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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Discover the keyboard that's right for you, whatever your budget!
Looking for a fun, challenging, and rewarding new instrument to play? Thinking about the piano but don't necessarily have the room or the budget to put one in your home?
Then grab a copy of the second edition of Keyboard For Dummies! In the book, acclaimed music technologist and keyboardist Jerry Kovarsky explores the wide variety of keyboards available, their sounds and features, and how to find the one that's right for you.
This book walks you through the basics of keyboard playing, from hand and finger placement, to reading music, understanding rhythm and the basics of chords and harmony. Then, take on the fundamentals of sound editing, using effects, and recording your music. You'll learn how to hook up a keyboard to your computer, iPad or smartphone using both wired and Bluetooth technologies.
Inside the book:
- Tips for choosing the right keyboard for you and keeping it in good condition
- Step-by-step tutorials to teach you keyboard hand placement and basic keyboard technique
- Suggestions for playing the most common keyboard sounds
- Playing along with rhythm patterns and auto-accompaniment
- Help with recording and editing songs
- Recommended online resources and example audio tracks
Whether you're a total keyboard novice or a more experienced piano player seeking to explore electronic keyboards, Keyboard For Dummies is the easy-to-read and fun guide to the instrument that you've been waiting for.
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Seitenzahl: 475
Veröffentlichungsjahr: 2025
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Keyboard For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Keyboard For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Table of Contents
Title Page
Copyright
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Where to Go from Here
Part 1: Getting Started with Keyboards
Chapter 1: Living in a Keyboard World
Distinguishing Basic Keyboard Characteristics
Speaking the Musical Language
Making the Most of Your Keyboard’s Basic Features
Delving into More-Advanced Digital Features
Practicing with and without Help
Chapter 2: So Many Keyboards, So Little Time
Identifying Different Types of Keyboards
Appreciating How Digital Keyboards Make Their Many Sounds
Considering Key Feel and Response
Paying Attention to Polyphony
Meeting the Major Electronic Keyboard Food Groups
Deciding Whether to Plug In
Chapter 3: Choosing the Right Keyboard for You
Looking at What’s Important for the Beginner
I’m Good; I Want More! Graduating to More Pro Features
Determining the Type(s) of Music You Want to Play
Considering Your Keyboard’s Location
Playing Well with Others and Alone
Purchasing a Gift for a Child
Doing Your Due Diligence
Chapter 4: Setting Up and Caring For Your Keyboard
Deciding On the Right Spot
Unboxing Your New Toy
Setting Up Your Keyboard
Hook Me Up: Taking Care of All Sorts of Keyboard Connections
Protecting Your Investment: Care and Upkeep
Solving Technical Problems
Part 2: Dipping Your
Toes
Fingers into Music Basics
Chapter 5: Musical Notation: Decoding the Musical Language
Getting Acquainted with Notes on the Keyboard
Making Sense of Music Notation
I’ve Got the Beat: Discovering How to Count
Chapter 6: Developing Your Fingering and Basic Technique
Getting in Playing Position
Putting Your Hands in Place
Making Smooth Crossings
Using a Pedal to Connect Notes and Sound Fuller
Practicing Productively
Chapter 7: Going Chord Crazy
Getting to Know the Five Basic Chord Types
Relating Chords to a Scale or Key Signature
Rearranging the Order of the Notes: Chord Inversions
Part 3: Using Common Keyboard Features
Chapter 8: Selecting and Playing Sounds
First Things First: Understanding Some Important Terminology
I Love a Piano! Focusing on Acoustic Piano
Selecting Various Sounds
Making Sure Your Selected Sounds Sound Right
Using More than One Sound at a Time
Chapter 9: Using Effects to Enhance Your Sound
Categorizing Common Keyboard Effects
Meeting the Main Types of Effects
Choosing Effects for Each Type of Sound
Chapter 10: Jamming with the Drummer: Playing Along to Rhythm Patterns
Getting Your Groove On: Working with Onboard Drum Rhythms
Adding Variety to Your Groove
Chapter 11: Join The Band! Adding Accompaniment
Playing with Accompaniment
Feeding the Band the Chord Changes: Chord Triggering
Spicing Up Your Performance
Mixing the Sound of the Band
Letting the Keyboard Make the Choices for You
Using Some Fancy Extras
Chapter 12: Exploring Arpeggiation
Tracing the Roots of Arpeggiation
Looking At Some Arp Examples
Exploring More Arpeggiator Features
Trying Out Some Different Sounds: Matching Sounds and Arp Patterns
Adding Fun Sound and Effects Tweaks
Part 4: Moving into More-Advanced Keyboard Features
Chapter 13: Laying Down Tracks: Recording Your Playing
Exploring the Two Basic Forms of Recording
Capturing What You Hear as It Happens: One-Pass Recording
Recording Multitrack MIDI
Refining Your MIDI Recordings
Getting Your Song out of the Keyboard and into the World
Chapter 14: Editing Sounds
Meeting the Main Forms of Synthesis
Relating Sound Characteristics to Synthesis Parameters
Trying Some Common Sound Edits
Chapter 15: Teacher Included: Using Onboard Learning Systems
Working with Built-In Songs
Taking Assisted Lessons
Learning via a Dedicated App
Chapter 16: The Computer Connection: Using Software to Enhance Your Music Making
Getting Acquainted with MIDI
Connecting Your Keyboard to Your Computer
Hooking Up to Your iPad
Exploring Popular Types of Music Software
Part 5: The Part of Tens
Chapter 17: Ten Tips for Keyboard Shopping
Know What Type of Keyboard You Want
Determine Your Price Range
Do Your Research
Make the Most of Your Trip to the Store
Bring Your Own Headphones
Ask for a Damper/Sustain Pedal
Listen to the Built-In Demos
Get Your Hands on the Keyboard
Compare Models
Find the Best Deal
Chapter 18: Ten Ways to Enhance Your Playing Experience
Set the Right Mood
Stretch and Warm Up Before You Play
Watch Your Posture
Set Up a Practice Routine
Use a Real Damper Pedal If You Play Piano/Electric Piano
Find a Music Buddy
Play Music with Other People
Listen to Recordings for Inspiration
Spend Time Studying on YouTube
Get Yourself a Teacher!
Appendix: Discovering What’s on the Audio Tracks
Index
About the Author
Connect with Dummies
End User License Agreement
List of Tables
Chapter 8
TABLE 8-1 Brand Names and Individual-Sound Terminology
TABLE 8-2 Brand Names and Multiple-Sound Terminology
Appendix
TABLE A-1 Audio Tracks
List of Illustrations
Chapter 2
FIGURE 2-1: Acoustic grand piano.
FIGURE 2-2: The harpsichord.
FIGURE 2-3: The pipe organ.
FIGURE 2-4: Rhodes MK1 suitcase electric piano.
FIGURE 2-5: Wurlitzer electric piano, model 200A.
FIGURE 2-6: Hohner D6 Clavinet.
FIGURE 2-7: Hammond B-3 with Leslie speaker.
FIGURE 2-8: Vox Continental combo organ.
FIGURE 2-9: Keith Emerson’s mighty Moog modular system.
FIGURE 2-10: The Korg Krome, a modern digital synthesizer/workstation.
FIGURE 2-11: Velocity sensors in a key mechanism.
FIGURE 2-12: Piano-style weighted key action.
FIGURE 2-13: Synth-style key action.
FIGURE 2-14: Waterfall key action.
Chapter 3
FIGURE 3-1: The piano damper mechanism.
Chapter 4
FIGURE 4-1: Common stand designs.
FIGURE 4-2: Popular headphone types.
FIGURE 4-3: Common headphone connectors.
FIGURE 4-4: RCA plug.
Chapter 5
FIGURE 5-1: The piano keys.
FIGURE 5-2: Locating C on the keyboard.
FIGURE 5-3: The white note names.
FIGURE 5-4: The black notes labeled as sharps.
FIGURE 5-5: The black notes labeled as flats.
FIGURE 5-6: The treble clef staff of music.
FIGURE 5-7: Notes outside of the treble clef staff.
FIGURE 5-8: The bass clef staff of music.
FIGURE 5-9: Notes outside of the bass clef staff.
FIGURE 5-10: Sharps and flats are placed before notes.
FIGURE 5-11: No black keys appear between B and C and between E and F.
FIGURE 5-12: The C major scale.
FIGURE 5-13: The key signature tells you any flats or sharps to always use for ...
FIGURE 5-14: An accidental remains in effect until you cross a bar line.
FIGURE 5-15: The natural sign, which removes the effect of a sharp or flat.
FIGURE 5-16: The grand staff joins together the treble and bass clef.
FIGURE 5-17: The time signature tells you how to count the music.
FIGURE 5-18: The common time symbol represents 4/4 time.
FIGURE 5-19: The bar line divides the staff into measures.
FIGURE 5-20: Whole note, half note, and quarter note.
FIGURE 5-21: A simple rhythm/counting exercise in 4/4 time.
FIGURE 5-22: The 4/4 counting exercise with different pitches for the notes.
FIGURE 5-23: The dotted half note, which is held for three counts.
FIGURE 5-24: A simple rhythm/counting exercise in 3/4 time.
FIGURE 5-25: Dividing the beat into two equal parts.
FIGURE 5-26: The eighth note divides the beat into two equal parts.
FIGURE 5-27: The sixteenth note divides the beat into four equal parts.
FIGURE 5-28: The tie symbol is used to add additional time to a sustaining note...
FIGURE 5-29: The various rest symbols.
FIGURE 5-30: A simple exercise with whole beat notes and rests.
FIGURE 5-31: A simple exercise including eighth notes and rests.
Chapter 6
FIGURE 6-1: Proper arm-to-keyboard positioning when playing sitting down.
FIGURE 6-2: Hand flat on a surface.
FIGURE 6-3: Perfect hand position.
FIGURE 6-4: Numbering the fingers of each hand.
FIGURE 6-5: Good hand position on the keys.
FIGURE 6-6: Playing two-beat counts with each hand.
FIGURE 6-7: Playing one-beat counts with each hand.
FIGURE 6-8: Hand independence (“Ode To Joy”).
FIGURE 6-9: Hands in the G position.
FIGURE 6-10: “Ode To Joy” in G major.
FIGURE 6-11: “Ode To Joy” in D major.
FIGURE 6-12: Stretching beyond five notes.
FIGURE 6-13: Crossing over a finger to momentarily play an extra note.
FIGURE 6-14: Crossing over a finger to move to a new hand shape.
FIGURE 6-15: Passing the thumb under.
FIGURE 6-16: A few major scales to practice crossing over and under.
FIGURE 6-17: A flat switch pedal versus a damper-style design.
FIGURE 6-18: Practice connecting notes with the damper/sustain pedal.
Chapter 7
FIGURE 7-1: The intervals within an octave.
FIGURE 7-2: The major chord.
FIGURE 7-3: The basis for many a rock hit!
FIGURE 7-4: The minor chord.
FIGURE 7-5: The diminished chord.
FIGURE 7-6: The augmented chord.
FIGURE 7-7: The sus chords.
FIGURE 7-8: The major scale triads.
FIGURE 7-9: More major scale triads.
FIGURE 7-10: The blues progression.
FIGURE 7-11: The pop or doo-wop progression.
FIGURE 7-12: The three possible inversions of each type of chord triad.
FIGURE 7-13: Using inversions to create smooth voice leading for the blues.
FIGURE 7-14: Using inversions to create smooth voice leading for doo-wop.
FIGURE 7-15: Smooth left hand examples for I, IV, and V.
FIGURE 7-16: Doo-wop chords played in close left hand positions.
FIGURE 7-17: I, IV, and V chords played in a pianistic style.
FIGURE 7-18: Doo-wop chords played in a pianistic style.
Chapter 8
FIGURE 8-1: The General MIDI (GM) logos.
Chapter 9
FIGURE 9-1: Visual representation of EQ.
FIGURE 9-2: A graphic EQ.
FIGURE 9-3: A parametric EQ.
Chapter 10
FIGURE 10-1: Front panel of a portable keyboard.
FIGURE 10-2: Locate the Accompaniment or Chords On/Off button.
FIGURE 10-3: Styles organized by category/genre.
FIGURE 10-4: Synchro Start waits for the first key to be played to start the dr...
FIGURE 10-5: Simple two-choice variation buttons.
FIGURE 10-6: Using the same button to alternate variations.
FIGURE 10-7: A more advanced arranger’s drum controls.
FIGURE 10-8: A feature-rich drum section control.
Chapter 11
FIGURE 11-1: Styles printed on a front panel.
FIGURE 11-2: Styles organized by category/genre.
FIGURE 11-3: Playing four basic chords using the Casio easy chord system.
FIGURE 11-4: Simple chord progression using the Casio chord method.
FIGURE 11-5: Playing four basic chords using the Korg/Roland/Yamaha easy chord ...
FIGURE 11-6: Simple chord progression using the Korg/Roland/Yamaha method.
FIGURE 11-7: Three easy chords to use when trying out accompaniment patterns.
FIGURE 11-8: Simple two-choice variation buttons.
FIGURE 11-9: Using one button to alternate variations.
FIGURE 11-10: A more advanced layout with multiple variation buttons.
FIGURE 11-11: Example mixer screens for some arranger keyboards.
FIGURE 11-12: Examples of reverb amounts/sends for a few arranger keyboards.
FIGURE 11-13: Examples of sound select per part for a couple of arranger keyboa...
FIGURE 11-14: The Korg and Yamaha music database main screens.
Chapter 12
FIGURE 12-1: A basic arp pattern.
FIGURE 12-2: A two-handed arp pattern.
FIGURE 12-3: Swing rhythm feel.
Chapter 13
FIGURE 13-1: Using a microphone to record.
FIGURE 13-2: A pro studio analog tape recorder.
FIGURE 13-3: A common hand-held digital recorder.
FIGURE 13-4: Audio recording computer software.
FIGURE 13-5: A MIDI event edit list.
FIGURE 13-6: Recorder transport controls.
FIGURE 13-7: Editing note timing in a MIDI event list.
FIGURE 13-8: Editing note timing in a piano roll view.
Chapter 14
FIGURE 14-1: Common synth waveforms.
FIGURE 14-2: Basic ADSR envelope shape.
FIGURE 14-3: Common amp EG waveform shapes.
Chapter 15
FIGURE 15-1: Front panel song list.
FIGURE 15-2: Front panel transport controls.
FIGURE 15-3: Front panel tempo controls.
FIGURE 15-4: Hand or Part Select controls.
FIGURE 15-5: Casio LK-S450 lighted key keyboard.
FIGURE 15-6: The Piano Roll display from the Casio Music Space app.
Chapter 16
FIGURE 16-1: The MIDI DIN connectors.
FIGURE 16-2: A USB port for transmitting MIDI.
FIGURE 16-3: A common USB device cable.
FIGURE 16-4: A MIDI interface with built-in cables.
FIGURE 16-5: A basic MIDI interface with two Ins and two Outs.
Guide
Cover
Table of Contents
Title Page
Copyright
Begin Reading
Appendix: Discovering What’s on the Audio Tracks
Index
About the Author
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Keyboard For Dummies®, 2nd Edition
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2025 by John Wiley & Sons, Inc., Hoboken, New Jersey
Media and software compilation copyright © 2025 by John Wiley & Sons, Inc. All rights reserved.
Published simultaneously in Canada
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Library of Congress Control Number: 2025942563
ISBN: 978-1-394-35682-9 (pbk); ISBN 978-1-394-35683-6 (ebk); ISBN 978-1-394-35684-3 (ebk)
Introduction
It used to be simple; you could say, “I play the piano” or “I play the organ.” That was pretty much it. Through the last few decades, thanks to technological advances, the world of keyboards has exploded. Now so many options are available that when you press down on those familiar black and white keys, any sound may come out. A small portable keyboard can have the sound of a nine-foot concert grand piano, and that baby grand piano–looking instrument can produce the sounds of a full orchestra and a rock band to boot! Anything is possible in the world of electronic keyboards today, and you don’t have to rob a bank to get a single keyboard that can do what took cape-wearing rock stars a circle of gear to do in the late ’70s.
And therein lies the reason behind Keyboard For Dummies, 2nd Edition. No one has adequately tackled this subject, explaining what all the keyboard options are and how to choose and use them. When I was approached to write the book, the task was more than a little daunting. I know the subject matter well; my whole career has been in keyboards — playing them, teaching with them, developing and marketing them, and enjoying them. But this field is such a wide area to cover, from simple little toys up through a wide variety of home and stage keyboards. So my goal is to make technology easy to understand, clearly explain the many types of keyboard available, and help you dive in and use and enjoy the features of these various instruments. I have only two requirements for covering an instrument in this book:
It has the aforementioned black and whites keys
It has a power cord or runs on batteries
Show me those two things and I’m in.
About This Book
Keyboard For Dummies, 2nd Edition makes sense of this wide world of electronic black-and-white key instruments. I explain all the types of keyboards available today, grouping them into logical categories. You gain a basic understanding of how they work, what each is good for, and how to choose the right one for your needs.
I cover the basics of music so that I can share some playing tips, and I introduce the fundamentals of synthesis so you can tweak your sounds and effects when you need to. You get into the basics of computer integration and even discover how to play songs by ear. My goals are to make things clear, interesting, informative, unintimidating, and most of all, fun! I don’t care what type of music or which keyboard family is your favorite. I try not to let my personal taste color any of my writing, though perhaps my age slips through now and again; I can’t try to be any younger (or older) than I am.
Covering such a wide array of keyboards and topics means that not every chapter relates to your specific needs. Keyboard For Dummies, 2nd Edition is written so you can dive into any chapter that interests you; you don’t have to read it from front cover to back. In particular, you can skip over shaded sidebars and anything marked with a Technical Stuff icon. These bits are interesting but provide more information than what you absolutely need to know to understand the point at hand. But I think that if you’re interested in keyboards, you’ll find every chapter of some interest to at least expand your horizons about the possibilities that are out there.
Reading is all well and good, but I’m talking about sound and music here. I love this quotation, often attributed to comedian Martin Mull: “Writing about music is like dancing about architecture.” I couldn’t agree more, so I provide plenty of online audio examples that take the words and concepts in this book and translate them into sonic reality for you to absorb and enjoy.
Within this book, you may note that some web addresses break across two lines of text. If you’re reading this book in print and want to visit one of these web pages, simply key in the web address exactly as it’s noted in the text, pretending as though the line break doesn’t exist. If you’re reading this as an e-book, you’ve got it easy — just click on the web address to be taken directly to the web page.
Foolish Assumptions
I’ve made some assumptions about who you, the reader, are. If any of these is true about you, this book is for you:
You’re a beginner to music, keyboards, and technology and want guidance from the ground floor up, including tips to help you purchase the right keyboard for you and help you use its features to the fullest.
You’re a good pianist who wants to explore keyboard technology.
You just love music and keyboards.
You’re a parent or other adult shopping for a keyboard for a child and need suggestions on which types and features are best for youngsters to practice with.
You’re curious and want to learn.
Icons Used in This Book
Throughout the book I use icons to help break up the text and to draw attention to points I’m making. Here’s what each icon means:
This icon highlights helpful info that will enhance your keyboard skills. It may be a shortcut or another way of doing things. Think of it as a friend, adding to the information at hand.
This icon identifies important tidbits you should squirrel away for later use.
Potentially damaging or dangerous issues carry the Warning icon. Take them seriously.
At times, I go into greater background detail than what you need to grasp a basic topic, and I use this icon to identify that extra information. It isn’t essential reading but gives you a deeper understanding of a subject.
I’ve sprinkled a lot of audio examples throughout the text to bring all the subject matter in this book to life. When you see this icon, it indicates that you can find an online audio track related to what you’re reading about.
Beyond the Book
In addition to the book content, you can find a free online Cheat Sheet that includes a glossary of common keyboard terminology, a helpful list of must-have and good-to-add accessories, and a who’s who of keyboard companies. Go to www.dummies.com, then type “Keyboard For Dummies 2nd Edition Cheat Sheet” to access this handy reference material, and then print it out and keep it by your side when purchasing, studying, and playing your keyboard.
You can also access additional free articles that cover information I simply couldn’t fit into the book. You’ll find information on sixth and seventh chords, the General MIDI (GM) soundset, and entertaining educational features included on some keyboards. I also offer lists of songs that showcase each type of keyboard. You can find them at www.dummies.com; search for “Keyboard For Dummies 2nd Edition.”
Finally, www.dummies.com/go/keyboardfd2e is home to the more than 100 audio tracks that accompany this book. Head there to listen to me demonstrate the sounds of instruments, play all the exercises provided, use various keyboard features, and much more. Sometimes I even talk!
Where to Go from Here
You don’t have to read Keyboard For Dummies, 2nd Edition in any particular order; I’ve written it to be modular, so jumping around is perfectly fine. You can turn to the table of contents, find the section you’re most interested in, and get started. That said, starting with Chapter 1 will give you a great overview of what this book covers.
If you don’t have a keyboard and want to learn about what’s out there, be sure to read Chapters 2 and 3. Want to know more about music and playing basics? Skip right over to Part 2. If you have an arranger keyboard or anything with automatic accompaniment, be sure to check out Chapters 10 and 11. Interested in synthesis? Chapter 14 is for you. Eventually, you’ll want to read them all; I wrote this book to be a resource that you can keep coming back to for (hopefully) years to come. Enjoy!
Part 1
Getting Started with Keyboards
IN THIS PART …
Meet the many kinds of keyboards that have been played throughout the years and the various types that are available today.
Determine what your music-making needs are and decide which type of keyboard is the best choice for you.
Settle your keyboard into its optimal home and follow some common-sense safety precautions and bit of upkeep to help keep it in tiptop shape.
Chapter 1
Living in a Keyboard World
IN THIS CHAPTER
Grasping the basic attributes of a keyboard
Understanding the benefits of reading music
Perusing beginner and advanced keyboard effects
Looking at practice options
You’ve probably seen images and scenes of people wielding the power and majesty of playing a keyboard:
Young genius Mozart driving his peer Salieri mad with his effortless brilliance (no, I wasn’t there; I saw the movie
Amadeus
)
Early rockers like Jerry Lee Lewis and Little Richard banging away like men possessed
The ever-so-detached cool of the jazz pianist, playing with head close to the keys, cigarette dangling from his lips, lost in concentration
Prog-rocker Keith Emerson stabbing knives into his Hammond organ and riding it across stages, and then, for a break, strapping onto a spinning grand piano
and playing,
in the ultimate feat of showmanship
Countless music videos in the ’80s featuring bands behind stacks of synthesizers or dancing around wearing strap-on keyboards (and sporting interesting haircuts to boot)
Singer-songwriters like Billy Joel, Elton John, Alicia Keys, John Legend, and Carole King spinning their tales of life and love from behind massive grand pianos
All these images (and more) have caused many a young boy and girl to embark down the road of playing keyboard. And many Baby Boomers and successful businesspeople have returned to this love after carving out their careers, wanting to pick up where they left off.
Beyond the familiar black and white keys, though, keyboards can be wildly different instruments, and looking at the front panels may not give you much of a clue as to what’s inside. This chapter gives you an overview of what keyboards are and just what you can do with them. Remember: I provide online audio tracks throughout the book to help demonstrate the topics at hand, including the discussions introduced in this chapter.
If what you’re interested in is the acoustic piano, I recommend Piano For Dummies (Wiley). It’s a wonderful guide to all things piano.
Distinguishing Basic Keyboard Characteristics
The first thing to realize is that all keyboards aren’t the same. They may make different types of sounds by different methods of sound production and are meant to do different things for the needs of different players. The following sections help you navigate this potentially confusing terrain.
Examining keyboard designs throughout the years
I divide keyboards up into the following types based on how they produce their sound to make the differences among keyboards easy to understand; you can read more about their differences in Chapter 2:
Acoustic instruments:
These instruments require no power to make their sound, so I don’t cover them here. But they include the acoustic piano, the harpsichord, and old pump pipe organs and such. Each produces its sound in different ways and sounds distinctly different from the others. And their sounds are certainly included in your electronic keyboard.
Electro-mechanical instruments:
These options produce their sounds mechanically or acoustically and then have amplifiers and electronics to make the sound louder. The classic Rhodes and Wurlitzer electric pianos fall into this group, as well as the funky Clavinet (clav) and the mighty Hammond organ. These sounds are important to know because they’re included in almost every keyboard you try out today.
Electronic instruments:
Keyboards in this group produce their sounds by electronic means, either analog or digital, and are what this book covers most in-depth. Electronic keyboards use a variety of technologies to produce their sounds. Brochures and websites throw around terms like
sampling, analog synthesis, DSP,
and
modeling,
along with hundreds of seemingly meaningless acronyms. In
Chapters 2
and
14
, I describe and compare all these methods of sound production.
Touching on key weight
Those black and whites may look the same at first glance, but keys (or the key mechanism) can vary greatly from instrument to instrument. The first main distinction is whether the keys are weighted. Weighted keys give the feel of playing an acoustic piano. These keys may seem harder to play, but they offer you much more control over your dynamics, or ability to play more softly and loudly.
Non-weighted keys are often called synth-action; they’re lighter to the touch and can be faster to play. The next step up is semi-weighted keys, which are firmer, more solid light-touch keys.
I discuss key weighting in greater detail in Chapter 2. The quality can vary from model to model and brand to brand, so it’s an important aspect to consider when buying a keyboard; be sure to check out Chapter 3 as well to find important considerations you should make when choosing a keyboard that fits your needs.
Join the family: Grouping keyboards
Electronic keyboards fall into well-established families or categories of instruments. Each has a relatively standard set of features and is meant to be used for specific musical needs and playing situations. Within each family, you encounter entry-level models that are more basic and then step-up models that add to the quality and number of sounds, the number of features, the size and quality of the keyboard feel, and so on. The main keyboard “food groups” are as follows:
Digital pianos:
Acoustic piano wannabes or replacements.
Stage pianos:
Digital pianos intended for the performing musician, with additional sounds and pro features.
Portable keyboards:
Fun, lightweight, and full of features to help you sound better.
Arrangers:
Keyboards with sophisticated backing features to produce the sound of a full band from your simple chord input.
Organs:
Instruments dedicated to reproducing the sound, features, and feel of the legendary Hammond B3. They may include some additional sounds such as pipe organ, combo organs, and even other keyboard and synth sounds.
Synthesizers:
Keyboards that allow you to make your own sounds and adjust the sounds provided. They can sound the most electronic and imaginative but now often include imitative and natural sounds as well.
Workstations:
Basically, synthesizers with onboard recording systems to allow you to create complete works of original music. Very advanced and feature-rich.
Controllers:
Keyboards that don’t make sound themselves but are used to trigger sounds from your computer, phone/tablet, sound modules, and other keyboards. These options use the MIDI standard to communicate with the sound-producing devices. (Head to
Chapter 16
for details on MIDI.)
Chapters 2 and 3 are your keys (pun intended) to getting more info on all these families of instruments. Deciding which one is right for your needs can be confusing, but I help you organize and prioritize your needs, thinking through what you want to do, where you want to do it, and what you can afford, in Chapters 3 and 17.
Speaking the Musical Language
Perhaps you can pick up simple melodies by ear and hunt and peck with a few fingers to play the notes, but eventually you’re going to want to develop your skills more. Learning to read musical notation opens up a way to communicate so much about playing any type of keyboard. It allows you to read the examples in this book and others; to buy sheet music and songbooks of your favorite piano pieces, artists, and songs; and to tackle instructional courses. Chapter 5 is your friendly and easy-to-follow introduction to the language of music. Developing your finger facility and strength takes you from fumble to finesse. Chapter 6 gets things rolling and will have you playing with good posture and fingering technique in no time.
Some forms of print music use what are called chord symbols to indicate notes that can be played beneath a melody. They’re usually intended for guitar players to strum along, but the keyboardist can also use them to enhance their playing. A form of print music called a fake book provides only a melody and chord symbols, so you need to know your chords to follow along. And you need to understand chords to use certain backing features of some keyboards. Read up on chords in Chapter 7.
Making the Most of Your Keyboard’s Basic Features
You can just turn on your keyboard and start playing, and you’ll have a great time. But these are electronic keyboards, and they do so much more than that. Your keyboard is brimming with features and cool capabilities, like any self-respecting tech product these days. I don’t know of any that offer video games or let you video chat with your friends, but you never know what may come to pass!
Working with sounds
Some keyboards offer a small grouping of sounds; simple digital pianos may have 16 or so. But most offer at least 100 and sometimes thousands. Finding them, selecting them, and understanding whether they’re simple single sounds or complex combinations of instruments stacked on top of each other or split between your hands takes some study. Chapter 8 breaks that all down and provides step-by-step instructions.
Exploring effects
What you hear coming out of a keyboard is actually more than just a sound; it almost always has some extra sonic treatment called effects added to it. Effects are audio treatments such as reverb, chorus, EQ, and delay, and they add to the spaciousness, color (sometimes called timbre or the unique identifiable quality of a sound), and tonality of each sound. Even in simple keyboards, you have the choice whether to use them, and many keyboards allow you to vary the settings of their effects to produce different results, sometimes completely changing what effect a sound uses. Chapter 9 has the details.
Getting into automatic playing features
Many of today’s keyboards have functions that can do some playing on their own (with your guidance, of course). You can sit back and let the keyboard do some of the work. The most common features are
Drum rhythms:
All portables and arrangers and many high-end digital pianos offer an on-demand drummer to add some groove to your performance. You can select the choices from the front panel, add fancy transitions called
fills,
and sometimes select progressively busier variations. Some stage pianos, synths, and workstations also offer these grooves, although they may be lurking within the arpeggiator feature (which I discuss in a moment). Visit
Chapter 10
to find out more about getting your groove on.
Auto-accompaniment:
How about having a full backing band ready to play whatever style of music, song, or chords you think of? Portables, arrangers, and some high-end digital pianos can do that and more. If you haven’t been around keyboards and music for some time, you may not realize just how good the backing bands on today’s keyboards have become. In a word: amazing! But like anything in life, you get back what you put into it, so read
Chapter 11
to bone up on all the ways you can lead your band to even greater heights and realism.
Arpeggiation:
With
arpeggiation,
you hold a few notes or a chord, and the keyboard repeats them over and over in a dizzying array of possible patterns — from simple up and down repetitions and pulsing grooves to complex rhythmic patterns. An arpeggiator is often what produces the fancy riffs you hear in pop and dance music. Many of the more advanced options can also produce realistic guitar strumming, harp flourishes, and even drum grooves.
Chapter 12
has an introduction to this cool tool.
Delving into More-Advanced Digital Features
If you think of yourself as tech-savvy, you’re probably looking for even more from this book, and I’m ready for you. Many of the keyboards have pretty advanced features — some that you would’ve thought you needed a computer to do. The following sections dive deeper into these digital waters.
Stepping into the virtual recording studio
Keyboards now commonly include some form of recording so that you can play and then listen back to yourself. Two forms of recording are available today:
Audio recording:
This method is the recording of the actual sound you produced. It’s what you listen to from a CD, your phone/tablet, or your favorite online music streaming service.
MIDI recording:
MIDI
is the
Musical Instrument Digital Interface
standard, a fancy name for a digital way that musical products can talk to each other. It’s not the sound you hear but rather a way of communicating the gestures and settings of your electronic device as you played it.
Each format has its own terms, capabilities, and benefits, and musicians at every level use each of them. Chapter 13 breaks them both down and helps you see what you and your keyboard can do in terms of creating and sharing your music with others. If you want to know even more about MIDI, check out Chapter 16 as well.
Shaping the sounds you play
So many of today’s keyboards offer control over the sounds that are included, whether that’s adjusting them a little bit or completely changing them, warping them, or building them from the ground up. For many musicians, creating the sound is as important as the music they play with it. The art of making sounds is usually called programming a keyboard, or sound design. If you’ve heard the terms waveform, oscillator, filter, envelope generator, or LFO, you know that they’re the building blocks of this creative art. And Chapter 14 is your entry into this highly rewarding aspect of using an electronic keyboard.
Checking out the computer connection
Thanks to the development of MIDI, keyboards can connect to computers, smartphones, and tablets for a broad array of activities and enjoyment. In Chapter 16, I introduce you to all these categories of software, from recording and sound editing to playing additional sounds that are running on your device to working with virtual teachers. This exciting world is the cutting edge of music making and study.
Practicing with and without Help
Whether you prefer to study keyboard playing with an electronic teacher or just want to hack out songs you love on your own, I have you covered.
Lurking inside many portable keyboards and digital pianos are patient music teachers, waiting to help you learn a few tunes and build your musical skills. They never yell, won’t slap your wrists with a ruler, and are willing to go over things as slowly and as many times as you need. In Chapter 15, I explain the ways today’s keyboards give you virtual keyboard lessons and provide practical advice on how to get the most out of them.
But sometimes you hear a song and you just want to sit down and play it right away at your keyboard. Why wait until you can buy the music or go to your next piano lesson?
Chapter 2
So Many Keyboards, So Little Time
IN THIS CHAPTER
Defining the differences among acoustic, electro-mechanical, and electronic keyboards
Describing key feel and polyphony
Getting to know the many types of electronic keyboards available
Debating the pros and cons of acoustic and electronic keyboards
At first glance, keyboards seem like they must all be the same. After all, each offers the familiar groupings of black and white keys, right? In truth, other than the fact that you place your fingers on the same keys to produce the same notes, the world of keyboards is vast, and each instrument is played somewhat differently than the others. They feel different, they’re different sizes and weights, and they can vary significantly in cost. Some keyboards produce one sound, others offer a few sounds, and others may produce thousands of different sounds.
If you’ve watched your favorite artist or band perform, you’ve often seen a keyboard player behind a couple of keyboards or perhaps surrounded by a large circle of them (cape and wizard hat optional). Or you’ve seen a band with two, three, or even more keyboardists, each with a couple of keyboards piled up. Perhaps you’ve wondered why they had so many: Is it a macho reaction to the guitar player with that wall of amps? A nerd fantasy run amuck? Or do they actually require multiple keyboards to produce what you’re hearing and enjoying? I think all of the above are true to some extent, but the final option is the actual serious answer.
In this chapter, I pull back the curtain on the wide variety of keyboards that exists. I help you understand the basic technology of how they make their sound(s), what makes each one special, and what each is best for. I explain how digital pianos reproduce the acoustic for far lower cost, smaller size, and less required upkeep. You discover what touch sensitivity is and how that dynamic control over volume behaves differently on the various types of keyboards. Finally, I help you recognize when only the real acoustic instrument will do.
Identifying Different Types of Keyboards
The first step in helping you understand the vast array of keyboard instruments is to break them down into some logical groupings based on how they’re designed and how they operate. The following sections outline these groupings: acoustic, electro-mechanical, and electronic.
Acoustic keyboards
An acoustic instrument produces its sound mechanically, without the need for electricity, speakers, or any form of electronics. It’s made from natural materials such as wood, metal, fabric, or even animal skin. So when you think of acoustic instruments, you think of an acoustic (steel or nylon string) guitar, the upright bass, a conga drum, and so on. In the world of keyboards, the main acoustic instruments are the acoustic piano, the harpsichord, the clavichord (not the Clavinet!), the celeste, and the earliest pipe organs. (Think about it: Bach certainly didn’t have access to electricity!) Figures 2-1 through 2-3 show the big three from this group: the acoustic piano, the harpsichord, and the pipe organ, respectively.
The piano (and to an extent, the clavichord) strikes a tuned string with a type of hammer to produce a musical pitch. The harpsichord plucks a string to do the same. The celeste uses a hammer to strike a metal bar to produce a bell-like tone. And the pipe organ runs pressurized air (called wind) through a pipe to produce a sustaining musical tone. Each instrument has different-sized objects attached to each individual key to produce all the pitches needed to play a piece of music. So even though you see the same layout of black and white keys on the keyboard, what happens when you press a key down is very different inside the instrument.
Listen to Tracks 1 through 5 to hear examples of each of these acoustic keyboards.
Photograph courtesy of Yamaha Corporation of America
FIGURE 2-1: Acoustic grand piano.
© Maxim Anisimov/iStockphoto.com
FIGURE 2-2: The harpsichord.
© leadinglights/iStockphoto.com
FIGURE 2-3: The pipe organ.
In the world of acoustic instruments, the size of the instrument itself determines the volume or amount of sound the keyboard can produce. Larger/longer strings, bigger pipes, and a bigger body help the keyboard produce more sound. In the case of a piano, a wooden soundboard inside the case resonates to help amplify or increase the volume of the vibrating string(s). So a smaller spinet piano can’t produce as loud a sound as a nine-foot concert grand piano, in large part because of the size of this wooden soundboard.
Electro-mechanical keyboards
An electro-mechanical instrument is one that combines an acoustic/mechanical sound generator with some additional electronics, usually to help amplify or increase the volume of the sound produced. So the initial sound, both the tone and pitch, is determined by an acoustic mechanism (usually a string or metal object being plucked or struck in some fashion). All these instruments include a pickup per string/tone (a device that translates sound vibrations into an electrical signal) and an amplification system for you to hear their sound, which means they require electricity to operate. And without feeding the sounds into an onboard or external speaker, you wouldn’t be able to hear them.
These instruments are so popular that they remain the core group of sounds (along with the acoustic piano) reproduced in all electronic keyboards to this day. So getting more familiar with their features and sound is an important part of your keyboard education.
The most common of these instruments include the Rhodes electric piano (sometimes called the Fender Rhodes and often alluded to as a tine piano), the Wurlitzer electric piano (often referred to as a reed piano), and the Hohner Clavinet (commonly called clav for short), pictured in Figures 2-4 through 2-6, respectively. Slightly less common but still popular were the Hohner Pianet and the Yamaha CP-70/80 electric grand pianos.
Photograph courtesy of Ken Rich/Ken Rich Sound Services
FIGURE 2-4: Rhodes MK1 suitcase electric piano.
Tracks 6 through 12 provide examples of each of these electric pianos and electro-mechanical instruments.
The Hammond organ (the most common models are the B-3, C-3, A-100, and L-100) is also an electro-mechanical instrument, producing its sound through a spinning tonewheel method. Figure 2-7 shows the classic B-3 with a Leslie speaker cabinet, its most common means of amplification.
Photograph courtesy of Ken Rich/Ken Rich Sound Services
FIGURE 2-5: Wurlitzer electric piano, model 200A.
Photograph courtesy of Ken Rich/Ken Rich Sound Services
FIGURE 2-6: Hohner D6 Clavinet.
Photograph courtesy of Hammond Suzuki USA
FIGURE 2-7: Hammond B-3 with Leslie speaker.
Another distinctly different electro-mechanical instrument is the Mellotron, which plays back taped recordings of sounds (amplified through electronic means) when a key is pressed. So although its original tone isn’t produced acoustically, it’s produced from a mechanical mechanism: a tape playback system (think back to eight-track tapes if you’re old enough to remember those).
Listen to Tracks 13 and 14 to hear examples of the Hammond organ and Mellotron.
Electronic keyboards
Electronic keyboards produce their sounds completely by some electronic or digital means. They may contain tubes, transistors, resistors, chips, and circuit boards inside — no vibrating strings or spinning elements involved. The early combo organs from the ’60s, such as the Vox Continental (shown in Figure 2-8) and the Farfisa Compact, are common examples of electronic keyboards used in pop and rock music of that day. Throughout the ’50s and ’60s, electronic console and theatre organs were the main home keyboards other than an acoustic piano.
Photograph courtesy of Korg USA, Inc., and David Jacques
FIGURE 2-8: Vox Continental combo organ.
In the late ’60s/early ’70s, the Moog synthesizer started to be used in rock, pop, and other types of music. Figure 2-9 shows the Moog modular system that Keith Emerson used for the classic solo on “Lucky Man.” Other brands soon followed, such as ARP, Sequential Circuits, Oberheim, EML, EMS, and Korg. These instruments are all examples of analog electronics, in which electronic voltages move between components and are manipulated to produce the desired sound. Many of these famous analog synthesizers are still sought after and used today because each had its own characteristic sound and features. Analog synthesizers remain so popular that a number of companies are making new models today, from the simple to the highly complex.
A synthesizer is an electronic keyboard whose primary purpose is to provide the user access to the tools and functions to create and vary the sound produced. I use the term to make that distinction from other electronic keyboards that offer only preset sounds or have limited access to sound shaping/creation.
Check out Tracks 15 through 17 for examples of the Vox and Farfisa organs as well as a Moog synthesizer.
Photograph courtesy of Tony Ortiz, Archivist for Emerson, Lake & Palmer
FIGURE 2-9: Keith Emerson’s mighty Moog modular system.
The mid-’80s saw the development of the digital keyboard and synthesizer that has continued through today. These products are really dedicated computers running software designed to do a specialized task: make musical sounds. Most use custom chips and circuits and won’t run your favorite shoot-’em-up games or connect to the Internet, but some do repurpose a computer to become a complete music studio. Some of the most famous digital keyboards/synths are the Yamaha DX7, the Korg M1 music workstation, the E-mu Emulator sampling keyboard, and the Casio SK-1. All the keyboards I discuss in the next section are electronic, and they’re by far the most common type you find today. Figure 2-10 shows a modern-day electronic keyboard.
Photograph courtesy of Korg USA, Inc.
FIGURE 2-10: The Korg Krome, a modern digital synthesizer/workstation.
Appreciating How Digital Keyboards Make Their Many Sounds
Today’s keyboards are pretty amazing; press a button and any sound can come out. Want sounds such as acoustic piano, electric piano, and organs? Check. Saxes, flute, trumpet, trombone, violin, and cello? Check. Rock guitar, bass, drums, and even crowd applause? Check. Soaring synth leads, burbling electronic blips and bleeps, and swooshing and sweeping sound effects? All that and more!
Did you ever wonder how they make all these different sounds? Digital keyboards aren’t all the same; they produce their sounds many different ways. Here are the major methods they use (check out Chapter 14 for how to use these methods to shape sounds):
Digital synthesis:
Digital synthesis
is a broad category indicating that the manufacturer has designed a special method of making sound, using a computer chip to produce artificial tones that can be varied and manipulated into many different sounds. Don’t be put off by my use of the term
artificial;
these instruments can produce wonderful sounds and often can provide expressive imitations of real-world instruments.
Frequency modulation
(FM) is a form of
algorithmic synthesis
that Yamaha used to produce many highly successful synths like the DX7, and it’s still used today in some products. Casio had what it called
phase distortion
(PD) in its CZ range of synths, and Kawai used a digital technology called
additive synthesis
in its K-series synths, to name just a few.
Sample-playback:Sampling is the process of digitally recording the sound of a real-world object and being able to play it back and further manipulate the recording. Sample-playback can sound much more realistic than other forms of synthesis because it’s using the real sound as opposed to a re-creation or imitation of an instrument’s sound. Sampling first appeared in keyboards in the ’80s, and instruments such as the E-mu Emulator, the Ensoniq Mirage, the Fairlight CMI, and Akai samplers became very popular. Because digital memory was very expensive in those days, the sounds were good but not yet great. Costs have come down over the years, and today keyboards (and computer software) that use sample-playback can produce highly nuanced and very realistic sounds.
A variation of sample-playback that is becoming popular is called granular synthesis. This method takes a sampled sound and breaks it up into hundreds (even thousands) of small slices to allow you to alter and manipulate the sound in very creative and often otherworldly ways.
Physical modeling:Physical modeling is another form of digital synthesis, but it specifically focuses on studying how a real-world instrument creates its sound and then re-creates each piece or component of the original device down to its materials, behaviors, and responses. For example, to replicate a drum’s sound, you’d look at the materials the head and body are made from, the size of the body or shell, and so on, and how that part of the instrument would change over time after being activated or react depending on how it was struck. Stringed, woodwind, and brass instruments; drums; and mallet instruments are all areas that have been explored using this approach.
In the world of keyboards, the most common instruments modeled in this fashion are the clav, the tine (Rhodes) and reed (Wurlitzer) electric pianos, and especially the tonewheel (Hammond) organ (often called clonewheels). This form of synthesis gives you very detailed control over all aspects of the sound and in some instruments lets you create new designs that don’t exist in real life. Roland has done some very interesting things in this regard for the acoustic piano (in V-Piano), allowing you to imitate changing the strings’ material and length, the hammers’ size and material, and other futuristic manipulations. In software, a company called Modartt is doing similar things with its Pianoteq line of titles.
Virtual analog:
Virtual analog
