.”

What if the two instruments had to play a song together? Music

for the piano would be written at concert pitch. The same music

would have to be transposed one key higher so that the clarinet

would produce the same sound. Though the two songs appear to be

in different keys, the sounds that each instrument would produce

will match in pitch.

Bb instruments include the Bb clarinet, the Bb bass clarinet, the

Bb tenor sax, the Bb trumpet. Music for these instruments are

written in a key which is a whole step higher than concert pitch.

Eb instruments include the Eb clarinet, the Eb alto clarinet, the

Eb alto sax, the Eb bariton sax, and the Eb alto horn. Music for

this group of instruments needs to be written a minor 3rd lower

than concert pitch.

F instruments include the french horn and the English horn. Music

for these instruments must be written in a key that is a perfect

4th lower than concert pitch.

It sounds complicated. You may even ask: why not just manufacture

the clarinet (or other transposing instruments) in concert pitch?

Though it seems this would solve some problems, there are good

reasons that certain instruments produce other pitches. The B

flat clarinet is preferred because it produces a cleaner, more

pleasant sound than a C soprano (concert pitch) clarinet. In

fact, the same is true of many transposing instruments. So while

using transposing instruments make more work for the composer, in

the end it’s all about the product. Serious musicians are known

for their keen sense of hearing. Since only the best quality

sound will do for them, composers will keep writing scores with

both types of instruments in mind.