But today, even if you start with classical music, you can choose your own adventure. You can discover your sound and expression in jazz, hip hop, electronic music, and even production.

All it takes is an open mind. And maybe a little guidance. To help you along, I sat down with Nicholas Dupuis, the classically trained keyboardist and producer behind Anomalie. Here is our chat, edited for length and clarity.

Montreal & Origins

Let’s get you in your own words: want to introduce yourself?

Hello! My name is Nico. I’m a keyboardist and producer and I’ve released albums under the name or moniker “Anomalie”. I am from Montreal, Canada. I’m a French-Canadian. 

How and why did you choose the name Anomalie? 

Mainly, I wanted a name that was spelled in French to present some kind of Montreal identity. I also wanted it to be a word that’s found in other languages.

Tell me a bit more about the “Montreal identity.” What makes Montreal so special to you?

I love the city. Very, very much. I think it is very active, culturally. Just to start off, there’s the bilingual nature which creates a unique dynamic in North America. 

But there’s also so many festivals. The Jazz Festival on its own is just such an institution and it kind of represents the city internationally on a cultural level as well. It has grown so much since it was first created. 

There’s also a duality to the Montreal scene. On one hand, the city is often included in the touring cycle of international artists, and on the other you have this bubble of francophone artists who sometimes export what they do to other French-speaking countries and sometimes transcend the barriers of language, but it’s pretty rare.

Add to that the underground scenes in Montreal and you get this combination that is like a breeding ground for really cool creativity and different styles are born from that.

Educational Background

How do you think other aspects of your environment shaped you as a musician?

I grew up in an environment that really favored falling in love with music. I was fortunate to be born into a very musical family. My dad is now retired for a while, but for most of his life he was a radio host focused on mostly classical music. My mom is a piano and music theory teacher. For some people, being raised in that environment can push them away from music, but in my case it really pulled me to it.

What was your learning path like?

I’ve been playing piano since I was a kid. I began in the classical world and, in my teens, pivoted toward electronic music with GarageBand. And then jazz came afterwards where I got introduced to Herbie Hancock and Chick Corea and other pioneers of the jazz fusion world where synthesizers are used.

Discovering that scene and hip-hop is how the early stages of Anomalie was born.

Nice! You mention you were classically trained. Were you formally educated in music production? 

A lot of what I learned about music production and sound design was self-taught. To this day, it’s just trial and error and trying to find my own taste for things. 

It’s the most important aspect of creation in general: going toward things that appeal to your own sense of taste, which you develop through both creating and actively listening.

And a lot of my early stuff was just, like, objectively not very good.

But I kept making more and more, and got more acquainted with several features of the DAW I was using. As I went, I combined this with some of the stuff I was exploring on the piano.

I got acquainted with new repertoire, watched YouTube tutorials, saw how others worked, and learned from actually producing.

Did you have any formal training beyond that?

I went to school for Jazz Performance. In Quebec, we have something called CÉGEP, which is between high school and university. So I did a three year program at Cégep de Saint-Laurent with an amazing teacher called Lorraine Desmarais, who is an incredible jazz pianist. I owe so much to her in terms of jazz piano. 

And growing up, my piano teacher’s name was Yolande Gaudreault, who is a legend. She has a school in the southwest part of the Island of Montreal and a lot of the career classical pianists that are doing really well also studied with her. I went a different path with production and a jazz-leaning angle, but I owe so much to her, too.

Teaching Masterclasses

Speaking of teachers, I’ve heard you teach masterclasses before your concerts?

Yeah! I got the idea from an amazing Prog guitar player from Australia called Plini. He does something like it, too.

How do people get into the masterclass?

It’s part of a VIP package. A lot of artists that tour, especially those like me who are in the mid-tier of venue capacity, offer VIP packages. You pay a certain amount and get access to soundcheck, or get to do a Q&A with artists, which is awesome.

But when I thought about my audience, a significant percentage of them happen to be musicians on a lot of different levels, so I felt it made sense to do an actual masterclass or group lesson.

Oh, so it’s like a VIP perk! Have the lessons stayed the same?

I share my approach to arrangement, harmony and production. In the earlier years, there was a portion on production as well, but because I only had an hour, I would end up speaking very quickly to cover a lot of ground.

In the last two years, my masterclasses have focused mostly on harmony and reharmonization. I also dedicate a portion of the time to giving people a chance to guide the masterclass in a certain direction if there’s a question that pops up.

It’s awesome, because even though there’s prepared material that stays consistent throughout the tours, sometimes the class will go into completely new directions.

That sounds like a lot of fun!

It is! It’s just such a great way to connect with people who have similar interests and to share some knowledge and be enthusiastic about music and music theory. So it’s really cool.

Transferable skills: From Classical Pianist to Music Producer

Do you think knowing piano is helpful for people who want to become producers? Would you recommend everyone who wants to do what you do to learn it?

I think it definitely facilitates a lot of things. I’m very biased. I would encourage everyone to learn it.

It’s an incredible tool to help navigate music-related things. Like, learning harmony through this instrument is what everyone does at some point because you can very easily visualize concepts and apply them in a concrete way. And for production, it’s such a cool medium to explore other types of sounds.

Going from Classical to Jazz

On the topic of grasping new concepts: I’m a classically trained pianist who, after starting here at Pianote, started taking jazz lessons.

Nice!

Yeah! It feels like I’m a beginner again. Like my brain is picking up a new dialect.

Totally.

What would be your advice for someone who is going from the classical route of reading notes off a piece of paper, to the jazz route of using your ear, improvising, understanding harmony and all that?

When I think back to moving from classical to jazz I remember feeling almost dizzy as I tried to find my way.

I would say first, take things one step at a time. One of the first things my jazz teacher taught me was that you build your musical vocab through active listening and spotting specific patterns or motifs that a player often uses. Remember that everything that comes out instinctively is something that, at some point, you consciously or unconsciously integrated and took time to practice.

Another part is taking the time to learn different motifs like little blues licks, the blues scale, certain chord progressions, different ways to voice all of those chords starting with a blues structure — like two chords or three in the 12- or 16-bar form. 

These are things you’re still getting from sheet music, so it’s a transition that feels natural.

Eventually, you get away from sheet music and just look at your instrument and apply what you’ve heard and learned in all keys, different contexts, making connections, linking different patterns together, coming up with your own variations. And then, at a certain point, your ear is trained enough to be able to transcribe.

So you’d say transcribing is important?

I think it’s an incredibly important goal. Once you get to that point where you’re able to transcribe repertoire that you personally selected,  you’ll have an endless amount of vocab you can learn for the rest of your life.

You could transcribe a solo and play it as-is, or isolate specific licks or moments you’re interested in and make exercises out of them. It’s powerful.

How do you get started with transcribing?

Begin by transcribing monophonic instruments. Like a sax solo, a clarinet solo or a trumpet solo. You’re focusing on melody. There are fewer parameters and you can slow it down and just play with your right hand. You can build from there.

How about transcribing harmony? How do you work on identifying chords?

Get familiarized with the feel or color of a certain chord. A great exercise is to record a bunch of different major and minor triads in quick succession over different notes. So, maybe a series of 20 or 30. Then you randomize the order, play them back, and identify them. Add more chord options or inversions as you progress. It makes you more efficient to analyze how a certain chord feels as opposed to identifying the individual voices.

Education: what should change?

That’s a very creative approach! It makes a game out of learning. Do you think that piano education needs more of that? Does anything need to change to help young musicians become professionals?

That’s a very big question. Unfortunately, I don’t have a definitive answer because there are so many different paths possible today.

I feel grateful because Yolande, my teacher as a young musician, was anchored in classical music but had an open mind and allowed for expressiveness and deviating a little. 

I think open-mindedness is an important factor. There’s a place for purists because they have the role of preserving, in some cases, historic accuracy or a certain school of thought.

But being open-minded breeds hybrids and variations of different schools of thought.

Timbre and the Piano

Open-mindedness seems like a theme in your approach to music. It reminds me of how, in another interview, you talked a lot about timbre and the piano which I found interesting because piano is typically thought of as pretty monotonous. At least where timbre is concerned.

Yeah, people can view piano as a monotonous instrument in some ways because it’s percussive. Once you’ve played a note, it kind of slowly dies off and yeah, that’s the end of it.

Right! So how do you experiment with timbre when playing? How can a pianist play with more texture?

That’s super interesting! Yeah, you can’t really add expression on a single note. Not directly, at least. Synths are pretty great for pianos in that sense, where you can mimic what is being done with the human voice and wind instruments. These traditionally have more expression.

But even on a real instrument, there’s playing with a damper pedal. Or playing with felt on a piano so everything kind of feels muffled. These are such interesting ways to drastically alter your timbre in a creative way.

There’s also the different range of dynamics you get depending on the kind of instrument you’re using, like a cheap upright or a more expensive upright, or a grand piano which has double escapement.

That has a lot to do with expressiveness and timbre. And because we have two hands, we can play different lines or voices at the same time on the piano, choosing to prioritize a certain inner voice or top line, or the bass movement — that decision alone is such an important factor in timbre and expressiveness.

But even on a real instrument, there’s playing with a damper pedal. Or playing with felt on a piano so everything kind of feels muffled. These are such interesting ways to drastically alter your timbre in a creative way.

There’s also the different range of dynamics you get depending on the kind of instrument you’re using, like a cheap upright or a more expensive upright, or a grand piano which has double escapement.

That has a lot to do with expressiveness and timbre. And because we have two hands, we can play different lines or voices at the same time on the piano, choosing to prioritize a certain inner voice or top line, or the bass movement — that decision alone is such an important factor in timbre and expressiveness. 

There’s also playing around within the context of a certain phrase: determining—either in advance like in a written piece or in an improvised solo—where you are headed. For example, is there a gradual crescendo headed toward a certain point in your phrase? Or maybe a change in nuance throughout the phrase, going up and down not only in dynamics, but also playing around with tempo. Playing with rushing and dragging.

Oh, and repeated notes as well.  By default, you play a note and it kind of dies off. So, whether on the same note or an octave that just doubles, while repeating the note you can make it super percussive by playing around with rushing and dragging. Or kind of mimicking what a wind player would do with a sustain note that goes up and down in volume, you can do that with a repeated note or octave. They’re all cool avenues to explore.

Yeah! I think repeating notes is something I keep forgetting I could do. When soloing, I get so anxious about needing to play really fast and play these really impressive arpeggios, but just repeating a note can sound so much more sophisticated.

Oh yeah, it’s a world of difference. As you say, you can get obsessed with, like, kind of thinking horizontally. Trying to achieve speed or expressiveness through that. But a repeated note can be as, if not more, efficient in certain ways or contexts. 

Last question. What’s next for Anomalie?

In March, we did our last tour of the two year-ish cycle off the previous album. 

So I took the last two and a half months to really go into hermit mode and try to reconnect with practice and writing. Over the summer and potentially some of the autumn as well, I’ll be focusing on writing the next chapters, the next project. 

That’s going super well, and when it eventually comes out, we’ll get back together with the band and do another touring cycle. And that’s the way it goes!

That’s the way it goes! Thank you so much for sitting with me today.

Thank you so much for having me.

The post Finding Your Piano Path With Anomalie (Interview) appeared first on Free Piano Lessons Online | The Note | Pianote.

In this post, we’ll discuss how to create a pentatonic scale, why it works so well, and tips on how to use it to improvise.

The Major Pentatonic Scale Formula

When people talk about “the pentatonic scale,” they’re usually referring to the major pentatonic scale. The major pentatonic scale is built on degrees 1, 2, 3, 5, and 6 of the major scale. For example, this is the pentatonic scale in C Major:

Major Pentatonic Scale in All 12 Keys

Here are the major pentatonic scales in all 12 keys. If you find these graphics useful, you can find more chords and scales diagrams in our Chords & Scales library.

C Major Pentatonic Scale

D-Flat Major Pentatonic Scale

D Major Pentatonic Scale

E-Flat Major Pentatonic Scale

E Major Pentatonic Scale

F Major Pentatonic Scale

F-Sharp Major Pentatonic Scale

G Major Pentatonic Scale

A-Flat Major Pentatonic Scale

A Major Pentatonic Scale

B-Flat Major Pentatonic Scale

B Major Pentatonic Scale

The Minor Pentatonic Scale Formula

The minor pentatonic scale is built on degrees 1, 3, 4, 5, and 7 of the minor scale. In A Minor, the minor pentatonic looks like this:

Minor Pentatonic Scales in All 12 Keys

Here are the minor pentatonic scales in all 12 keys. If you find these graphics useful, you can find more chords and scales diagrams in our Chords & Scales library.

C Minor Pentatonic Scale

C-Sharp Minor Pentatonic Scale

D Minor Pentatonic Scale

E-Flat Minor Pentatonic Scale

E Minor Pentatonic Scale

F Minor Pentatonic Scale

F-Sharp Minor Pentatonic Scale

G Minor Pentatonic Scale

A-Flat Minor Pentatonic Scale

A Minor Pentatonic Scale

B-Flat Minor Pentatonic Scale

B Minor Pentatonic Scale

Why the Pentatonic Scale Works So Well

If the pentatonic scale sounds familiar to you, you’re on to something. It’s incredibly popular in modern pop and rock music. It also has a long history stretching back thousands and thousands of years. Here are some more intriguing reasons why the pentatonic scale is so magical:

Most humans recognize the pentatonic scale

Not everything in music is universal. For example, the seven-note diatonic scale common in Western music doesn’t exist in other cultures. But practically every music-making culture in the world recognizes the pentatonic scale. It’s been found everywhere, from Asia and Africa to Europe and North America. 

The pentatonic scale seems embedded into our psyche as humans. You can see Bobby McFerrin demonstrate this phenomenon in the following video. He sings a scale with a missing note and the audience intuitively fills in the right note. According to McFerrin, this works in every audience he’s presented to, no matter where they are in the world.

The major pentatonic scale avoids dissonance

Consider the standard C Major scale:

C – D – E – F – G – A – B

The bolded notes are the ones missing from the C Major pentatonic scale. They are the fourth and seventh degree of the scale. Together, these notes form a tritone, a particularly harsh-sounding interval. Apart, you’ll also notice that F and B form semitones with their neighboring notes. These attributes make them more difficult to work with because these notes are more prone to dissonance.

But if you stick to pentatonic scale notes, you automatically omit these notes. This makes the scale very “safe” and versatile.

The pentatonic scale and the blues scale are closely related

Another reason you might like the sound of the pentatonic scale is because of its similarity to the blues scale. While the blues scale is less universal than the pentatonic one, it is widely used in popular music and will sound familiar and pleasant to most modern music lovers.

So what’s the difference between the pentatonic and the blues scale? The standard blues scale is just a pentatonic scale with an added “blue” note. In the major pentatonic scale, the blue note is ♭3. In the minor pentatonic scale, the blue note is ♭5.

How to Improvise on the Piano Using the Pentatonic Scale

A common habit beginners fall into is playing the pentatonic scale up and down over a chord progression. While this sounds perfectly fine, it can quickly get stale. If you want to challenge your creativity and come up with more interesting and unique pentatonic improvisations, here are some tips:

Double up on notes and add articulation

You’re not limited to playing notes one after another! Simply doubling up your notes to play dyads or even triads can level up the sophistication of a solo. When you double up notes, thirds and sixths are perhaps the “safest” combinations to sound nice. But experiment with different note combinations from your pentatonic scale.

And don’t forget to add interesting articulations to your notes. Try trilling two notes. Or, slide into a pentatonic note from a passing tone a semi-tone away. Experiment with dynamics and don’t forget about using a variety of rhythms!

Make room for silence

A good solo doesn’t need to have as many notes as possible! You can take breaks. And in fact, rests between notes can be the difference between an elementary solo and a more sophisticated one. Knowing how to use silence is a big part of playing music.

The music is not in the notes, but in the silence between.

W.A. Mozart

Learn pentatonic modes

Just like diatonic scales, pentatonic scales have modes too! And each mode evokes its own style or mood. More advanced pianists may want to learn how pentatonic modes work and how they can be used to avoid Avoid Notes in jazz theory.

The pentatonic scale is just one of many music theory tools we use when we make music. Remember: improvisation isn’t a magical ability you need to be born with. It’s a skill. As you become more comfortable with improvisation, the pentatonic scale, and the language of music in general, your solos will improve. 

If you want more tips on leveling up your improvisation, check out these lessons:

• How to Improvise on the Piano: A Beginner’s Guide
• How to Sound Beautiful on the Piano With Pentatonic Scales
• Easy Piano Improvisation Exercises (For Solo-ing)

The post The Mighty Pentatonic Scale appeared first on Free Piano Lessons Online | The Note | Pianote.

Don’t panic, we’ve got you covered! In this comprehensive guide, we’ll discuss how to clean a piano properly and everyday things you can do to keep your piano in tip-top shape.

How to Clean a Digital Piano

This article will focus on acoustic pianos, as digital pianos are fairly easy to clean and maintain. But here are a few tips for digital piano owners:

1. Turn it off: Turn off the electrical components before you start cleaning and don’t turn them back on until the instrument has dried.
2. Dust it down: Use a common feather duster to dust off dust particles. Use soft, light motions and go with the natural grain of the wood (if your instrument has that).
3. Wipe it carefully: Use a microfiber cloth to wipe the finish. Only use water if you need to and use as little as possible.
4. Scrub it delicately: If there’s a particularly stubborn stain, you can use a tiny amount of soap followed by a tiny amount of water to scrub it off. Then dry it with another cloth.

Dishwashing liquid should be sufficient to clean your instrument. When wiping down the keys, Yamaha suggests you wipe towards you and use three microfiber cloths: one for (a tiny amount of) soap, one for rinsing, and one for drying. Again, use as little liquid as possible.

How to Clean an Acoustic Piano

Acoustic pianos are delicate works of art that require the utmost care. If you have any doubts about how to clean your acoustic piano, your best resource is your local piano dealer and/or technician.

Here’s how to clean a piano yourself:

Step 1: Determine your piano’s finish

There are three main finish types that can be found on pianos: satin finish—a matte texture with little reflection; high polish finish—a glossy and reflective surface; and open pore finish—a wood grainy texture. The right cleaning solution depends on the type of finish.

Step 2: Gather your materials

• Duster: Make sure it’s clean!
• Microfiber cloths: Microfiber can pick up more dust particles than a conventional cloth.
• Finish-specific solutions: The Riverton Piano Company recommends satin sheen for satin finishes, Meguiar’s Quik Wax for high polish finishes, and auto detailing spray for open pore finishes.
• Sanitizer: Diluted hydrogen peroxide from the pharmacy can be used to disinfect your piano keys.
• Cotton pads: These are useful for gently wiping down your keys.

Step 3: Dust your piano

Dust gently and follow the direction of the piano’s natural wood grains. Don’t swirl dust around, as this can create tiny scratches. Rather, sweep dust off the piano in a gentle, flourishing motion. And be sure to use a clean duster!

Step 4: Wipe with cleaning solutions

When using cleaning solutions, use sparing amounts, wipe gently (don’t scrub!), and never leave things very wet. You should only use enough liquid to dampen your cloth, and if something does drip on the piano, dry it off right away. Always keep cleaning solutions away from the keys and inner components.

Use wax sparingly (a few times a year) and at your own risk. Leaving excess wax can cause build-up that can only be removed by a professional. In most cases, a microfiber cloth dampened with a little water is sufficient for regular cleaning.

How to Sanitize a Piano

Pianos are meant to be touched and played! But if your instrument gets a lot of players, it can become as germ-ridden as a door handle. So consider sanitizing your keys to keep you and your visitors healthy.

Hydrogen peroxide can be used to disinfect piano keys. Dab a little bit onto a cotton pad and wipe the keys towards you. Then, dry it off with another cotton pad. Don’t use so much liquid that it starts to drip.

How to Fix Sticky Keys

Sticking piano keys aren’t uncommon, especially among older pianos. There can be myriad reasons for sticky keys, from humidity to lodged objects that have fallen inside. Because there can be multiple causes to the issue and because piano components are so fragile, we recommend consulting with a professional piano technician to solve this problem.

Piano Maintenance Tips

DO:

• Clean your piano regularly.
• Wash your hands (and encourage others to do so) before you play your piano.
• Get your acoustic piano tuned regularly (the standard advice is twice a year). This session can act as your piano’s biannual check-up visit with the technician.
• Use as little liquid as possible. Wetness is the enemy of wood finishes and electrical components! Make sure cloths aren’t so wet that they start dripping.
• Spray solutions on your cloth, not directly on the piano.

DON’T:

• Place anything on the piano, including cups, dishes, books, picture frames, flower vases, or any decor. This will damage the finish and accidents can happen!
• Use harsh chemicals including those that contain bleach, ammonia, citrus, and furniture sprays like Pledge.
• Attempt to clean the inside of the piano. While there are online guides on how to do this, the inner components of an acoustic piano are so delicate that it’s probably not worth cleaning them yourself. Instead, ask for advice or a cleaning from your piano technician the next time they visit for a tuning. To avoid getting dust around the strings, keep your lid closed as much as possible.

Further Resources

We created this guide with the help of these resources. Check them out if you want to learn more about piano care:

• “How to Clean a Digital Piano” – Pianist Magazine
• “How to Clean Piano Keys” – Yamaha
• “How to Safely Clean Your Piano” – Riverton Piano Company
• “How to Clean Your Piano” – Steinway & Sons
• “Why Do Piano Keys Stick?” – Piano Price Point

The post How to Clean a Piano appeared first on Free Piano Lessons Online | The Note | Pianote.

We picked 10 iconic Taylor Swift piano songs that sound awesome on the keys and linked chord charts from Ultimate Guitar to help you learn these songs. The great thing about Ultimate-Guitar.com (besides being free!) is that you can toggle the chord diagrams to “piano” so you know exactly how to play each chord!

Note: at the time of writing this post, some of these chord charts do not switch correctly into piano. So, we’ve listed out the key and main chords of each song to help you along! You can also toggle the “transpose” button on Ultimate Guitar to get to the correct key.

This song is the ultimate Taylor anthem. Spanning 10 minutes of Swift’s trademark storytelling, “All Too Well” has a grandiose feel. But, surprise! It’s built primarily on the four chords most musicians learn first: C, G, F, and Am. Which makes it totally accessible for beginners.

We found two charts for this song: one is the 10-minute version that uses slightly more advanced versions of the “big 4” chords; the other is the shorter version of the song with basic chords. If you want to get better at reading chord symbols, check out our Chord Symbols, Explained lesson.

“Champagne Problems” is a piano favorite. While not everyone can have a beautiful moss-covered piano like Taylor, this is a very accessible, beginner-friendly song based on the Big 4 chords in C major. The rhythm can be challenging to coordinate singing with, so if you need help, try playing along with the recording.

“cardigan” is a favorite track from Taylor Swift’s milestone folklore album. It has a soft, dreamy atmosphere and is so poetic! You’re in luck, because we have a detailed, 18-minute tutorial on this one where Lisa leads you through everything, including the little riffs and fills.

“Evermore” is another folksy song with a prominent piano part. The original song is in D-flat major, which can be tricky, but the chord chart we’ve linked to is one step higher in D major, making it more accessible for novice pianists. Hint: the opening riff is a descending scale from the fourth to the root.

The piano version of this ballad is oh so lovely. Again, it’s based on just a handful of chords, but if you play around with the rhythmic pattern like Taylor does in the recording, that handful of chords can sound complex! Tip: A major can be a tricky key. Try to remember its three sharps: F#, C#, and G#.

Despite never having a music video, “Clean” is one of Taylor Swift’s fan favorites. It was co-written with Imogen Heap and the descending chorus melody has a cathartic effect—it really does feel like standing in the pouring rain and watching bad memories get washed away!

Song Secrets Webinar

If you struggle with reading music, you’re not alone! Did you know you can play hundreds of songs without standard notation? We’ll show you the secrets traditional lessons won’t teach in a 100% free webinar. It’s open to all ages and ability levels. Just show up and have fun!

CHECK IT OUT

Here’s another successful collaboration with Bon Iver from the folksy evermore album. It’s a little tricky because the original is in F-sharp major (which means six sharps!) but a shortcut you can use is to lower everything down by one half-step. This still sounds close to the song, but you’ll be playing in F major with the chords F, Dm, Bb, and C.

While it’s not originally a piano-centered song, Taylor performed “Lover” on the piano at NPR’s Tiny Desk and it sounds like the perfect instrument to accompany this lush song. Watch the slash chord at the end of the chorus: it creates a very satisfying descending bass line!

A cinematic track from Taylor Swift’s early Speak Now days, “Back in December” sounds wonderful on the piano when Taylor plays it live. This is an epic ballad with a great storyline, a lyrical melody, and dramatic chorus with plenty of room to be creative.

Taylor Swift’s songwriting is proof that you don’t need complicated music theory skills to compose a successful piece of music. “New Year’s Day” is another C major song with very simple chords that only require the white keys. (The Beatles’ “Let It Be” is another example of simple songwriting done right.) Make sure to check out Taylor’s performance of the song on ABC to get some ideas on rhythm patterns.

Want to learn more songs? Check out these related posts:

• 10 Easy Popular Songs to Play on Piano for Beginners
• 3 Easy Beatles Piano Songs: Chords & Tutorials

Thumbnail image credit: Ronald Woan, CC BY-SA 2.0, via Wikimedia Commons

The post 10 Awesome Taylor Swift Piano Songs appeared first on Free Piano Lessons Online | The Note | Pianote.

Knowing just a few piano chord progressions will unlock hundreds (even thousands) of songs at your fingertips.

In this lesson, we’ll explain in detail how piano chord progressions work, how to use them, and how to take your progressions to the next level.

Some chord progressions have become mainstays in music. Here are ten popular chord progressions every musician should get familiar with. Click on the progression to jump to more details about it.

WHAT ARE PIANO CHORD PROGRESSIONS?

What is a chord progression? In short, a chord progression is a sequence of chords played one after the other, that sound pleasant together. A chord progression is the harmonic foundation of a song.

Chord progressions drive a song’s narrative. Some progressions “lift” up the song by making you feel like you’re going somewhere. Other progressions “resolve” a song by making you feel like you’ve reached a song’s end. In other words, chord progressions tell a song’s story.

Of course, songs aren’t just chords played one after the other. What often happens is there’s a melody that uses notes from a chord progression, with some passing notes sprinkled in between. Here’s an example:

Recognize this piece? It’s Beethoven’s “Für Elise”! One of the most famous pieces for piano begins with a simple i-V-i progression.

Creating Chord Progressions: Diatonic Chords

The first thing to understand when learning how to create chord progressions is diatonic chords.

Diatonic chords are chords that occur naturally on the scale. So, if you play the C major scale and stack a triad on top of every note, you get diatonic chords!

Some chords will turn out major and some will turn out minor. We use uppercase numbers to represent major chords and lowercase numbers to represent minor chords.

> What Are Diatonic Chords?

The Primary Chords

Out of the seven diatonic chords, the most important are the I, IV, and V. These are your primary chords.

These chords are “primary” because you can harmonize any note in the C major scale with one of these chords. That’s because if you stack the chords altogether, they cover all seven notes of the scale!

You can harmonize any song with just these chords. To learn more about that, check out our lesson on how to harmonize a melody.

The Minor vi

After the primary chords, the next chord to familiarize yourself with is the minor vi. This is the diatonic chord built on top of the sixth note of the scale. Thanks to its minor sound, it adds some much needed color to the primary chords. Think of it as green or orange!

In C major, the primary chords and minor vi are C, F, G, and Am. Tons of songs use just these four chords, making them the “big 4” chords that every pianist must know.

> The 4 Piano Chords That Unlock Hundreds of Songs

Now that you know the I, V, IV, and vi, you’re ready to learn about our first popular chord progression!

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All piano chords…in one marvelous book!

The Piano Chords & Scales book is your new best friend. This beautiful, coil-bound reference guide lists chords, major scales, the three minor scales, and even pentatonic and blues scales. No more Googling chords—just flip to the key you need with the handy tabs! Learn more about the book here or join hundreds of piano players around the world and grab your copy today.

THE CHORDS & SCALES BOOK

10 POPULAR PIANO CHORD PROGRESSIONS

There are several chord progressions that you will run into again and again in music. Reusing these progressions doesn’t mean that music isn’t creative—some progressions just work super well! Remember, progressions are just a skeleton. There is so much we can do to a progression to make it our own.

The Pop Progression

Progression: I-V-vi-IV
Chords in C Major: C-G-Am-F

The I-V-vi-IV progression is the most common chord progression you’ll find. In C major, the chords you’ll play are C-G-Am-F. These are the first four chords you should learn as a piano player because just like the I-V-vi-IV progression, they’re everywhere in pop music.

Songs that use the I-V-vi-IV progression include:

> Full Lesson: The 1-5-6-4 Chord Progression

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Altered Pop Progression

Progression: vi-IV-I-V
Chords in C Major: Am-F-C-G

This is a “sub-progression” of the I-V-vi-IV because it’s the same chords, just played in a different order and creating a moodier sound. Songs that use the vi-IV-I-V progression include:

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The Jazz Progression

Progression: ii⁷-V⁷-I⁷
Chords in C Major: Dm7-G7-Cmaj7

The ii⁷-V⁷-I⁷ progression is the building block of jazz music. In jazz piano improvisation, this progression are often used as chord substitutions for some quick reharmonizing magic.

Typically in jazz, we play these chords as 7th chords. In C major, that’s Dm7-G7-Cmaj7. That’s a minor 7th chord, a dominant 7th chord, and a major 7th chord. If you want to become a jazz pianist, it’s best to know this progression in all twelve keys. That way, you can add them spontaneously while improvising.

Songs that use the ii⁷-V⁷-I⁷ progression include:

> Full Lesson: The 2-5-1 Chord Progression: Beginner’s Guide. Also, check out these three popular jazz progressions.

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The 12-Bar Blues

Progression: I-I-I-I-IV-IV-I-I-V-IV-I-I or V
Chords in C Major: C-C-C-C-F-F-C-C-G-F-C-C or G

The 12-bar blues is a conventional song structure. While it may be tweaked here and there, the basic structure is fairly consistent across different songs. This makes it an ideal structure for bands to improvise within! For example, in Back to the Future, Marty McFly calls the blues and his backing band can play “Johnny B. Goode” without ever hearing the song! Here are some examples of the blues structure:

> Full Lesson: How to Play Blues Piano: Beginner’s Guide

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Unlock the Secret to Songs (FREE Webinar)

If you struggle with reading music, you’re not alone! Did you know you can play hundreds of songs without standard notation? We’ll show you the secrets traditional lessons won’t teach in a 100% free webinar. It’s open to all ages and ability levels. Just show up and have fun!

The Doo-Wop Progression

Progression: I-vi-IV-V
Chords in C Major: C-Am-F-G

The I-vi-IV-V is also called the “50s” progression because it was popular in 50s songs like “Earth Angel” and “Unchained Melody.” The Doo-Wop has an uplifting mood thanks to those IV and V chords at the end. Popular songs that use this progression include:

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The Andalusian Cadence

The Andalusian Cadence is named after the Andalusia region in Spain, where it was used in flamenco music. In A minor, this dramatic minor progression contains the following chords: Am-G-F-E. Notice that we raise the seventh note (G to G#) on the E chord. This raised seventh adds that distinct Spanish flavor.

We can also frame this progression as i-bVII-bVI-V in a major key. In C major, that would be: Cm-Bb-Ab-G.

Songs that use this progression include:

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The Modal Progression

Progression: I-bVII-IV
Chords in C Major: C-Bb-F

This progression is based on the C Mixolydian mode. We can think of it as “borrowing” F major’s key signature, which gives us that bVII chord. This neat-sounding progression creates that big, anthemic sound classic rock is known for. Listen for it in the na-na-na section of “Hey Jude.” Songs that use the modal progression include:

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The Root Movement Hotline

This chord progression is important to know if you’re interested in playing gospel music. Erskine Hawkins calls it the Root Movement Hotline because you can think of it as a phone number you want to keep in your back pocket.

The basic movement is 1-4-7-3-6-2-5-1. However, we can alter each chord like this to sound more “gospel-y”:

> Full Lesson: The Gospel Piano Chord Progression You Need to Know

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The Pachelbel Progression

If you want a really good example of the power of chord progressions, look no further than 1680, when Johann Pachelbel’s “Canon in D” was composed. 

This is the Canon’s progression:

I – V – vi – iii – IV – I – IV – V

…and it’s found everywhere. You can hear the Pachelbel sound in:

Here’s a classic comedy sketch about the universality of this progression:

> Full Lesson: Pop vs. Classical: You Love Classical Music (You Just Don’t Know It)

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The Royal Roads Progression

Progression: IV-V-iii-vi
Chords in C Major: F-G-Em-Am

If you’ve ever wondered why some anime opening themes and video game soundtracks sound so similar, you’re on to something. The IV-V-ii-vi chord progression is widely used in Japanese pop music and is called the ōdo shinkō or “Royal Roads” progression. Despite having two minor chords, this progression is quite cheerful and dreamy.

Rick Astley’s “Never Gonna Give You Up” is often cited as an example of this progression, but as our friend David Bennett explains here, the IV in the famous rickroll song is actually a ii⁷. They sound very similar though!

Other songs you might recognize with this progression include:

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PROGRESSING TO THE NEXT LEVEL

You’ll likely start with practicing piano chord progressions in their most basic root position form, but this can quickly get boring. In this section, we’ll introduce some simple techniques to level up your playing.

Altering Chords

An easy way to make things sound more interesting is by slightly altering the sound of chords. We can do this with slash chords, inversions, suspended chords, and by revoicing.

Slash Chords and Inversions

When we say “the Am chord is built on the sixth note of the C major scale,” that might sound like you have to play A as the lowest note. But this isn’t true! You can play chords in various inversions to create slightly different sounds.

On a chord chart, this might be notated as C/E. The letter on the left indicates the chord you play, and the letter on the right indicates the note in the bass. You can also think of it as “play C over E.”

Slash chords are useful for adding color to an otherwise basic chord progression. They’re also perfect for walking bass lines.

> What Are Slash Chords?

Sus Chords

Another way to alter chords is by replacing them with suspended chords. Sus chords substitute the third of a chord with another note: a sus2 substitutes with a major 2nd while a sus4 substitutes with a perfect 4th. By removing the third, the listener is no longer certain whether a chord is major or minor (because it’s neither!). This gives suspended chords an ambiguous, intriguing sound.

Revoicing

Finally, we can simply switch out a major chord for a minor chord. It’s as easy as lowering the third of a major triad down a half-step. Even a tiny change can make a big difference!

You can also borrow chords from the relative minor. So, if you’re in C major, try dropping in a diatonic chord from C minor and see what happens!

Passing Chords

Using passing chords is a more advanced technique to make your piano chord progressions sound even more sophisticated. A passing chord is simply a transition chord between two chords of a progression.

Secondary Dominants

This technique is what gives RnB and gospel music their distinct sound and involves temporarily moving out of the current key between two chords. To do this, look at the chord you’re moving towards (Am in our example) and find the V⁷ of that key (A minor). You should get E7. You may see this concept notated as V⁷/vi. This can be read as “V⁷ of the vi.”

Passing 2-5-1s

Similarly, we can insert whole chord progressions into existing chord progressions! A common way to do this is by tossing in a quick 2-5-1.

Once again, think of the chord you’re approaching as the “target” key. Then, find the ii and V chords of that key and play them in the lead-up. Watch a demonstration of this on “Happy Birthday” here.

Original “Happy Birthday” Progression

“Happy Birthday” Progression With Added 2-5-1

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SONGWRITING WITH PIANO CHORD PROGRESSIONS

Now let’s get to the fun stuff! Here are some quick tips on using chord progressions creatively.

What notes go with what chords?

If you’re chording a song in C major, any melody played with notes from the C major scale will sound good with C major chords. It really is that simple!

If improvising feels scary at first, start small. Play a five-finger scale on top of a chord and then slowly branch out to other notes. Then, experiment with different rhythmic patterns and play several notes together. Soon, you’ll be able to solo and improvise over any progression!

Mixing Chords to Create Mood

Progressions create narrative, and based on how you order them, the same chords can create different atmospheres. Try these:

• “Happy” progression: I-IV-V
• “Sad” progression: vi-iii-V-IV
• “Hopeful” progression: IV-V-vi-I
• “Dramatic” progression: vi-IV-I-V

> Full Lesson: How to Write Sad, Hopeful, and Happy Chord Progressions

Key Takeaway: Experiment!

When it comes to piano chord progressions, there is no right or wrong. Pick a key, identify your diatonic chords, and mix and match them to create a chord progression of your own. Then, toss in some chord alterations and passing chords to spice things up.

And if you’re out of ideas…try not to start on the I

Have fun and happy practicing!

The post Top 10 Piano Chord Progressions (And How They Work) appeared first on Free Piano Lessons Online | The Note | Pianote.

We recently chatted with Jemma Heigis, an American keyboardist based in Peru who toured with GRAMMY-winning superstar Karol G. You’ll learn first-hand what it takes to land gigs and play stadiums! 

(The following interview has been edited for length and clarity.)

Background and Big Break

Hey Jemma! Please introduce yourself and tell us a little about what you do.

My name is Jemma and I’m a keyboard player, producer, and composer. Right now, I’m working on my own music. But in the past year, I went on tour with Karol G! She’s a reggaeton superstar and we did the mainstage of Coachella, Tiny Desk, and also SNL. 

What’s your educational background and experience?

I started playing piano at three years old. I always knew that music was the thing that I was going to pursue because nothing else interested me quite as much. So I practiced a lot and I was always composing my own music. 

Before I moved to Peru, I was living in Minnesota and studying film composition because I wanted to be a film composer. I did an audition for McNally Smith (it’s kind of like Berklee—I didn’t try out for Berklee because it was financially out of the question.) I got a scholarship and that’s where I met my husband. We’re both keyboard players and we’ve been working together ever since.

You have a big following on Instagram and you play for Karol G, which is huge! How did you get your “big break”?

I posted a video with my friend, Lucia Sarmiento (she’s a saxophone player) and it went viral. I was on a cruise ship when it happened and I didn’t have internet access, so I didn’t notice until after I came back that it had gone viral! 

I noticed there could be a way to advertise my own stuff and make a name for myself. So I started posting pretty regularly on social media. Just covers and trying to play impressively and stuff.

I ended up not doing film composition at all because I felt a little constrained as an artist. I couldn’t compose what I wanted to compose—I had to compose what was best for the scene. A lot of modern film music is really minimalistic too, not the grandiose sort of stuff I would want to compose. But I guess that’s work! (Where not everything is what you want to do.)

I ended up studying more piano. And I think Instagram forced me to practice way more… Posting on a daily schedule was the biggest thing that helped me get better at my instrument. Which is funny, but it’s true.

How to Be a Music Influencer

Your social media content is pretty impressive! Would you say you’re an “influencer”?

Well, I get paid to do posts for brands. That’s what you would consider an influencer, right? It sounds almost like a dirty word…

Oh no, I think it’s just the reality of how the music industry has evolved.

It started out as kind of like a resume—and that’s how it ended up. And I’m glad I got in when I did because it’s hard to grow. I started maybe six years ago or something, and now it’s become for musicians. It is your resume. Like, my degree means nothing! …I mean, I have a bachelor’s degree and I’m glad I got it because it taught me so much and I’ve met a lot of great people.

If being an influencer is what it takes to be a successful musician then sure, I’ll consider it!

Let’s dig into being an influencer a little more… If you were talking to someone who wants to be one, what advice would you give them?

I would say that it’s consistency—just continuing to post all the time.

I have a Patreon—that’s where I’m getting most of my income. I do lessons and for every post, I do a transcription of it. And I extend the backing tracks so people can take the exercise they’ve learned and improvise over it. I’ll give them the best scales to use and stuff like that. So, I’m trying to gravitate more towards the sort of videos you guys do.

I think being a music influencer is good because people tend to know who you are—people that you wouldn’t expect. The fact that I posted so frequently made me appear in people’s algorithms. So, post regularly even if you’re a nobody! Chances are one of your videos will do well and that’ll recommend you to people you never would have had access to. Then, those important people might see you, think you are a good fit, and reach out.

How to Play Stadiums With Rockstars

Was that how you got the Karol G gig?

The way I got that Karol G gig was like this: Lucia got a huge gig with Pitbull. Now, the music director for Pitbull was the same musical director for Karol G. And Karol G’s keyboard player went to play with Jacob Collier, so there was an opening. (That’s Bryn Bliska, by the way. She’s amazing!) 

Anyway, Lucia said that I was a good fit so I got an audition. I had to record three songs and I had to do it as if I was performing. One of the songs was solo piano: it was a grandiose intro while someone might be talking. I also did some vocal and piano stuff to prove that I could also sing—and they picked me! 

When I was in Minnesota and posting videos on social media, I was working as a waitress so my income wasn’t even from music. So, I basically went straight to giant stadiums and this huge artist! 

I was so surprised…I had heard the name Karol G but I didn’t know how famous she was. Especially where I live now in Peru: everyone knows who she is. I would go through immigration and there would be Karol G playing in the speakers. So it was pretty surreal.

The fact that I had built up a small following—I think I had 10k around that time—helped too. If you’re a musician and you post videos consistently, people have a smorgasbord of things to choose from to say, okay, this girl can do funk; she can play synth; oh, she has a singing video here so maybe she can do background vocals, etc.

Learn another language, if you can!

So Karol G is Colombian, right? Did you have to learn Spanish?

I moved to Peru because when we came back from the cruise ship, my husband ran into visa problems entering the States. We were going to get married…but unfortunately that never happened and he got stuck in immigration. So I dropped all my stuff and moved to Peru. His parents were very, very generous. They let me live in their house and we built my social media career from there. His parents even helped me put up lights and they would lend me clothes to help me have more outfits! 

We got married in Peru and I learned Spanish in the process. I’ve lived here for five, six years, I think. When I showed up, I just knew stuff you learn in high school. And now I’m fluent! 

That was a huge benefit when they were picking who to audition and who they were selecting. The fact that I was American also helped because of being able to perform in the States. But the fact that I spoke Spanish was a big plus because Karol works in Spanish; everybody talks in Spanish in your in-ears. 

It was a blessing in disguise that I moved to Peru. I don’t know if the same thing would have happened if I had remained in the States. I could still be a waitress right now!

Sound Design and Other Skills

Going back to young musicians who want a job like yours: what music skills would you say they need?

That’s a good question. Playing for Karol G is not about how many chords you know or how great your music theory or ear is. It’s about sound design. I thought it was going to be a live, acoustic-sounding arrangement or something like that. But it wasn’t at all!

I had never used expensive keyboards before (my Roland Juno DS was probably $400) so I had to learn all these keyboards and it was kind of a shock. Every song had to have its own specific programming. You would have the keyboard split into the flutes on top, a piano over here, a synth bass there…and you would have to know how to program all of that. The pedal might be routed to how much reverb there is on the strings alone, and the mod wheel might be routed to how much delay is on the flutes. It’s like learning a computer, you know?

That sounds stressful!

I had never done so much before. And when you’re in an environment where there’s so much pressure…that’s what teaches you the most. 

It’s the same for Spanish: I would say something silly and embarrassing that I would never forget. For sound design, I was on the spot so many times because everybody else in the band would be like, “No, that sound is not it.” 

I did the sound design for her latest album. But when I was first brought in, I had to get the other keyboard player on a call and help. She very generously gave me a backup of all of the sounds that she had used and I learned her programming. There was also a musical director and he would tell me, “No, that’s not how she did it; I think she had this over here.”

It was nerve-wracking, I’m not gonna lie! It was two weeks of rehearsals and maybe eight, nine hours per day of rehearsing. But, to answer your question, I would say for a big gig like this you need to know how to program keyboards.

And how would someone learn how to do that? I’m guessing you didn’t learn it during your degree.

I didn’t. (I learned a lot about working with DAWs like VSTs, Logic, Pro Tools, Ableton.) I knew a little bit about programming keyboards because of the cruise ship that I worked on. But what my $400 keyboard could do was pretty limited.

These keyboards that big-time artists use are mostly Nords. So, learn how to use a Nord! I would rent one or get a used one and just practice. You can practice by listening to songs and trying to replicate them. It’s not just about learning the keyboard; it’s also understanding what is a cut-off, what is an envelope, and how—if I change the attack—will it make it sound more similar to the reference? 

It’s a lot of experimenting. I would first use some VSTs and try to emulate sounds. Even GarageBand has some VSTs included with it.

And how different are these keyboards? Are things standardized or is learning a new keyboard like learning a new instrument?

It’s like learning a new instrument. The way you recall patches, it’s all different. Yes, there are similar things like envelopes and filters—and some parameters will be standard on any synth—but each one has its own thing.  

What other things have surprised you other than sound design?

The rehearsal time is way more than I would have ever expected. When I was in bands in school, a long rehearsal would be three hours. But in the real world, everybody’s mentality is: we’re here to put on a giant show and we’re going to do whatever it takes to make that happen. And so rehearsals will sometimes go until 2am, 3am… Or they’ll start in the middle of the night. It’s a lot more work than you would think. A lot of standing up, rehearsing the same song 20 times in a row.

And it’s a lot of trying to keep your brain from turning off. Because after you understand sound design, the music is not that difficult. Reggaeton by nature is not super harmonically advanced. So if you lose focus, you start getting worse the more you play! It’s almost like saturation. 

But that’s how it works: you have dancers, you have a production team, and the show is tomorrow. So you’re not going to take a break. I would say be prepared to have a very, very long rehearsal.

Another thing would be: there’s no room for improvisation. If you think you have a better voicing, that’s not your job. (That was my experience anyway.) Because the people that listen to Karol G—they know the song so well that having it sound any different would be weird. Also, we have a musical director and he makes the executive decisions of what you’re going to play. 

That’s so interesting because it almost sounds like classical music!

Yeah! That’s a good comparison. Even the mentality of it. It’s not a relaxed environment.

It’s not like a gig with your friends where you’re like, “Alright, you guys want to order a couple of beers? When do you guys want to go? I can stay an extra hour.” 

It’s a very structured environment. It’s a big production. It needs to be.

Jemma’s Own Music

Let’s move the spotlight a bit. What are you working on, personally?

Well, I started by doing vocal pop. I’m a singer, but it wasn’t really my forte (I didn’t feel that comfortable as a frontman).

Through social media, I discovered a niche: people that like video games and jazz. It’s this really cool combination. Adam Neely did a video on the “jazzification” of Nintendo that really resonated with me because he talks about how a lot of today’s video game music will be the “All the Things You Are” of the future. It’s true because a lot of really classic video games are being adapted by big bands. I thought that was really cool and it makes sense why so many people that love Sonic covers also appreciate the sort of fusion that I do. 

So, I decided that I wasn’t going to be a singer anymore. I post fusion video game covers, anime stuff, some pop…but for the most part I’ve been doing funk and fusion. One day it occurred to me that I should be making instrumental music because that’s what I listen to: Snarky Puppy, Mark Lettieri, Tribal Tech, Jeff Lorber…

I just released my first instrumental single. It took me a really long time because it took me a while to find a soloist. But I did and I’m so glad that she did it even though she was really busy! Actually, she’s the trumpet player for Karol G right now! Her name is Ella Briceño and she did an amazing trumpet solo. She’s a virtuoso and so I’m super glad I got her on my track and finally released it. 

One more question… You did a video game song medley with us. How did you learn those songs? How do you learn new music?

I was supposed to read music because I took so many classical lessons, but I faked it the whole time! (My music teacher, Peggy Andrews: I’m sorry if you’re reading this!). I’m able to read and arrange and when it comes to actually notating it, I’m fine. But my sight reading is terrible!

I’ve always liked ear training and that’s the fastest way for me to learn because it forces me to memorize as well. So whenever I’m learning a song, my first route is ear training. Unless it’s so difficult that I could never get it by ear—then I will sit down and try to read it.

Ear training really helps your skills as a musician. That’s another thing for people that are starting out in music: just learn the songs you like. Sit down and play them as best as you can. And there are tutorials out there that can teach you the best way to voice it. Or fingerings and stuff like that. 

But yeah. Whatever you like, sit down and try to play it yourself. 

The post How to Be a Music Influencer & Land Big Gigs (ft. Keyboardist Who Played for Karol G) appeared first on Free Piano Lessons Online | The Note | Pianote.

The song comes from the band’s 1982 album Kilroy Was Here. Inspired by real-world controversies in which religious groups accused Styx of satanic messaging, Kilroy Was Here is a rock opera set in a world where rock music is banned.

The band’s plan was to show a short film to introduce the album’s premise. Then, they would come out on stage to play live. “Mr. Roboto” was originally meant as a transitional piece between the film and the show.

“I wrote the song because it fits a transitional piece from the backstory movie from our live show to the concert stage,” Dennis DeYoung told Songfacts. “I never thought it was going to be a hit record—ever.”

But hit record it became! Today, the catchphrase “Domo arigato, Mr. Roboto” (“Thank you very much, Mr. Roboto” in Japanese) can be found all over pop culture, including appearances in Austin Powers, Archer, How I Met Your Mother, and The Simpsons. 

The post The Story Behind “Domo Arigato, Mr. Roboto” appeared first on Free Piano Lessons Online | The Note | Pianote.

In general, if you’re a novice to intermediate piano player, practicing 30-45 minutes a day nearly every day is a good rule of thumb. But let’s dive deeper into what this means and how to maximize your practice sessions, no matter how much time you have.

It’s about quality, not quantity

First things first: not all practice is equal. You can play scales for hours on end, but you shouldn’t do it on autopilot. And you can put hours into playing a song you know really well, but that may not help you progress in other areas.

In general, it’s better to practice in a focused, goal-driven mindset for a short amount of time than it is to play mindlessly for a longer period.

> Goal-setting Tips

How much should you practice as a beginner? As an advanced pianist?

As you progress in piano, your practice time will naturally increase. You’ll play longer songs and learn more complex techniques, but your endurance will also improve.

Based on our survey of more than 1000 piano players, we can comfortably make the following recommendations for daily practice time based on ability level:

• Beginner and novice pianists should practice 15-45 minutes a day
• Intermediate pianists should practice 45 minutes to an hour a day
• Advanced pianists should practice 1-2 hours a day
• Expert pianists will probably practice 3+ hours a day; however, this may depend on the performance(s) they’re preparing for

…but everyone is different

The great Oscar Peterson once said he practiced eighteen hours a day in his youth. In general, the pros do practice a lot. But this depends.

For example, Adam Stout—a cruise ship pianist we interviewed here—admits he really doesn’t practice that much. Part of the reason is that pianos and private space are hard to come by on a cruise ship. But he also has enough experience to quickly interpret a chord chart or lead sheet on the spot. This is the culmination of years and years of training. (And probably years of practicing for many hours a day!)

So you see? Practice pays off! If you practice a lot now, you may be able to practice less later…

What’s better: practicing short chunks often or practicing in one long session once a week?

If you have a busy lifestyle, you may be tempted to block out a large chunk of time during the week to squeeze in all your piano practice. But this won’t be as effective as practicing a little bit every day. Scientific research supports the idea that learning things in short sessions over a longer period of time is more effective than cramming it all in one go. This is called the spacing effect.

Rest is important

Spacing out your practice sessions is also important because your brain actually does a lot of learning while it’s at rest. In one study, “researchers found that during rest the volunteers’ brains rapidly and repeatedly replayed faster versions of the activity seen while they practiced [the task]. The more a volunteer replayed the activity the better they performed during subsequent practice sessions, suggesting rest strengthened memories.” This was called “wakeful rest.”

What if I just don’t have enough time?!

You want to get better at piano, but you’ve got a full-time job, kids, aging parents, volunteering, maybe a night class… How can you possibly make time to practice with all this stuff going on?!

Well, you probably have five minutes every day. Everyone has five minutes! And while five minutes doesn’t seem like much, it’s better than nothing…by a lot. If you practice every day for five minutes each day, that’s 35 minutes a week. Which is nothing to sneeze at!

Sure, your progress will be much slower than the kid on summer vacation who can practice every day from morning until night. But you’ll still progress. (And have time to deal with your other responsibilities.)

And you’re not alone. In fact, Pianote is passionate about supporting folks like you! Here are some free lessons on getting the most of your practice session, that are 10 minutes or less:

• The Ultimate Practice Routine
• Practice Routine for Absolute Beginners
• Complete Practice Routine in D Minor
• The Ultimate Morning Practice Routine
• 10-Minute Practice Routine

Remember to enjoy yourself

More important than hours spent at the piano is enjoying your practice session. You should want to practice. The more you enjoy practicing, the more you’ll practice, and the better you’ll get!

Try not to see practice as homework but as an opportunity to connect with your instrument and the music you love. It’s how the pros see piano practice.

I want to be creative with everything that I’m doing. And when I’m practicing, I’m always thinking about how I can make this practice creative.

Jordan Rudess, GRAMMY-winning keyboardist for Dream Theater and Music Radar Keyboardist of the Year

Don’t think of practice as a chore or as work, but instead as a creativity lab where you have time, choice and freedom to discover.

Yuja Wang, GRAMMY winner and widely considered one of the best living classical pianists

The value of an exercise depends on your state of mind. If you don’t find it interesting, then it is not useful.

Madeline Bruser, author of The Art of Practicing

The post How Long Should You Practice Piano? appeared first on Free Piano Lessons Online | The Note | Pianote.

Lisa was recently promoted to Vice President of the Pianote brand. Today (May 11) is also her birthday! So we’re celebrating with a deep dive interview. The following is an edited and condensed conversation between Lisa Witt and Charmaine Li, the editor of this blog. It’s a pretty long chat so we’ve broken it up into six parts. Sit back, relax, and join us on Lisa’s journey!

Musical Family Traditions

Can you describe your musical background before Pianote? How did you get into music?

I probably didn’t stand a chance at not being drawn to music. Music was just part of the family experience. When we went to my grandparents’ house, before we ate, we didn’t speak our prayers—we sang our prayers. And we’d often sing it like a round, or there’d be a harmony we’d have to find. Or Grandpa would get on the piano.

I can remember mashing the keys on the piano my grandparents had against the wall and being told to stop—it’s one of my earliest memories. That and hearing my grandpa play made me want to learn, so I started asking for piano lessons when I was five or six. Then, around the time I turned eight or nine, my grandparents showed up with a piano in the back of their truck and unloaded it into our house! And I got signed up for piano lessons three doors down.

I can remember walking with my little books down the road and feeling so nervous because I was a really shy child. I honestly hated the lessons within a couple of months, but my parents would not let me quit.

What did you not like about the lessons?

Well, first and foremost, learning something is work! 

When we experience music, it looks so easy. Because music is painted to be so positive (and it is), we expect that learning to create music will be all positive. But I don’t think that’s realistic.

I also didn’t want to play pieces that I didn’t emotionally connect with. And my teachers didn’t encourage me to use my ear or learn to improvise. It wasn’t because they were bad teachers; they just didn’t know.

I would play something incorrectly (because I avoided reading notes whenever possible!) and be like, “Oh, this sounds right.” But it wasn’t. And my response was always: “But it sounds better!” It would have been amazing if my teacher had said, “Oh, you seem to have a great ear for creativity or composition. If you could rewrite this piece, what would it sound like?” 

I think that would have unlocked the piano for me in a different and more meaningful way. But it didn’t happen at that part of my journey and that’s okay.

The “A-ha!” Moment

So when did that part of the journey happen for you?

That happened with the internet! This was pre Ultimate Guitar, but you could find lyrics with chords over them.

I was playing at church in a youth band, and the guitarist was like: you just play chords like this. I put the pieces together and I started to plunk down chords, sing, and play.

And I went, “Oh my gosh, THIS is how they do it.” Like, this is how all the people I’ve been admiring—all the songwriters, all these musicians—this is how they’re approaching the instrument!

I was pretty hooked from there. And I was thankful for all the work I put into practicing my triad inversions and arpeggios. Because suddenly, they had a purpose.

So it was the church band environment that did it for you.

Yeah. I grew up in the church and it was just what you did. It was a part of my experience in a very different way than RCM. It also provided that means to an end: if you’re playing on Sunday, you have to show up to practice on Thursday. So, there were checkpoints where I had a specific thing I had to do, and my skills developed because of those little goalposts.

I think that’s such a great environment to learn music. There’s also an absence of ego because everyone knows you’re not supposed to play to show off; you play in service of the church.

Exactly. And nobody was a professional musician!

Adventures in Music Therapy

So that was when you were a teenager. After that, if I recall correctly, you started working in music therapy, right?

I think I started teaching when I was 16, maybe 17. Just casually here and there.

Then I graduated, and I was really fascinated with the brain and psychology. I was like, I’m gonna go to school and become a psychologist! So I went to my first semester and taught on the side.

And there was this moment when I realized I really hate school! And that I’ll probably make less money with my degree than I’m currently making teaching piano lessons.

So I made the decision to dig into early childhood music education. There are these classes called Music for Young Children (MYC). I was really intrigued by them because my baby sister (who’s 13 years younger than me) was taking these lessons. She was four or five and this kid could recognize intervals and play sheet music!

So I took the teacher training. These kids were being taught music through movement—they would be sitting, standing, be at their keyboards, making crafts… It was so holistic. 

I learned that sight reading could be done through patterns. I loved it, and I got my teacher certification and started group classes. I also taught private lessons for bigger kids.

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Eventually, I was contacted by a family who had…I think 23 children? They had adopted and foster kids and they wanted me to come teach at their house. Many of these kids came from trauma or had developmental, physical, all kinds of disabilities.

I began to see what happens when a child finds their voice. Long story short, I connected with the Ministry of Children and Family Development to run a music therapy program for kids under four who were in foster care, who had experienced trauma. We used singing, dance, movement, rhythm, and all kinds of modalities in this group class with the child’s caregiver. 

There was some brain mapping involved, and we noticed that these kids were developing a way healthier level of attachment with the person they were in that musical experience with. They were sleeping better and, in cases where we had nonverbal children, they were adding words to their vocabulary. 

So we ran this program for a little while, and if I wasn’t already a believer in the power of music… There’s magic here that we haven’t even tapped into.

Crossing Paths With Pianote

So let’s fast forward a bit… How did you cross paths with Pianote?

It was around the time when more people were creating YouTube channels. Influencers hadn’t really become a thing yet, but online learning was starting to. And so, I had been considering finding a way to share what I knew—creating a YouTube channel or something like that.

Jame, who is our CEO now, was the bass player at our church. We were talking after practice one night and he was like, “Hey, would you be interested in coming in and filming some lessons? My brother and I, we’re starting piano lessons online.”

So they brought me in and I sat in Studio A and played our iconic Roland V-Grand. I remember seeing it in the studio and being like, THIS is my dream instrument! I was just delighted and enamored with it.

I filmed some lessons for the first Foundations. I had no idea what I was doing…but I did it! And then they had me back and I was like, I have this idea: I want to teach people how to do chords. So we ended up creating Chord Hacks, which is still one of our most popular free things.

And the rest is kinda history.

Was the kick-off point “Create Emotion With 3 Notes”?

That came a little bit later. It’s such a beautiful memory when I think about those early days because I had no clue what I was doing. I wasn’t in the future and I wasn’t in the past. With this role I was very much like: “What do I want to share today?” I wasn’t thinking about getting a million views. And that’s where “Create Emotion” sort of happened.

Scott (Pianote’s Marketing Director) had come on and he was like, “It’d be cool to do a video on these notes, this is a really pretty sound.” And I was like, “Oh… Let’s do a lesson!” And next thing you know, cameras are on and our first big video ends up happening.

It wasn’t anything other than: here’s something beautiful anybody can go play. And now, as a result of that, all these people—millions of people—have had this experience that made them feel like they can actually create something beautiful. That there isn’t a barrier.

Boom.

Lisa’s Vision for Pianote

I feel like Pianote has grown into this huge thing over the years. Now that you’re VP, what’s your vision going forward?

I think…if my dreams were to come true, then when people think about the piano in general, that Pianote is part of their “thought bubble.” 

I think we’re at this really important moment in music education, especially as it relates to the piano. The traditional ways of learning are still incredible and serve a purpose, but they’re no longer the only way. As a result of that, there’s this big opening for a culture around the piano and what it actually means to be a pianist, keyboard player, or whatever you want to call yourself.

I would like people to look at the instrument as a means to express themselves. And I want Pianote to be the thing that makes them think, “Oh, piano is pretty cool. I wish I could play like that.” And I want their next thought to be: “Oh, I want to learn to do that. And I can because Pianote is able to support me.”

So that’s my big vision: that Pianote becomes what inspires people to play the instrument and what they think about when they’re ready to take that first step.

Right now, if you’ve had the experience of being in the Membership, you know that Pianote is friendly. It’s human in a world that is sort of feeling less human. The thing I always, always, always want to keep is that sense of yes, we’ll provide you with technology and shiny things—and it’s gonna be awesome—but also, we are real people. We are imperfect. We are honest about being imperfect. And we’re going to have conversations with you about this journey that are human.

I love that… But going back to how this all started, was there a moment when it hit you that you had become this iconic face of a company?

Shakes head vigorously. No! That still doesn’t feel real to me.

I don’t even think I would call it imposter syndrome at this point…though that’s still part of my story.

I feel like there’s nothing else that I could or should be doing. And that I’m so in the experience of a student. I don’t feel connected to being anything other than this clumsy human who’s just trying so hard to keep it together.

I don’t know. I don’t have an answer to this question!

I think that’s enough of an answer! That tells me everything, honestly.

I like piano. It has helped me. I’m not exceptionally good at it. I’m not even very good at it! I just like it.

It’s never come easily and I’ve never felt like I fit into the club of piano players. But what I do know is that I can figure things out in a way that’s maybe a little different, that gives me confidence. So, if I can help other people find that—that bit of confidence—and just accept themselves…

If I can do that, then that’s my “why.”

How do you go from being a homeschooled kid who didn’t get any post secondary education to being a VP of something? I think the answer to that is caring the most. Every time we make a video, I care so hard about how it’s presented, who it’s going to help, the messaging of the video… But I also care deeply about the people that are creating that with me. I just care about everything, and when you look at climbing the quote unquote [corporate] ladder…I didn’t do it the conventional way. And that’s something I’m really proud of. I got there because I cared really, really hard.

Lisa Witt

How Lisa Takes Care of Lisa

You’re everywhere all the time and I don’t know when you sleep! How do you draw your boundaries and what are your self-care techniques? How does Lisa take care of Lisa?

“How does Lisa take care of Lisa?” That’s a good question…

Horsies?

Definitely my horse. My horse is a big part of it!

I do a lot. I’m not just showing up on camera and doing lessons. I’m trying to nurture a brand and build something and there are a lot of moving parts. 

And some of the things that got me here have been…maybe unhealthy. Part of my grit, drive, and motivation has come from a place of wanting to prove that I am good enough or worthy. And there have been periods of time when that has not been healthy. And despite all of the self-care—I can talk about riding horses and journaling and doing yoga and those things are so critical—it’s been difficult to keep things in perspective at times.

But what’s made it feel possible is…I know I’m doing something important. And when I read comments below videos where people are sharing their stories or that this helped them in some way, it gives me back a lot of energy. So, staying connected to the core reason why I’m doing this has been super central to my ability to continue to do it.

I’ve also found that, because of the way I am, I always need something different. This job is not just teaching piano lessons. I’m learning about algorithms. I’m learning about leadership and building a team. There are so many different parts of my brain that get to develop and grow.

And because Musora is what it is—it’s a place that celebrates individuality, at least in my experience—I feel like I get to develop into that person in my own way. So, if I’m in my office lying on the floor because I’ve just had a complete creative burnout, and somebody walks in, they’re not like: “What the heck? You’re fired!” Instead, they’re like: “Oh hey, you’re having some creative rest. I’ll come back.” 

I get to be me. And in a world where we’re all trying to be something that’s not ourselves…that’s a gift. 

So, to be able to work and be myself and not be told I have to be different: that’s self-care. That is what has kept me very grounded.

…It also serves as escapism from my life. I get to be a workaholic and not deal with my own problems…

I relate!

Right?!

Can you briefly describe who Lisa is outside of Pianote?

People always think I’m really extraverted. But I’m actually such an introvert.

I love to be alone with my thoughts. I get overstimulated by sounds, smells, and noise. I love to be in nature and to do my yoga. I’m a bit of a woo-woo hippie type in that I will have a conversation with a tree. Or a crow. I need to just sit in silence for three hours and ponder the meaning of life.

I also love to write. I do sit down at the piano by choice almost every day because I love to be in that space. I really do love yoga, feeling my body, and intentional breathing. I think I’m a very spiritual person; I experience energy and I’m just curious about it. I’m curious about life outside of things we see, I guess. That would be very core to who I am as a person.

Any future projects you’re excited about?

Oooh. I mean, Pianote is my life right now. So that is my future project, whatever that becomes.

I still would absolutely like to write, develop, and record my own music at some point. That was always the first dream before I became what I am now. It’s something that’s there and I’m sure I’ll get to it in the future. But I do write.

Thanks, Lisa! And happy birthday!

The post The Great Lisa Witt Interview! appeared first on Free Piano Lessons Online | The Note | Pianote.

Thumbnail image photo credits (edited):

• The Beatles: United Press International, photographer unknown, public domain via Wikimedia Commons
• Ed Sheeran: Number 10, CC BY 2.0 via Wikimedia Commons
• Billie Eilish: crommelincklars, CC BY 2.0 via Wikimedia Commons
• Rihanna: Liam Mendes, CC BY-SA 2.0 via Wikimedia Commons
• Lewis Capaldi: Harald Krichel, CC BY 3.0 via Wikimedia Commons
• Feist: Raph_PH, CC BY 2.0 via Wikimedia Commons

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One of these folks, Adam Stout, performs solo at the ship’s Billboard Onboard venue. Most days of the week, you’ll find him taking requests, singing pop hits, and accompanying himself on the piano. Peek behind the scenes of a ship musician’s life in this (condensed and edited) interview.

About Adam Stout

Adam played his first ship in 2006. Other than an eight-year period when he was “completely land-based,” he’s been playing at sea ever since. As a freelancer, Adam has played weddings and funerals, private parties and corporate events. He’s also accompanied top high school choirs in Texas and describes himself as a pianist, conductor, arranger, and programmer of keyboards.

Adam’s main area of expertise is musical theater. He knows a lot about opera and has coached vocalists on Italian and German diction. A skilled sight-reader, he also fills in last-minute as a pianist and/or conductor for musical theater productions.

In terms of piano at sea, Adam has worked for Disney Cruise Lines, Holland America, and smaller companies like G Adventures.

So how did you get this job?

I was supposed to be contracting for a theater for the next four months. But we had a disagreement, they let me go, and I was looking for work. So I sent a resume to Holland America. They called me six hours later and asked if I could fly out the next Tuesday. 

I joined the HAL Cats, the ship band. We played the Crow’s Nest for the party sets, backed guest entertainers, and played sets by the pool. 

How do you practice?

I don’t! There’s a keyboard available here with very limited access. There are a couple of pianos I can get to in the middle of the night when no one’s around, but they’re really not accessible. And you know, part of why I’m out here is to not overwork! When I was freelancing, I’d often be behind a piano for 10-12 hours a day. It takes a physical toll, so that’s what I’m avoiding in this gig.

You must know hundreds of songs!

I know thousands of songs, absolutely. And I sight-read anything that is available on one of my subscription sites like Sheet Music Direct. So if a guest requests something, and I can find sheet music to it—even if I’ve never heard the song—I’ll sight-read it. People will tell me, “You sound just like the original! How have you never heard that song?” But that’s my sight-reading.

So how do you learn a new song? Do you use a full score or do you go the chording route and use something like Ultimate-Guitar.com?

Ultimate Guitar is fine if I’m already familiar with the song because I’ll play off chord charts and improvise. But if I don’t already know the song, I won’t get the vocal melody right. And I’m a reader first.

When I’m sight-reading a pop song, I look at the notes on the page, but I improvise around them because a lot of those arrangements are so simplified; they don’t account for what the rest of the band does. So I improvise around those notes, I read both the lyrics and the actual written notes in the chord charts all at once, and my mind just processes all of it.

What songs and/or artists would you say you’d have to know to do this job?

You should know a fair amount of Billy Joel, Elton John, and the Beatles. Now, the Billboard Onboard actually has a whole list of songs that you need to know, and I’m able to stray off those lists because of my experience (I’ve been given a little leeway there). 

But you should really know the biggest hits of the 60s, 70s, 80s—especially 60s for this crowd (sidenote: Holland America typically caters to a 65+ clientele). You’ve got to know some John Lennon. And you should know some Herman’s Hermits and all those great old 60s groups.

Adam also recommends looking up lists people have made of the top requested songs at different piano bars. But most importantly…

I encourage people—as they’re learning songs, even if it’s just a simple Wikipedia read—to read about the background of the song. I probably share more information about songs than a lot of people who do these jobs. And that’s a big part of why guests enjoy my set.

The Lewis Capaldi song makes me think of that. Last night, Adam had played “Someone You Loved” by Lewis Capaldi. Because so many people think it’s a break-up song…but it wasn’t a song about that. It was about him feeling a little lost after his grandmother died. It had nothing to do with romance! And it changes the context of the song. That’s why I put it in “love songs”: it was a love song to his grandmother. 

You can still interpret the song in your own way. That’s one of the great things about music, but knowing the original intent is something that can really make you think.

You meet so many people from all over the world, from different cultures. And if you take the time to go out and make sure you’re meeting people, especially among the crew, and getting to know people, it’s extremely rewarding. And you never know what kind of lifelong friendships you’ll develop.

Adam Stout

What are the three most requested songs you get again and again?

“Piano Man” and “Sweet Caroline” are the top two, hands down. With “Sweet Caroline” and “Piano Man,” the age group doesn’t really matter. Like, that’s young crowds, older crowds.

Now, when I was in Alaska and the crowds were slightly younger, I was with a duo and we had probably 25 Bob Seger songs requested a night. That kind of took me by surprise, honestly!

If I do parties and stuff on land, Taylor Swift is often requested. She’s not requested a lot here, but I put a couple of her songs into sets to help balance things out. And because she’s so relevant to Billboard (the actual Billboard).

“Living on a Prayer” is requested a lot too. “Bohemian Rhapsody” is requested a lot—the ones everyone thinks are really fun for us to play.

Do you have songs you hate playing, and how do you deal with having to play them?

I don’t hate playing “Sweet Caroline” or “Piano Man;” I get tired of playing them. The one song I absolutely hate—and I honestly usually just skip it—is “Sweet Home Alabama.” I can’t stand that song! 

Tom Jones’ “Delilah” is another one that I really don’t like to play. Well, I have one guest I’ll probably give in and play it for later because she keeps asking for it…

What kind of person would be good at this job in terms of personality?

Personality-wise, the people who will succeed in this job are the ones who maintain high energy when they’re around people. One of the big challenges is that on some nights, even the same crowd that’s been high-energy on another night is very tired. And the instinct is to play down to the energy of the crowd, but you really want someone who can maintain that high energy, even when the crowd is not giving it back. Because that’s what keeps people coming back.

But also, I think you have to understand within yourself when you need your own time to be antisocial, which we all do. If you’re out and about on the ship, you need to pick a place where there’s not a lot of people around. You need to be prepared to talk to people if you’re out in areas where people are. Personality-wise, you have to be okay with that.

Do you get homesick at all?

Oh, yeah. Absolutely.

How long are you away at a time?

These Billboard contracts are typically four months.

It’s interesting, because I’ve done five-month contracts and eight-month contracts, and it’s always that last month, when you’re almost home, that you start to feel it most. You look at the food and you’re like, “I can’t eat this anymore.” And you have to fight to find the energy to do the job.

But I’m not going to check out. Once I get up on Billboard—even if I walk up to that piano and I’m thinking to myself, “I really don’t want to be here”—I start playing, and I start interacting with my crowd…there’s nowhere else I want to be.

Adam gets a minimum of one day off every seven. His schedule can vary: on this voyage in particular, he had three days on and one off, four days on and one off, and then five days on and one off.

As for going ashore, Adam has “guest status,” which means he’s not a part of the in-port manning rotation (IPM). Most crew members are part of a rotation where they’re sometimes required to remain onboard on non-working days, in case of emergencies. “But I don’t have to worry about any of that,” Adam says. “The announcements still wake me up in the morning, but I don’t have a function or duty in those moments.” Which leads me to my next question…

Do you have a favorite place you’ve been to?

I have several favorite places that are favorites for different reasons. I think the absolute most beautiful place I’ve ever seen in the world, just from a single view, is the Geirangerfjord in Norway. It’s magnificent. 

Of course, Antarctica is unreal. My favorite architecture—cobblestone streets and everything—was in Ponta Delgada, Portugal. It was so different from anywhere else I’ve been. 

Barcelona was a pretty great party city. I was younger than when I went there, more apt to go party than I am now! I’m old now…

Yeah, so many really wonderful places. But I’ve got a long list of places I still haven’t been to.

I think the absolute most beautiful place I’ve ever seen in the world, just from a single view, is the Geirangerfjord in Norway.

Adam Stout

What’s something about this gig that might surprise someone?

Hmm. Some people might be surprised that the downtime can be boring. I will say that if you’re not happy in your life in general, all of the downtime can magnify loneliness. 

But on the flip side, you meet so many people from all over the world, from different cultures. And if you take the time to go out and make sure you’re meeting people, especially among the crew, and getting to know people, it’s extremely rewarding. And you never know what kind of lifelong friendships you’ll develop.

What’s your least and most favorite part of the job?

Least favorite is just being away from my wife and my dogs. And not having Taco Bell available…

But my favorite part…there are a few for me. Obviously, seeing these incredible places is pretty wonderful. And I already mentioned all the wonderful people you meet from around the world. But aside from the obvious (because that’s obvious), it’s not having to deal with the grind of scheduling as a freelancer. 

Not even the grind of the work itself, just the grind of figuring out the calendar, coordinating my rehearsal schedules, sending out contracts to my musicians, having to deal with organizations when they fail to pay my musicians or myself. Having to constantly negotiate for higher pay because everyone—especially in the theater world—almost always comes out with initial offers that are often insulting, frankly. And having to decide when to negotiate and when not to. 

And when I’m home, I spend 20 hours a week easily figuring out my calendar and then driving so much in Houston traffic. So not having to do not having to do any of that while I’m here…it’s very freeing.

Thanks for chatting with us, Adam! Safe travels.
P.S. You can find Adam’s socials and website here.

Liked this article? You may also be interested in…

• Scott Bradlee (Postmodern Jukebox) on Jazz, Nostalgia, and Surviving the Age of Algorithms
• Piano Jobs You Can Get: How to Become a Piano Tuner
• How to Become a Music Therapist (Piano Jobs You Can Get)

The post Interview With a Cruise Ship Musician (Piano Jobs You Can Get) appeared first on Free Piano Lessons Online | The Note | Pianote.

This jaunty, vintage style of music is special. Ragtime was almost exclusively designed for piano. And while it isn’t exactly mainstream music today, ragtime an ancestor of jazz, which is still very popular. And jazz itself is an ancestor of contemporary styles like blues, rock, soul, and R&B.

So hop back in time and get ready to discover one of piano’s best hidden gems.

What is ragtime piano?

Ragtime is an American style of music that was popular in the late 1800s and early 1900s. 

According to the U.S. Library of Congress, ragtime can be defined in myriad ways but most of its practitioners agree with this definition:

Ragtime — A genre of musical composition for the piano, generally in duple meter and containing a highly syncopated treble lead over a rhythmically steady bass. A ragtime composition is usually composed [of] three or four contrasting sections or strains, each one being 16 or 32 measures in length.

U.S. Library of Congress

Here’s what some of those words mean:

• Duple meter: two beats in a measure, such as 2/4 or 2/2
• Syncopation: when beats don’t line up exactly—also described as “offbeat” or “displaced” beats
• Strain: a section of a song with a unique theme

Ragtime’s characteristics mostly came from self-taught traveling musicians in the South, especially around Missouri. It’s also closely associated with the Black community and was enjoyed by Europeans when its popularity spread across the Atlantic.

In this lesson, Scott Bradlee of Postmodern Jukebox will give you a rundown of three basic ragtime elements: stride, syncopation, and how to play the right hand melody.

About Scott Bradlee

Scott Bradlee is a prolific pianist, composer, and arranger celebrated for his boundary-pushing interpretations of contemporary music. With Postmodern Jukebox, Bradlee has redefined the concept of cover songs, transforming chart-toppers into vintage-inspired masterpieces that blend jazz, swing, and other classic genres. His ingenious arrangements and commitment to musical authenticity have garnered a massive online following, making Postmodern Jukebox a global sensation and solidifying Bradlee’s status as a visionary in the modern music landscape.

> Interview With Scott Bradlee

How to Play Ragtime Piano

Stride

Stride is a left hand pattern that roughly boils down to low-high, low-high. You break a chord into its bass note (low) and upper notes (high).

Using a C major chord as an example, Scott plays the root and fifth as bass notes in octaves. Then he plays the C major chord in second inversion on top.

You can think of stride as a marching band. The low notes imitate instruments like tuba and bass drum, while the high notes imitate the banjo and snare drum. By playing stride piano, you’re essentially your own rhythm section!

You can make stride easier by playing everything closer together, or playing single bass notes instead of octaves.

It’s important to stress that stride piano is not easy. It’s a lot of leaping around and it takes practice and precision. But don’t be discouraged. Be patient, start slow, and use a metronome.

Syncopation

“Syncopation is just a very fancy word that means playing between the beats,” Scott explains. It’s a key component of ragtime and what gives the style its unique flavor.

This is how “Row, Row, Row Your Boat” looks like without syncopation:

And this is how it looks like syncopated:

So, experiment with the melody you’re playing with. See if you can play a note half a beat earlier or later. And use that steady, left-hand stride as a metronome.

Right Hand Melody

The right hand melody is said to sound “ragged,” which is where the word “ragtime” comes from!

Typical ragtime right hand patterns feel like a guitar or banjo. Broken down, they’re essentially broken chords. You outline a chord with an octave, then play the chord tones “inside” that octave.

Here’s an example of this with a C major triad in 2nd inversion:

You can find this pattern in classic ragtime songs like those by Scott Joplin.

Ragtime Composers

Ragtime composers may not be as well-known as Mozart and Beethoven, but their influence on popular music is undeniable. Here are the “Big 3” ragtime composers:

Scott Joplin

Perhaps the only ragtime composer with a household name, Scott Joplin wrote “The Entertainer”—more popularly known as The Ice Cream Truck Song. He also wrote one opera, Treemonisha, which didn’t premiere in full until after his death during the ragtime revival of the 1970s.

> “The Entertainer” Complete Piano Tutorial

Joseph Lamb

Joseph Lamb was somewhat of a ragtime outlier in that he was Irish Catholic and, save for brief stints, didn’t work as a full-time musician. Nevertheless, he impressed Scott Joplin with his piano chops so much that Joplin convinced The Stark Company to publish Lamb’s rags.

James Scott

(Yup, seems like a lot of ragtimers were named Scott!) James Scott was also “discovered” by Scott Joplin who, again, got him published by The Stark Company. Scott also worked as a dance accompanist and silent film accompanist before the advent of the “talkies.” His music was generally more complex.

Ragtime Songs

“The Entertainer” is the most famous rag of all time, but it’s hardly alone. Check out these out popular rags:

• “Maple Leaf Rag” by Scott Joplin
• “Nightingale Rag” by Joseph Lamb
• “Ragtime Oriole” by James Scott
• “The Cascades” by Scott Joplin

The post Ragtime 101 (With Scott Bradlee of Postmodern Jukebox) appeared first on Free Piano Lessons Online | The Note | Pianote.

It’s also an intimidating and frustrating topic for beginners. In fact, we can already hear the groans from the back of the room! Which is understandable—one mention of “piano technique” and hours of monotonous scales come to mind.

As piano educators, we’re dedicated to teaching what needs to be taught…but in a way that’s interesting, rewarding, and enjoyable. This article is a collection of our best piano technique content on this website, all in one handy place. It includes everything from the “why” of technique to how to make practice fun. (Yup, technique can be fun!)

Why Piano Technique?

If you’re a fairly experienced piano player who can play songs, you might wonder: what’s the point of technique practice? Isn’t the point of learning piano to play the songs you love? 

But everyone—even expert concert pianists—can improve by practicing proper piano technique.

Piano technique isn’t just about playing fast. It’s also about dynamics and articulation. Technique is what takes you from making sound to making music. The better your technique, the more control you’ll have over your sound, the more you can do with this instrument.

> Importance of Piano Technique

Posture

Let’s start with the bare basics: how we sit at the piano. This is important because to progress in piano, you want to play as comfortably and for as long as you can.

Some simple posture tips to remember:

• Sit nice and tall with a straight back.
• Have your feet flat on the floor. If you can’t reach the floor, place your feet on a stack of books or footstool. You can also scooch to the edge of your seat—this can give you more control.
• Your knees should be just underneath the edge of the piano.
• Make sure your arms have a relaxed angle to them. Don’t hold them straight, but don’t be too scrunched up against the piano either.

Hand Posture

Piano posture lessons:

• Proper Posture at the Piano
• Proper Hand Posture at the Piano
• How to Sit at the Piano (A Chiropractor’s Guide)

Scales

“Scales are like vegetables.”

Lisa Witt

Many piano students dread scales. But scale patterns are found everywhere in music. You can’t avoid them!

Scales don’t just improve your dexterity, coordination, and speed. Practicing scales in all twelve keys helps you internalize the shapes and key signatures of different keys. So, drilling your scales is both mental and physical training.

Some tips to help make scales more enjoyable:

• If the thought of doing all twelve keys of scales overwhelms you, focus on just one or two keys per practice session. 
• Practice scales in different articulations, such as staccato, legato, and tenuto.
• Instead of focusing so much on the thumb tuck, try the burst exercise.
• Make your scales musical by pairing them with a chord progression, which further strengthens your understanding of that key!
• Practice with a backing track. Here’s a free one.

Scale resources:

• Piano Scales: Types of Scales and How to Apply Them
• How to Practice Piano Scales: Play-Along Lesson
• How to Play Scales FAST (The Jordan Rudess Juilliard Approach)
• Make Scales Fun (I Bet You Didn’t Know They Could Sound Like This!)

Chords

Music is made up of chords. Like scales, learning your chord shapes not only trains your physical dexterity, it develops your theory knowledge too.

Practice your chords solid (notes together) or broken (notes apart). And make sure you practice your inversions too. Doing so will help you quickly transition between chords and recognize chords in sheet music.

C Major Diatonic Chords: Solid

C Major Diatonic Chords: Broken

Chord resources:

• How to Play ALL Piano Chords (Major, Minor, 7ths)
• The Best Way to Practice Chords
• How to Practice Chord Inversions

Chords & Scales Library

Need a quick reference to play the chord or scale you’re practicing? Head on over to our free chords and scales library: the most important scales and chords in EVERY key!

Bmaj7 Chord

B Major Scale

Arpeggios

Chords are related to arpeggios. Like scales, you’ll find arpeggios in piano music everywhere. They sound beautiful and can look very impressive, so this is a popular (and essential!) concept among piano students.

Most arpeggios require a lot of movement, so remember to stay loose and don’t just rely on your wrist—you should be rotating your entire forearm from the elbow to lead your fingers through the arpeggio. 

Start with an easy cross-over arpeggio first. Then, when you’ve gotten more comfortable with chord shapes, try fancier things like adding a 9th.

Arpeggio practice lessons:

• Beginner’s Guide to Piano Arpeggios and Patterns
• Arpeggio Practice – The FUN Way!
• 10-Minute Arpeggio Practice in F-Sharp Minor
• Jordan Rudess Teaches Arpeggios (How to Play FAST)

Pedaling

Playing piano is a full-body affair! So don’t neglect your footwork. Some quick pedaling tips:

• Anchor your heel to the ground and pedal with the ball of your foot. This position gives you the most control.
• Practice playing a scale or set of chords and lift the pedal with each note or chord, ensuring your notes are sustained but clear.
• Be careful not to overpedal. Don’t rely on the pedal to sound good. Learn how to play legato without the pedal so that when you do use it, the pedal will sound extra nice!

My rule of thumb when using the sustain pedal is to lift it each time there is a chord change or a change in harmony. If you don’t know how to tell if there has been a change in harmony, go with your instincts. Your ear will be able to tell you if your sound has become muddy and you need to release the pedal.

Lisa Witt

Pedaling lessons:

• How Piano Pedals Work
• How To Use The Sustain Pedal (Sound INSTANTLY Better)

Hanon

If you’ve never tried Hanon exercises before, you need to start today! These exercises have been used for centuries and for good reason: they work out everything. Hanon exercises are unique patterns that get your fingers moving in new ways, developing their dexterity and flexibility. They work your brain too because they’re not as predictable as a straightforward scale.

Want Hanon exercises in a neat and portable package? Check out our Little Book of Hanon.

Hanon lessons:

• Hanon: The Most Versatile Exercise on the Piano
• 3 Classical Piano Exercises for Master Playing

Articulation

Articulation can make a huge difference. It’s what makes Bach sound Baroque and Chopin sound Romantic. It’s how we recognize a Thelonious Monk recording from a Bill Evans one.

Articulation is a skill that develops over a pianist’s career, but beginners can get started with it right away. If you’re using sheet music, pay special attention to slurs, staccatos, accents, and phrasing and don’t skip them. If your sheet music comes with non-English terms, look them up.

If you play from chord charts and lead sheets, write out your own articulations. 

Articulation resources:

• “Beautifully Simple” Articulation Exercise
• The Complete Piano Terms Glossary: Piano Words You Should Know

Metronome Practice

Metronome practice elicits groans in many piano studios, but the metronome truly is an indispensable tool for progression.

The metronome is like your musical GPS. It keeps you on the right track and makes sure you get to your destination in perfect time.

Lisa Witt

The key to not getting frustrated with your metronome is to start at a way slower tempo and increase speed in small increments (3-5 bpm). If you struggle with feeling the beat, try subdividing rhythms.

Make Piano Technique Less Boring

Still bored of scales, chords, and arpeggios? Try a play-along exercise! Having something or someone to play along with is more engaging. And it feels like playing with other musicians.

We have tons of play-along exercises in the Pianote Members Area. But we have them for free too! These are some of our favorites:

• Piano Practice Routine for Beginners (Not Boring)
• Make Scales Fun
• The Most Beautiful Piano Warm-Up Exercises
• A Complete Practice Routine in D Minor

Good luck on your piano technique and happy practicing!

The post The Ultimate Piano Technique Resource appeared first on Free Piano Lessons Online | The Note | Pianote.

Scott Bradlee has been making viral covers since the early days of YouTube. The pianist, arranger, and founder of the Postmodern Jukebox music collective is known for his old-school renditions of modern hits.

After filming some videos with us, we chatted with Scott about nostalgia, genre, and the struggles musicians face in the algorithm age. The following is a (edited and condensed) conversation that spans musical eras.

What gave you the idea to start Postmodern Jukebox?

I’m kind of an old soul when it comes to music. Going back to high school, when my friends were listening to Sublime or Red Hot Chili Peppers, I was listening to Jelly Roll Morton and Duke Ellington. So, I’ve always loved older styles of music and have always wanted to find a way to tie them into what’s going on in the present. Because when I listen to those old songs, I feel like they’re super fresh, you know?

I had a cool party trick when I was in high school where I would take a modern song like “Big Poppa” by the Notorious B.I.G. and play it as jazz. And my friends would be like, “Wow, that’s so crazy! I can hear the song!”

But I didn’t do anything with it until I moved to New York City and was, essentially, an out-of-work jazz pianist. I did some gigs here and there, but New York City is very competitive.

That’s what led me to YouTube. Those days, YouTube was mostly cat videos and it was only amateur musicians that were putting themselves on there. But I thought to myself, I’ve got nothing to lose.

So I found myself with one of those cheap flip camcorders, sat at the keyboard, and played fast, ragtime versions of 80s songs like “Don’t Stop Believin’” and “Never Gonna Give You Up.” I put it online and within a couple of days, I guess it went somewhat viral. We got maybe 10,000 views very quickly.

That number seems quaint today, but back then, that was more people than had ever heard me play piano in my whole life.

So I realized there was something to this idea of using the internet as a concert venue. It took me another few years to figure out what was going to be the finished product, and that’s what led me, over time, to Postmodern Jukebox.

This stuff is obviously very popular. Why do you think that is? Why do you think people like old school arrangements of modern music?

I think it’s the same reason I got into old music. There’s something about listening to an old record that makes you nostalgic for a time you never even lived in. There’s a timeless quality about these genres of music and they’re still very vital.

Listen to artists today, like Raye, who are obviously very influenced by old jazz and Motown. To this day, you hear that sound coming back again and again, just in new forms.

We’ve packaged this very vital music so that there’s a hook for people. It’s songs that people recognize, and if they love the classic sound but don’t know the original repertoire, this is a gateway into all that stuff.

What would you say to someone who thinks that old music isn’t relevant?

Well, I think most people in their heart of hearts know that that’s not the case. Old music remains vital. But if somebody was really clinging to the idea that this stuff isn’t relevant…or, perhaps more common would be “not marketable.” 

I think I was even told that when I used to send my stuff to record labels and pitch ideas. Somebody would write back very politely saying they didn’t see any place in the market for it. But I think people don’t realize what works until after it’s happened.

Really, you can make any genre of music relevant. Genre isn’t this fixed thing where jazz only happened from the 1920s to the 1960s. Or that rock’n’roll died with Elvis. 

These genres transcend the period of time they originated in. I think of jazz not so much as a genre but more as something you do to music. So, you can incorporate jazz into anything. Like EDM or a dance track. You’ll hear samples from jazz records (or things that were influenced by jazz records) in a lot of modern day tracks. And if you follow that thread, it always leads back to jazz, rock’n’roll, or other great styles from the 20th century. Or classical for that matter. 

I think it just takes thinking about genre in a different way.

I think of jazz not so much as a genre but more as something you do to music.

Scott Bradlee

When you’re finding songs to arrange, are there certain things you look for? Are some songs easier to arrange than others?

I try to find something that reminds me of a record from the past. And that could be a musical element, a bass line, a guitar riff, or it could be something lyrical. Most of the time it’s something lyrical.

The example I like to give is “Sweet Child O’ Mine.” You look at the lyrics and it’s just a blues song: the way it’s written, the imagery that’s used, the way it does verse-refrain-verse-refrain. It’s all stuff that borrows from the blues tradition.

I wanted to reimagine it as a 1920s blues piece, and the empress of the blues was Bessie Smith. She was the greatest singer from that era. So I invited a phenomenal blues singer that has performed as Bessie Smith in a one-woman show for many years. Her name is Miche Braden, and that was the sound I wanted.

From there, I built the arrangement. Back then, you would hear a lot of New Orleans style horns. You would hear a lot of polyphony, which means they’d be improvising collectively in places. In the 1920s, you would hear a real dirty blues beat but still retain that marching band sound. You’d think of John Phillip Sousa or any of those marching band composers. That sound was still happening in the 1920s, New Orleans as well.

So we put all these elements together with the goal of taking the song back in time without tampering with the song’s actual DNA. We still retained the lyrical structure, the melody, and even the iconic guitar riff; we just put it in the horn section, instead. The goal is to listen to it, and when you listen to it in a different historical context, it changes the song a bit too.

I was reading your Substack earlier. There’s some great stuff there about social media. How do you stay true to your vision in the age of algorithms? 

This is the question every artist is grappling with right now. Pre-social media, we had different gatekeepers. You had to get a record deal if you wanted to get heard by lots of people.

Now the gatekeepers are digital. It’s engagement algorithms. You have to understand the game, particularly on social media since that’s essentially the internet now. That’s how people are discovering things.

But at the same time, you don’t want to let that stuff influence you to the point that you’re not making art anymore. You don’t want to be making just content. The approach that I take is: I want to make art. That means doing the songs I want. Remaking songs in the styles I want. Recording videos in the way I want.

And I keep that as the top priority. But at the same time, when I’m sharing clips, we still utilize those practices that allow them to be seen by lots of people. So, I think every artist should focus on making the work they want. But from there, you can frame that work. That’s up to you and that’s where you’ll wind up editing things for social media consumption.

I never recommend creating for an algorithm because you won’t feel good at the end of the day. Also, that stuff doesn’t last. Trends come and go. But if you create a body of work, that can transcend time.

Case in point, TikTok is the most ephemeral of platforms, right? Things go viral on there and then they’re gone. But you’ll see old songs or videos resurface that were created in a completely different era. Those artists weren’t creating for an algorithm; they created this awesome body of work and down the road, it can be framed in so many ways.

Do you have any advice for a young musician who wants to succeed in 2024 but is nervous about social media and the algorithms and all that?

Think of the big picture. Focus on doing that authentically and not letting the algorithms influence you.

I came up during the early days of social media where things were pretty positive. And I was able to use those platforms to amplify my work and bypass all the traditional gatekeepers. I didn’t need a record deal.

Trends come and go. But if you create a body of work, that can transcend time.

Scott Bradlee

I think it’s a little different for young musicians today. But I would say: just ignore the metrics. Don’t base your worth as an artist on how many people watched your reel or follow you on TikTok. Those metrics are becoming increasingly meaningless. There are people who have very large followings that have no potential for touring because they can’t get those people to show up in real life.

The online world is getting increasingly untethered from reality. A lot of artists believe that if they’re not going viral, then they don’t have potential. And that’s completely not true. The folks that we work with in Postmodern Jukebox, a lot of them aren’t even on those platforms. There are some musicians that will always have a gig because they’re so talented, and it doesn’t matter whether they’re going viral on TikTok or doing the latest dance craze on Instagram.

I guess the traditional way of going to a bar and asking if they need a cocktail pianist still works!

Certainly. During this digital age, in-person stuff when people go the extra mile is much more memorable. Actually taking the time to write an email and cultivating relationships that way—it holds a lot more weight than it used to. I think that there will be a return to good old-fashioned thank-you notes. 

I’m also a firm believer that if someone is doing consistent, great work, they will get recognized. It may take a while—and maybe it won’t get picked up by the engagement algorithms—but it will be appreciated. 

Thanks for chatting with us, Scott! Make sure you catch our Pianote videos with Scott on YouTube.

The post Scott Bradlee (Postmodern Jukebox) on Jazz, Nostalgia, and Surviving the Age of Algorithms appeared first on Free Piano Lessons Online | The Note | Pianote.

If you’ve seen master improvisers play elaborate runs seemingly out of thin air, you might think that improvising is a magical power only certain musicians possess.

But improvising isn’t random. Just like speech isn’t random. We improvise every time we speak. And it feels second-nature because we’re so familiar with the tools: words, grammar, phrases, etc.

It’s the same thing with music. Improvisation is a skill that you can learn by mastering its tools. This article will walk you through some basic tenets of improvisation.

Basic Improvisation Tools

Before you start improvising, make time to understand the tools:

• Key signature: If you haven’t already, learn how to find what sharps or flats appear in a given key. You’ll know exactly what notes to work with when you know the key.
• Scales: After you learn key signatures, practice the scales in those key signatures. Scales are the foundation to memorable and impressive runs in your improvisations.
• Chords: A basic knowledge of chords goes a long way. Make sure you’re familiar with the concept of diatonic chords.
• The number system: While understanding the number system is not required per se, it can certainly help you make sense of chord theory and to transpose songs.

Need some extra help? Check out our favorite resources:

• Types of Scales & How to Apply Them
• How to Play ALL Piano Chords (Major, Minor, 7ths)
• Chord Symbols, Explained

Basic Improvisation Techniques

Here’s a pro-tip: improvisation doesn’t have to be super fancy to count as improvisation. In fact, sometimes simple is best! Here are some easy-to-understand, beginner-friendly improvisation techniques you can start today if you know the basics of piano.

In our video lesson, Justin Stanton uses the jazz classic “Autumn Leaves” by Joseph Kosma as an example. Here’s the melody we’ll work with:

Rhythmic Variations

Guess what? You can improvise without overthinking scales, keys, chords, and all that. Simply varying the rhythm can dramatically change the character of a song. So take a melody you know and simply try playing it with a different rhythm. Draw out some notes, shorten some other ones. Add some syncopation. You can even experiment with silence!

Embellishments

Now let’s try playing with the melody. We can add embellishments to the melody here and there to make it sound a little unique. For example, you can slide into a target note from a semitone above or below. You can also try enclosures—that’s when you go up and below before playing a target note (or down and above). Try not to overthink this. Just see it as adding little flourishes around an existing melody.

Some more examples:

Put it all together!

You can do a lot with just these two simple techniques. Try mixing things up and putting things together. See what you can create.

5 Levels of Improvisation With Justin Stanton

Justin Stanton is a talented multi-instrumentalist known for his work as a trumpeter, keyboardist, and composer with the Grammy-winning jazz fusion band Snarky Puppy. You can now access his challenge series, “5 Levels of Improvisation,” as a Pianote Member. Not a Member yet? Try it for 7 days!

TRY PIANOTE FOR FREE

How to Improvise on Piano: Exercises for Beginners

The best way to learn how to improvise on the piano is not to read about it, but to practice with some intentional exercises. We recommend you start with these very simple ones:

Improvise with just 3 notes

> Create Emotional Piano Music (Just 3 Notes)

Now try 4 notes!

> Create Emotion With 4 Notes

Improvise with just 1 chord

> Sound Amazing on the Piano in 5 Minutes

Learn some riffs and fills

> Riffs and Fills Made Easy (or take the full course: Piano Riffs & Fills)

Use Motifs and Scales

In this video, Jesús Molina shows you how to improvise with just a motif and notes from the same scale.

How to Improvise on Piano: Take It to the Next Level

See? Improvising isn’t scary at all!

Once you feel comfortable with the beginner exercises above, see if you can add more tools to your piano improv toolbox. Learn some fancy scales, try solo-ing, and branch out into different styles. Borrow, mix, and match from different areas.

Learn fancy scales

Expand your improv vocabulary with scales. Good scales to learn include the blues scale and the major and minor pentatonic scales.

If you’re up for a challenge, learn modes. Modes take some extra time to wrap your mind around, and there are a few funny words to memorize, but they’ll help you conquer the frequent key changes in jazz.

• Piano Scales: Types of Scales & How to Apply Them
• Modes: A Friendly Guide
• The Blues Scale Formula
• The Mighty Pentatonic Scale

Try your hand at solo-ing

> Easy Piano Improvisation Exercises

Learn reharmonization

“Reharming” is a more advanced technique that can dramatically alter the mood of a song. This is what arrangers use to create an upbeat version of a moody ballad or a moody ballad version of an upbeat bop! This is also what jazz musicians use to create lush, complex sounding music. Make sure you’ve mastered chord theory before you try reharming.

> How to Arrange a Song: Arranging & Reharmonization Tips

Experiment with different styles and moods

> You’ve Never Heard “Twinkle Twinkle Little Star” Like This Before!

Final Tips

Constraints lead to creativity

A common piece of advice is to “play whatever you like.” And while this sounds freeing, many people are overwhelmed by the infinite possibilities of playing “anything.”

Instead, it may be helpful to give yourself constraints to work within. Set some rules: use a limited number of notes, set a rhythm, or use a short set chord progression (like the 2-5-1).

Research now suggests that rules, limits, and constraints are more conducive to creativity than total freedom.

Listen to the masters

Listen to top musicians and the language they use. Listen widely and deeply. Your own style will develop as a result.

Find a safe space

Improvising means taking risks, and ideally, you want to take risks in a nonjudgemental safe space.

If you can, practice improvisation in a place where you have privacy. If you have a digital piano, wear headphones. And if you live with other people, take advantage of times when everyone else is out of the house.

Need inspiration? Check out these practice space tips.

Sing along!

Expert improvisers like Jesús Molina sing along to what they’re improvising, and you’ll notice this among many musicians.

Singing or humming along to your playing forges a physical connection between your mind and your instrument. After all, thinking up notes is easy, but translating that into an instrument can be difficult. Singing—using the instrument we’re all born with, our voice—is the bridge between the brain and the keyboard.

You don’t need to be an amazing singer. Just try it!

Work off something you already know

If you’re stumped for ideas, use a song you know as a jumping-off point.

In this video, Lisa teaches a classically-trained pianist (me!) to improvise using chords from Bach’s “Prelude in C Major.”

We took the chords, then used Bach’s patterns to create new ones. Then we added a new chord! I was stunned by what a few minutes outside my comfort zone could do.

It doesn’t have to be complicated

Dizzying runs. Dreamy arpeggios. Complex chords. These all sound impressive but at the end of the day, complexity isn’t necessary for a successful improv performance.

In fact, worrying about being intricate can stifle your creativity. Too much ornamentation can also sound busy. If you’ve just started learning how to improvise on piano, try not to overthink. Keep it simple. And don’t forget to have fun!

The post How to Improvise on Piano: A Beginner’s Guide appeared first on Free Piano Lessons Online | The Note | Pianote.

Ludwig van Beethoven is one of—perhaps the—most famous composers of all time. He’s written everything from concertos to symphonies, but he’s perhaps best known as a piano composer.

Some of Beethoven’s pieces are among the most difficult in piano repertoire, but unlike Liszt and Rachmaninoff, Beethoven wrote a big share of beginner-friendly pieces too. We’ll introduce you to some in this article.

10 Easy Beethoven Piano Pieces

“Für Elise” Bagatelle in A Minor (WoO 59)

Perhaps THE Beethoven piece, “Für Elise” is a fairly accessible intermediate piece in A minor. What I like about this piece is that it takes you on a journey through several moods: plaintive, cheerful, angry, then plaintive again. Then, there’s the iconic chromatic melody centered around the E and D-sharp notes and even a dramatic, show-offy arpeggio in the middle that dances across octaves.

Watch the video above for an in-depth, step-by-step tutorial on the piece. We think it’s the best “Für Elise” tutorial on the internet!

> Full Lesson
> Free Sheet Music

“Moonlight” Sonata – 1st Mvt. (Piano Sonata No. 14, Op. 27, No. 2)

Beethoven’s Piano Sonata No. 14 is a must-play for many pianists. And while the “Moonlight” sonata holds legendary status, it’s actually not that difficult. The first movement should be accessible to intermediate students and its slow, expressive tempo is very forgiving. In addition to developing your dynamics, this moody piece also introduces players to playing three lines of music with two hands: bring out the melody with your pinky!

> Full Lesson
> Free Sheet Music

You may also enjoy…

• The Best Beethoven Piano Sonatas: What Every Pianist Should Know
• 40+ Legendary Classical Piano Songs By Difficulty

Learn Your Favorites, Step By Step With Full Sheet Music Downloads

As a Pianote+ Member, you’ll get access to our 10-step Method, song library, and growing community of piano players just like you. Plus: get coached by world-class pianists who have played with rock stars.

TRY PIANOTE FOR 7 DAYS

The post 10 Easy Beethoven Piano Pieces (With Sheet Music) appeared first on Free Piano Lessons Online | The Note | Pianote.

]]> Beethoven : German Dance in E flat Major, WoO 13, No. 9 nonadult https://www.pianote.com/blog/alesis-recital-pro/ Sun, 17 Mar 2024 16:55:48 +0000 https://www.pianote.com/blog/?p=16725 The Alesis Recital Pro retails at US$379 and includes 88 full-size weighted keys.

The post Alesis Recital Pro: The Best Affordable Digital Piano? appeared first on Free Piano Lessons Online | The Note | Pianote.

]]> Retailing at US$379, the Alesis Recital Pro is an affordable digital piano with 88 full-size keys, weighted action, a music stand, and enough features to keep your practice sessions interesting. 

So is the Alesis Recital Pro the best and most affordable digital piano for beginners? To answer that question, here’s a detailed review!

Table of Contents:

*This article contains affiliate links, which means we might earn a small commission from the product seller if you make a purchase. For more info, check out our privacy page.
**While Alesis sent us this keyboard to review, we were under no obligation to write a positive review.

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Alesis Recital Pro Specs and Features

Basic Specs

• Dimensions: 13.8″ height x 51.6″ width x 5.5″ depth
• Weight: 26lbs
• 3 effects and 12 voices
• Connections: pedal and headphone inputs (1/4″), 2x audio inputs (1/4″), MIDI in/out (USB)
• Built-in speakers
• Can run on included power plug OR D-cell batteries

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Feature Highlights

Features of the Alesis Recital Pro include:

12 Voices

The Alesis Recital Pro comes with 12 voices: piano, bright piano, electric piano, vibraphone, organ, church organ, harpsichord, clavichord, synthesizer, strings, acoustic bass, and fingered bass.

3 Effects

You can further customize each voice by adding a sound effect: modulation, reverb, or chorus.

Layer Mode

Layer Mode lets you combine two voices to create something more unique and resonant. Try layering piano and strings together for an orchestral feel.

Split Mode

This feature lets you split the keyboard down the middle and assign a different voice to each side. You can also choose where you want the keyboard to be split.

Lesson Mode

This feature is perfect for students and teachers. It lets you split the keyboard into two sections, with each section playing the same octave. This is like having two pianos in one!

Hardware and Accessories

Out of the box, the keyboard comes with a music stand and power supply, but no sustain pedal is included.

Note: YouTube reviewer James Pavel Shawcross notes that the pedal-operated rotary organ effect does not work with his pedal unit. However, it did work for me. So if you’re purchasing a third-party pedal, you may want to test it first.

Alesis Recital Pro Action and Playing Experience

Sound effects are fun, but when it comes to enjoyment and progression, it’s all down to how the keys feel. We call this action.

The Alexis Recital Pro offers weighted action. This means the softer you play, the softer you’ll sound. And the harder you play, the louder you’ll sound.

But the Recital Pro doesn’t have graded action. In more advanced pianos, graded action means the high notes feel lighter than the bass.

Weighted action is a must-have for anyone who wants to progress at the piano. So, it’s great to see this feature in a $379 keyboard. However, the Recital Pro’s action is not the greatest. It’s very basic, and while it works, the keys feel springy, almost button-like. This is acceptable for early beginners and casual pop players, but it’ll be difficult to pull off classical and jazz on this piano.

Shawcross proves in his YouTube review that the black keys are weighted lighter than the white ones. I noticed this too (though I may not have noticed it had I not seen Shawcross’ review). This unevenness in weighting can lead to uneven playing.

You can adjust the touch sensitivity and there are four levels: off, 1, 2, and 3. When playing classical music, I preferred 3.

Alesis Recital Pro Sound Quality

The Alesis Recital Pro has onboard speakers. They’re not terribly loud, but they’re strong enough to hold a bedroom concert.

The sound quality of the Alesis Recital Pro isn’t amazing, but you can add more depth to it by adjusting reverb, resonance, and the equalizer. I found I liked the “rock” equalizer the most. I also found the electric piano sound the most pleasing.

Verdict

Pros	Cons
88 weighted keys Easy-to-use interface; owner’s manual is easy to follow Nice electric piano sound Lesson, layer, and split modes are useful for beginners and fun to use Looks good: not too chonky and not too delicate Includes a well-built music stand Lightweight, portable, and very affordable!	Doesn’t come with a sustain pedal Action is not suitable for music that demands nuanced dynamics, but is acceptable for beginners Sound quality is a little muddy, but you can adjust reverb and EQ to improve it No graded action

The Alesis Recital Pro has an impressive set of features for a piano of its price point. It’s everything a beginner needs to get started. But the elementary action mechanism may leave more advanced pianists wanting.

Still, pianos are some of the most expensive instruments you can buy. At US$379, the Alesis Recital Pro is an excellent deal for early beginners and those looking for a portable second keyboard.

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Related articles:

• How to Buy Your First Piano
• What is the cost of a piano?
• Upright vs. Grand Pianos: Differences Explained
• Keyboard vs. Piano: What’s the difference?

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]]> https://www.pianote.com/blog/upright-vs-grand-piano/ Sun, 18 Feb 2024 15:00:00 +0000 https://www.pianote.com/blog/?p=16601 Upright vs grand piano: is one always better than the other? Not necessarily! Learn more about the difference and whether one is right for you.

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]]> Upright vs grand piano: what’s the difference? Is one always better than the other, and how? Do you need a grand piano to become a better piano player? We’ll explain everything you need to know in this post!

Table of Contents:

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Upright vs Grand Piano: Action

Upright and grand pianos are similar in the sense that they are both acoustic instruments made up of mechanical parts that do similar things. In a nutshell, this is how an acoustic piano—grand OR upright—works:

1. The pianist presses a key
2. The key activates a hammer
3. The hammer strikes a string
4. The string vibrates, creating sound
5. The sound is amplified by the piano’s wooden soundboard

This cascade of events is called action. You can read a more detailed explanation of how this works in our article How Pianos Work.

Where grand and upright pianos differ is how hammers return to rest. In a grand piano, strings are laid horizontally. The hammer goes up, strikes a string, and comes back down thanks to gravity. 

Upright vs Grand Piano Action: Videos by Yamaha

Grand Piano Action

Upright Piano Action

In an upright piano, the strings are laid vertically. Without gravity, upright pianos require a spring mechanism to return a hammer to rest.

A grand piano’s action is often deemed superior because, thanks to gravity, hammers return to rest faster. This enables faster repetition of notes on a grand piano.

Other Differences Between Grand and Upright Pianos

Action is the main difference between grand and upright pianos, but there are a few other subtle differences:

Soundboard

Grand pianos typically have a larger soundboard than an upright. This means grand pianos sound louder and richer. This isn’t universal, however. Some baby grands have smaller soundboards than top-of-the-line uprights.

Middle Pedals

Grand pianos typically have a sostenuto pedal as their middle pedal. Meanwhile, the middle pedal of an upright piano is usually a practice pedal.

The sostenuto pedal is like a selective sustain pedal because it isolates and sustains specific notes. However, this effect is very rare; it’s generally only found in some modern classical pieces.

The practice pedal activates a piece of cloth between the hammers and strings of an upright piano. This is handy, allowing students to practice at all hours of the night without disturbing their housemates and neighbors!

Una Corda Pedal

Both uprights and grands have an una corda pedal as their left-most pedal. In a grand, pressing the una corda shifts the hammers to the right so that they hit one string instead of the usual two or three. In an upright piano, the una corda moves the hammers closer to the strings. In both cases, playing with the una corda pedal creates a softer, more rounded tone.

> How Piano Pedals Work

Upright vs Grand Piano: Does It Matter?

So the question remains: are grand pianos better than uprights? They tend to be much more expensive and take up a lot more space, so this is a good question!

Whether a grand piano is better than an upright also depends on the specific grand and upright. A concert grand from a world-class brand like Steinway, Bechstein, Yamaha, or Kawai will most definitely be a superb instrument. But a baby grand from a less reputable brand may not be much better than an upright.

Alternatives to Grand Pianos

In general, grand pianos are better than uprights. But owning one is not always necessary. Piano makers recognize that grands are expensive and take up space, so they’ve created alternatives that deliver a similar experience.

“Vertical grands” and “upright grands.” Upright pianos like the Yamaha YUS-5 have larger soundboards than some grand pianos and a sostenuto pedal. This gives piano players a similar experience to a traditional grand without the price tag or space required.

Hybrid pianos. These include the Yamaha AvantGrand series and the Kawai Novus series. They use a real grand piano action, but instead of hammers hitting strings, the hammers hit a sensor which delivers sound through a speaker. This lets players have the best of both worlds: an acoustic feel plus digital features!

Who needs a grand piano?

At the end of the day, grand pianos do deliver a superior ability to play nuanced, expressive music. They’re best for very serious piano players, classical musicians, and jazz musicians who require a sophisticated tone. Touring pianists who are given a grand piano in concert halls also benefit from owning a grand piano so they can practice on something as close to their performance instrument as possible.

Grand pianos are less necessary for casual players and pop musicians. There was a time when acoustic pianos were way superior to digital keyboards, but today’s digital piano technology has come a long way. 

If you’re a piano student, having a digital piano from a reputable brand like Roland or Yamaha should be more than sufficient! Just make sure your piano is full-size with 88 keys and has weighted and graded action.

Buying a piano?

If you’re in the market for a new piano, here’s one very simple rule of thumb: play the piano before you buy it!

At the end of the day, playing piano is a subjective experience. Choose an instrument that feels good under your fingers, that expresses you.

The piano you prefer may not be the fanciest, most expensive, biggest instrument. But if it feels right, it’s the instrument for you!

More resources about pianos as instruments:

• How to Buy a Piano: The Ultimate Guide
• Keyboard vs Piano: What’s the difference?
• What is the cost of a piano? (Acoustic & Digital)
• The Most Popular Piano Brands

Master the Piano YOUR Way

As a Pianote+ Member, you’ll get access to our 10-step Method, song library, and growing community of piano players just like you. Plus: get coached by world-class pianists and learn whenever you want, wherever you want, and whatever you want.

TRY PIANOTE FOR 7 DAYS

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]]> 【ピアノ】アップライトとグランドの違い：グランドピアノ nonadult https://www.pianote.com/blog/how-to-write-a-love-song/ Fri, 16 Feb 2024 19:37:00 +0000 https://www.pianote.com/blog/?p=17460 Learn how to write a love song including inspiration, choosing a key, chord progressions, and more.

The post How to Write a Love Song on the Piano appeared first on Free Piano Lessons Online | The Note | Pianote.

]]> Writing a song for someone you love can be an incredible gift and a heartfelt expression of your feelings! If you’re new to songwriting but have a muse to woo, you’ve come to the right place. This post is all about how to write a love song on the piano.

If you want a more general overview of songwriting, be sure to check out our lesson How To Write a Song On Piano in 6 Easy Steps.

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How to Write a Love Song

Step 1: Get inspired

Any creative endeavour starts with inspiration. If you’re deeply in love with your muse, you’re probably inspired already! 

But you don’t need a love interest to write a romantic love song. You can get inspiration from other songs, movies, television, or works of art. And imagination goes a long way!

If you’re new to songwriting, look to the masters for inspiration. Listen to a diversity of artists from all genres, backgrounds, and time periods: from Bob Dylan and Chopin to Ed Sheeran and Yiruma.

> Romantic Love Songs on Piano

Step 2: Pick a key

Next, pick a key. It doesn’t matter what key you pick, but if you plan on singing, pick a key that you’re comfortable singing in.

Some people associate specific keys with specific emotions. For example, Christian Schubart’s Ideen zu einer Aesthetik der Tonkunst (1806) describes E-flat major as “the key of love, of devotion, of intimate conversation with God” (translated by Rita Steblin).

Schubart may be onto something. Erroll Garner’s “Misty” and Frédéric Chopin’s “Nocturne in E-Flat Major” are very romantic piano pieces in E-flat major! But of course, key sentiments are subjective. So pick a key you’re comfortable writing, playing, and singing in—ideally one where you’re familiar with the diatonic chords.

Step 3: Choose a chord progression

Some songwriters pick their melody first (see next step) but if you’re still brainstorming yours, starting with a chord progression can be a good catalyst for melodic ideas. 

Chord progressions set the mood and narrative direction of a song. You can make up your own progression or choose a popular progression. Remember: just because many people have used the same progression doesn’t necessarily mean a song is unoriginal or uncreative. 

Still stuck? The I-V-vi-IV progression and its sibling the vi-IV-I-V progression are great places to start. These progressions have carried the love songs of legendary songwriters for decades, from the Beatles to Taylor Swift!

> Top 10 Piano Chord Progressions (And How They Work)

Step 4: Find a melody

Perhaps you already have a melody living rent-free in your head and you just need chords to harmonize it. In which case, check out our lesson on how to match chords to melodies.

Have a progression but no melody? Try improvising over the progression with notes from the same scale. Melodies don’t have to be complicated. In fact, simplicity often wins because simple tunes are catchy and get stuck in your head!

If you need more inspiration, try one of these lessons:

How to Write A Melody on the Piano
How to Improvise a Beautiful Melody: 9 Tips From Jesús Molina
Create Emotion With Only 4 Notes

“You have to only write for you. You can’t write for anybody else.” Lisa Witt goes in-depth into her songwriting process in this interview about and performance of “Four Walls.”

We hope this post helped you write your love song. Good luck!

I know it’s not much, but it’s the best I can do;
My gift is my song and this one’s for you.

Bernie Taupin, “Your Song” (Performed by Elton John)

Ladies and gentlemen, will you please stand?
With every guitar string scar on my hand—
I take this magnetic force of a man to be my lover.

Taylor Swift, “Lover”

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]]> https://www.pianote.com/blog/new-year-piano-resolutions/ Fri, 29 Dec 2023 16:23:38 +0000 https://www.pianote.com/blog/?p=6753 Goal-setting tips for achieving your piano goals in 2023. Plus: get more sheet music and learn more songs as a Pianote+ Member!

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]]> Setting your piano goals? Want to play more songs in 2025? This is the blog post for you. We’ll share some tips on how to actually achieve your music goals, including how to play more of the songs you love.

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Every January, people all over the world sign up for gym memberships, learn new recipes, or buy a stack of books to read only to completely forget about it by February. Studies show that 80% of people fail their New Year resolutions by February and only 19% of people maintain their goals for two years.

Piano players can relate. Learning how to play a musical instrument is challenging, so it’s very common to feel discouraged. Perhaps you’re not progressing as fast as you want, or you’re stuck on a particular song or technique. And sometimes, seeing more advanced players on social media can be discouraging too.

But each of our musical journeys is unique So please don’t compare yourself to others! Keep reading to get some tips on how to stick with your New Year’s goals.

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Why New Year Goals Fail

If you struggle to stay on track of your New Year’s goals, you’re not alone. Try to avoid these pitfalls:

• Setting vague goals. “I want to get better at piano in 2025” is a great goal, but it’s a difficult one to measure. What does “better” mean? Try to be specific about what you want to accomplish.
• Having goals that are too strict or ambitious. On the other hand, being overly ambitious or too strict can backfire. If you’re not sure whether your goal is too strict, try setting a range instead of a specific number. For example, instead of “I will learn 10 songs by December 31,” try “I will learn between 5 and 10 songs by December 31.”
• Relying on willpower. Scientists are learning that raw willpower isn’t that useful when it comes to achieving goals. Instead, successful people tend to enjoy their goals. Or, they structure their life to make achieving them easier. For example, place your piano near the kitchen if you find it easier to practice while you’re waiting for your coffee to brew or your dinner to warm up in the oven.

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Piano Goal-Setting Tips

#1. Expect to not want to practice

No one said learning to play a musical instrument would be easy. Learn to expect challenges, because no matter how musically gifted you are, there will be hard days. Expecting difficulty preps you mentally and you’ll feel less disappointment when there’s a roadblock.

#2. Create a safe space to practice in

Practice in a cozy space. Make it convenient. Make it comfortable. Not only will a good practice space encourage you to spend time in it, but the space can also help get you out of your comfort zone. Privacy also helps; headphones are great for practicing improvisation because no one can hear your mistakes!

#3. Set S.M.A.R.T. goals

S.M.A.R.T. goals are specific, measurable, achievable, relevant, and time-bound. Here’s an example:

1. Specific. My goal is to play Prelude in C Major.
2. Measurable. My goal is to play Prelude in C Major at the right tempo and have it memorized.
3. Achievable. I have played pieces slightly easier than Prelude in C Major, so it’s a realistic piece to learn.
4. Relevant. I want to play Prelude in C Major because it’s my dad’s favorite piece and I want to surprise him on Father’s Day.
5. Time-Bound. I will learn Prelude in C Major, memorized and at the right tempo, by Father’s Day, 2025!

#4. Assemble a handy toolkit

While you can learn piano with just your brain, hands, and a piano, resources like these will help in times of challenge:

• Scheduling tools such as an agenda, app, or the Pianote Practice Planner.
• Community to help you troubleshoot issues and stay accountable, such as r/piano, Pianostreet, and (our favorite!) the Pianote Members forum.
• Cheat sheets like chord inversion diagrams or a chords and scales reference book.
• A step-by-step method, whether classical or modern, that takes the guesswork out of what to learn next.

#5. Check in with yourself after practicing

This is perhaps my favorite trick of Lisa’s. After a practice session is the perfect time to check in because we often feel the best about ourselves at this time. So, remind yourself why you play — to feel this good!

Also, remember to end your practice session on a positive note. This can mean playing a song that you know well, improvising, and just having fun.

#6. Remember your “why”

Finally, it all comes down to remembering why you want to play piano in the first place. Perhaps you want to continue a childhood activity, perform for someone you love, or to simply play that favorite song of yours that features piano.

Knowing that WHY helps you connect the piano to your passion, and acts as an anchor that you can hold on to when trying to figure out how to stay motivated at the piano.

Lisa Witt

If it helps, write down your why and paste it on the wall in front of your piano.

#7. Change your perception of what practice is

It’s natural to think of practice in a negative light: it’s homework, it’s a chore, it’s something unpleasant that you unfortunately have to do to get good. But framing practice like this can demotivate you.

Instead, reframe practice. According to Victoria Theodore, our classical piano coach, practice is not a rote, boring activity but an opportunity to connect with music.

Song Learning Tips

Learning new songs can be intimidating. Here are some quick tips to make the task less daunting:

• Learn a song section by section. This will make the experience less overwhelming. Spend a day learning the verse, then the next day learning the chorus.
• Don’t be afraid to mark up your sheet music. You’re allowed to write down notes, remind yourself to sharp or flat something, break down counting, and even draw lines to indicate how your hands match up.
• Isolate the most challenging parts. It’s tempting to play a song from beginning to end over and over or to focus on the parts you’re good at. But to improve more quickly, zero in on the toughest parts of the song and spend extra time improving those measures.
• Listen to the song often. Finally, spend some time just getting to know your song! This will help you memorize the song and rely more on intuition when you practice and perform.

Lessons to Inspire You

In need of inspiration? Here are some of our favorite lessons about motivation and practice:

Start Practicing Piano Again

Go to Lesson

When You Don’t Feel Like Practicing

Go to Lesson

How to Love Practicing
(With Victoria Theodore)

Go to Lesson

Play Outside the Box
(With Sangah Noona)

Go to Lesson

Beginner Practice Routine
(Not Boring!)

Go to Lesson

Complete Practice Routine
(In D Minor)

Go to Lesson

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]]> Stuck In A Rut? Get Reinspired To Play Piano Again nonadult