The idea of having 88 keys to deal with before even thinking about pedals is enough to give even the most enthusiastic people a headache. However, very few things worth doing are easy, and learning piano can be incredibly rewarding. So, read on to see why it’s difficult but worth the effort.

1. So many keys

A full-size piano has 88 keys, and to a potential beginner, that seems like a lot to learn. The piano has the widest pitch range of all musical instruments, ranging in frequency from 27.5 Hz to 4.1 kHz.

If we think of orchestras, instruments are arranged according to their range of pitch (as well as instrument family). For example, a string quartet from low to high would be bass, cello, viola, violin.

Just to be clear, that means the bass plays the lowest-pitched parts, and the violins play the highest. As an instrument covering the entire range, the piano often has to do multiple jobs simultaneously.

Why it’s a good thing?

Having 88 keys can actually make things easier in a few ways. The piano is often considered the best instrument for songwriting because the notes are laid out in consecutive order. From the lowest to the highest, there are no repeated notes (pitches) like you have on a guitar’s fretboard.

Despite having 88 keys, there are only 12 different notes; everything else is just a higher/lower variation of those 12 notes. Each octave is a repeat of the last, so there’s less to learn than first appears.

2. Reading two clefs

Reading music for any instrument is something that takes a lot of practice. There are different levels of being able to read music. Many musicians can read music well enough to learn tunes, and some can sight-read and play complex scores in real-time.

Because the piano has such a wide range, it simultaneously involves reading the treble clef and bass clef. It also involves reading chords (multiple notes at once), not just single notes. Typically, but not always, the bass clef will be your left hand, and the treble is your right.

When potential musicians learn that many instruments like the trumpet, saxophone, or violin only require reading a single clef, they can seem like an easier alternative. The guitar tab system also seems like an easier path for many people.

Why it’s a good thing?

Most musicians like to play more than one instrument. That doesn’t mean they have to play all instruments to the same standard, but it helps understand other instruments.

If you can read for piano, you’ll find it much easier to read for most other instruments. It becomes easier to identify chords by shape over time, so reading multiple notes at once gets easier.

3. Hand coordination/independence

One of the most challenging aspects of playing the piano is developing hand independence. In the beginning, much of what you’ll play will be in unison. That means if you play scales, the right and left hands play the same notes at the same time.

If you’re playing simple beginner songs, many will involve holding chords/notes that change on the first or third beats, making the timing very comfortable. As you progress, timing can become trickier, and the left and right hands won’t sync so easily.

As well as notes/chords falling on more challenging positions, you’ll encounter each hand playing different rhythms. For example, three against two or four against three are rhythms that come up often.

Four against three could mean your right hand playing three notes over your left playing four. These rhythms are known as polyrhythms and can get very complicated.

Why it’s a good thing?

Keyboard/piano players often make good percussionists/drummers because of their hand independence. Not only do pianists typically have a strong understanding and application of rhythm, but they also tend to have good timing and phrasing.

4. Jack of all trades

Being a pianist means wearing many hats at different times. You’ll have to play melodically, rhythmically, percussively, or focus on harmony at any given time. Sometimes, you’ll be the soloist, other times the accompanist. As a pianist, you are expected to do a bit of everything.

If you are playing with a bass player, you’ll need to learn to stay out of their way; without a bass player, you could be filling their role by playing basslines in your left hand.

When accompanying a vocalist, you need to be the whole band. You are responsible for creating movement/rhythm and choosing the best voicing to play under the vocal melody.

Why it’s a good thing?

The more you understand music, the better musician you become. Music is like a language, and the more you know, the more you can express yourself through music.

Understanding so many aspects of performance, arrangement, and composition as a pianist makes it easier to work with other musicians. It also makes it easier to compose for different instruments because you have some understanding of their role.

Composers, arrangers, and musical directors often have a background in playing the piano.

5. Using pedals

If you don’t have enough to deal with using both hands, you’ll be glad to know both feet are needed as well. You can play the piano without using pedals, but it would dramatically limit what and how you play. The three pedals on a piano, from left to right, are the soft pedal, sostenuto, and sustain.

Using the pedals isn’t as simple as holding them down as you play. Good pedaling takes a lot of practice and requires precise control. Pedaling doesn’t always match the rhythm of your hands, so it adds another element to consider.

Why it’s a good thing?

It becomes second nature as you get better at using the piano pedals. If we think about the notes you play as a language, we can think of the pedals as ways to accent what you are saying.

Whether it’s muting your sound or sustaining notes, it becomes an extension of your musical vocabulary. Think yourself lucky that you aren’t dealing with organ bass pedals.

Frequently asked questions

In this section, I’m going to answer some of the most frequently asked questions about learning piano.

Is the piano the easiest instrument to learn?

While learning piano makes understanding various aspects of music easier, it’s probably not the easiest to learn. But, any instrument will take a lot of dedication if you want to learn to play at a high level.

How long does it take to learn the piano?

It’s different for everyone, but typically you will be playing songs in months, but looking at years to reach a professional level.

You may be a prodigal talent, and the usual rules won’t apply, but whatever level you reach, a musician is never done learning.

Can I learn the piano in a year or two?

Absolutely, yes. The average learner shouldn’t expect to reach a professional level in two years, but it’s certainly enough time to become an intermediate player.

Can I learn piano by myself without a tutor?

You can, to some extent, but you’d be missing two of the most critical aspects of learning: structure and accountability.

Without a tutor or structured lesson plans, it’s easy to get distracted and not hold yourself accountable for meeting targets (or not meeting targets as it may be). Results will vary based on how well you manage your time and the material you choose to study.

Is the piano a good first instrument?

Yes, it is. I genuinely believe that learning the piano provides the perfect foundation for understanding music on a broader level. It’s also a fantastic instrument for aspiring songwriters and composers.

What age should I start learning to play piano?

There are no set rules regarding the ideal age to start learning piano.

Can a 4-year-old learn piano?

A quick Google search will reveal extraordinary stories of child prodigies playing at incredibly high levels. In my opinion, the right time to start learning is when a child can show an interest and enjoyment in music.

Can a 30-year-old learn piano?

Absolutely, at 30 years old, the average person has listened to a lot of music and will have developed some sense of rhythm and timing. It’s also an age when deciding to learn means you have a keen interest in music.

Can a 60-year-old learn piano?

Yes, and it’s a far more common age to start than you might think. Many people have wanted to learn piano and never had the time. At 60, most people are winding down their careers and can afford more time for hobbies and passions.

Is it hard to learn piano at an older age?

Some people have more natural abilities than others. If you rely on hard work more than natural ability, starting later might be harder but far from impossible.

Is it ever too late to learn?

If you are physically able to play the piano, then it’s never too late to learn.

How good do I have to get to make it worthwhile?

You don’t have to be the most gifted pianist to get a lot of music and playing the piano. It’s like saying you don’t have to be a deep-sea diver to have fun in the water.

How long should I practice each day to see the best results?

If you are going down the path of studying music and becoming a professional pianist, you could practice for a few hours each day.

However, the answer generally depends on how much time you can give and how long it holds your interest. Half an hour daily is better than one four-hour session each week, and when is an excellent target for beginners.

Final thoughts

Learning to play the piano is many things: it’s fun, it isn’t easy at times, and most importantly, extremely rewarding.

Whether you want to be a performer or just a hobby, music can enrich your life more than you know. Sharing music with others is wonderful, and having it as a personal escape can be life-changing.

If you’ve ever wanted to learn the piano, start now, it will be one of the best things you ever do.

In this updated review, I revisit Skoove to see how it has evolved since my last experience. I’ll take a close look at everything the platform offers, from setup and lesson structure to real-time feedback and progression, and assess how well it serves beginners, intermediates, and advanced players.

Most importantly, I’ll discuss whether Skoove now provides a truly comprehensive path from your first notes to confident, independent playing.

Final verdict 4.2

I like Skoove, and I want to be clear that, when pointing out anything I consider to be a flaw, I do so because I see great potential.

Skoove is very good and shows considerable improvement since my first experience, but it could be much better if not for some odd structural choices and feedback issues. However, I don’t see any problems that can’t be fixed.

I wouldn’t recommend Skoove to experienced students, but it’s a fantastic app for beginners.

Why you should trust this review

I’m a pianist, composer, and music educator with over 25 years of experience in the industry.

Having studied composition as a pianist, I have experienced and understand the difference between traditional music education and online lessons.

I have worked on many education-based projects and continue to put online piano lesson platforms to the test.

Contents

Use these jump links to navigate to the desired section of the review.

• Free trial 3.0
• Getting started 4.0
• Interface 4.5
• Teaching 4.0
• Content 4.0
• Progression 4.0
• Value 4.5
• Comparisons

Free lessons 3.0

Unfortunately, the free membership is an area where I was previously disappointed, and the offering hasn’t improved.

The upside is that you can take a 7-day free trial of Skoove Premium, which gives you access to all lessons, courses, and songs. The downside is that you’ll need to provide payment details (credit card) to initiate your free trial.

Technically, it’s not a big problem, because you can cancel before the trial ends, and Skoove won’t charge you a penny. However, it does turn away some potential students because many people prefer not to share payment details until they are making a definite purchase, and I can understand that.

It’s not exclusive to Skoove; most subscription services require payment details before starting a free trial. One of the reasons it puts people off is that they sometimes decide not to continue with a paid subscription but forget to cancel it (or say, ‘I’ll do it later’), and they accidentally pay for something they don’t want.

If people genuinely love a service, they will add payment details after a trial and continue happily, so I wish more trials were available without credit card details. Some people may not mind, but it’s worth noting.

If you opt for a free membership instead of the Skoove Premium trial, you’ll only have access to three lessons. I understand the concept of providing a tempting taste of the premium subscription, and, in fact, Skoove does that.

However, I’d still like to see Skoove offer a free course for each level (Beginner, Intermediate, and Advanced). It doesn’t need to be an in-depth course for each level – a short course that allows the user to experience some genuine progression would suffice.

Again, Skoove isn’t alone in this issue; I’d like to see all platforms offer a little more for free, and I think it would benefit them in the long term.

Pricing

You have the option to pay for your Skoove Premium subscription on a monthly, quarterly, or annual basis. If you choose to pay annually, you will save the most money.

• 1-month subscription at €29.99 / $29.99 / £24.99 per month (charged monthly).
• 3-month subscription at €19.99 / $19.99 / £16.66 per month (€59.99 / $59.99 / £49.99 charged every 3 months).
• 1-year subscription at €12.49 / $12.49 / £10.41 per month (€149.99 / $149.99 / £124.99 charged every 12 months).

In addition to more than 500 piano lessons, Skoove Premium gives you access to monthly updated lessons/songs, one-on-one support from instructors, and structured step-by-step courses (none of which are available on a free account).

Getting started 4.0

I’ve loved how easy it is to get started with Skoove from day one. Creating an account is quick and easy, and Skoove asks all the right questions to ensure you get the most out of your piano journey. You’ll add details like your age, piano experience, preferred genres, and expected practice schedule.

More importantly, Skoove guides you through the setup in a way that’s simple enough for young students to follow. Additionally, you have the option to set up an account as a parent/family member.

Keyboard settings

You have the option to use an acoustic piano, an electronic keyboard with built-in speakers, or a MIDI keyboard controller. You can connect via Bluetooth, USB, or microphone.

If you’re using an acoustic piano or electronic instrument with speakers, you’re relying on your device’s microphone for accurate note detection. I prefer using a USB/MIDI keyboard, and the setup is straightforward.

Once you connect your device, Skoove will ask you to play the lowest and highest notes on your keyboard, and you’re good to go.

My only problem with the connection process stems from the fact that Skoove is no longer available for desktop devices. Previously, Skoove offered lessons via the app or your web browser. The downside is that the user experience wasn’t identical on both platforms, but I’d like to see a desktop app to replace the old web browser model.

I used the iOS app on an Apple iPad Pro with a MIDI controller keyboard. My issue is that the iPad has only one USB-C input, which sometimes meant I had to stop practicing to plug in the charger when the battery got low. You can purchase a USB hub to provide additional inputs, but that’s an extra cost for the student.

While it won’t be an issue for all students, a desktop app would be welcomed by many. For example, aspiring music producers with a small production setup (MIDI keyboard, laptop, and audio interface) who are somewhat experienced in beatmaking but want to improve their piano skills would find it much easier to open Skoove in their existing setup.

Interface 4.5

The upside of no longer having a web browser version of Skoove is that all users have a consistent experience, which is great. It also removes previous browser and pop-up issues.

The Skoove interface is fantastic because you can get anywhere you need to go in one click.

The app has five sections: Home, Courses, Songs, Profile, and 1-1 Class. You can access these sections via the buttons stacked in a column down the left side of your screen.

When you enter the Courses section of Skoove, you can see every course laid out in order, from Beginner to Advanced (and color-coded).

The song library is well-arranged, and you can search by skill level or category. Available categories include New to Skoove, Classical, Pop, Christmas, Reggae, by the decade, and more.

Your Skoove profile is where you can find/edit your account details, access device settings, contact support, and browse frequently asked questions.

1-1 Class is where you can book a personal lesson with direct feedback from one of Skoove’s expert instructors.

I couldn’t fault the interface layout and functionality last time, and I can’t fault it this time (I just wish they’d introduce a desktop app).

Lesson interface

The lesson interface is fantastic; it’s simple, easy to use, and that’s all it should be.

Lessons begin by displaying the notation on the top half of the screen and a piano keyboard on the bottom half. When the music starts, you’ll see an instructor’s hands performing the correct notes on the piano keyboard, which gives you a chance to watch and practice along without feedback.

When you’re ready for feedback, you can tackle the lesson with only the notation.

You can pause any lesson to adjust the tempo or loop any problem areas. Looping a difficult bar or two is a great way to get past sticky areas without repeating the sections you’ve already nailed.

Teaching method 4.0

The Skoove teaching method has three main steps:

• Get to Know the Song
• Learn the Keys
• Play in Time

The Get to Know the Song step is your introduction to the song and a chance to relax and listen.

The Learn the Keys is the step where you first get to grips with the notes of the song. You’ll receive feedback during this step, but you can proceed at your own pace, and you don’t have to worry about maintaining rhythm or dynamics.

The real-time feedback shows a green dot above every correct note and a red dot above incorrect notes. At the end of each lesson, you’ll receive overall feedback, telling you how many notes the lesson contains and how many you played correctly.

Once you reach the Play in Time step, you can practice playing along with the instructor without receiving feedback. When you’re ready for feedback, you can tackle the music at a comfortable tempo and work your way up to 100%.

One of the things I like most about Skoove’s teaching method is that it breaks everything down into manageable chunks. You’ll focus on a small section of a song, and work through the Learn the Keys and Play in Time steps for each hand independently before putting both hands together.

There are some secondary elements of the teaching method that you won’t see in every lesson, but they are very helpful.

Often, when tackling a new concept for the first time, like the major scale, you’ll have an explainer video to watch.

You also often see the Finger Gym, which allows you to practice new concepts before tackling the song properly. For example, when a song has rhythmical chord patterns for the first time, you’ll get to practice the technique in the Finger Gym.

Another element that I really love, especially for beginners/kids, is that you sometimes get a chance to play along with the band. Playing with other instruments (even if virtual) and listening to what they are doing is an excellent way to enhance musicianship.

My only complaint is that the play-along sequence includes the melody, which is quite loud and masks what the student is playing. While it’s still good fun, I’d like to see an option to remove the melody, so the student can be sure they are playing correctly.

Courses and content 4.0

There are over 500 lessons in total, so there’s plenty to work through. Here’s a complete list of Skoove courses:

Kids

• First Notes Adventure
• Hot Cross Beats
• Monkey Beat Safari

Beginner

• Beginner 1
• Reading Sheet Music
• Playing Technique 1
• Beginner 2
• Playing Technique 2
• Reading Bass Clef
• Pop Piano 2
• Chords and Chord Progressions 2
• Beginner 3
• Playing Technique 3
• Chords and Chord Progressions 3
• Pop Piano 3
• Blues and Boogie Woogie 3

Intermediate

• Intermediate 1
• Playing Technique 1
• Chords and Scales 1
• Intermediate 2
• Playing Technique 2
• Chords and Scales 2
• Intermediate 3
• Playing Technique 3
• Blues and Boogie Woogie 3

Advanced

• Advanced Classic
• Playing Technique 1
• Classical Revival
• Advanced Pop
• Playing Technique 2
• Keyboard for Producers

Let’s take a closer look at a lesson from each level.

Beginner Level

Skoove has always been a fantastic platform for beginners because it sets a reasonable pace that’s always fun and provides a real sense of achievement.

One of the lessons I like is Tainted Love 3 from the Beginner 3 course. I like this lesson because it uses a fantastic song as a vehicle to highlight several essential elements of music. The lesson deals with melody, rhythm, and harmony simultaneously.

The aspect I like most about this lesson is that it utilizes a simple left-hand bassline to teach students about rhythm. It does so by separating the notes of a simple C major triad and adding a staccato articulation.

While the harmony is simple, I love that the lesson helps students get comfortable with both hands being busy at the same time. Almost all beginners struggle with playing more than basic root notes with their left hand, and despite not being too technically challenging, this lesson is exactly what’s needed to overcome that struggle.

For me, the beginner period is what Skoove does best. Skoove’s beginner courses are a perfect blend of fun and fundamentals. Anyone who works through all of Skoove’s beginner material should develop excellent basic skills and enthusiasm for more!

Intermediate Level

Skoove has some excellent intermediate content. I’ve picked out a lesson that I really enjoyed: In the Hall of the Mountain King 3 from the Intermediate 1 course.

I chose this lesson because it’s a fun tune that everyone knows, even if they don’t realize they know it, and it covers musical concepts like accidentals, rhythmic basslines, and modulation.

Early intermediate players are becoming accustomed to various key signatures, and introducing a piece with some accidentals is a good way to test their concentration.

Transposing, even if just up a step, can seem more daunting than it actually is, especially with a lively melody like this song has. So, I love the little step up with the melody.

Another thing I like about this melody is that the articulation switches between short staccato quavers and longer crotchets. It’s essential to consider articulation and phrasing at this level; once you’ve progressed past the beginner stage, you need to do more than just play the correct notes.

While I like the content, I wish the app provided more accurate feedback. The note detection is virtually perfect, and it’s not a significant issue for beginners. However, intermediate players need to focus more on phrasing and note length, and the feedback doesn’t adequately represent these elements.

If a hypothetical song is made up entirely of whole notes lasting for four beats each, as long as I play the correct notes on time, I could release each of them early and still earn a perfect score.

I understand that achieving perfect feedback might be challenging when dealing with dynamics and subtle articulations, but it could be improved for note lengths.

Advanced Level

When I first tried Skoove, I felt the advanced section was the weakest of the bunch, and I hoped to see some significant changes during this revisit. It’s not that I thought the content was poor; I just felt much of it didn’t truly reflect an advanced level.

Having spent some time with the updated content, I have a similar opinion; some of the content is great, but it doesn’t belong under the advanced banner.

For example, we have Beethoven’s Für Elise and Pachelbel’s Canon in D in the Advanced Classic course. Both of those compositions are pieces that all students should learn, but they aren’t advanced, technically or conceptually.

Before I get to a lesson I loved, there’s one more thing I didn’t like about the Advanced section. Some lessons/songs are quite physically demanding, but lack any advanced musical concepts.

For example, we have John Lennon’s “Imagine” in the Advanced Pop course. “Imagine” is an iconic song, and like many iconic songs, its beauty lies in its simplicity. Skoove’s arrangements of “Imagine” succeed in making the song more difficult to play, but, for me, they don’t make sense musically.

It may work as a technical exercise, but it doesn’t provide real-world transferable skills because I wouldn’t expect to see advanced students arrange in that way. It seems like the song has been forced into the Advanced Pop course by adding notes that don’t really need to be there, just to make it fit.

A lesson that I loved playing through is the Das Model section of the Keyboard for Producers course.

As you can see from the score above, it gives you quite a finger workout. More importantly, it transitions between contrasting rhythms, and playing it smoothly at full tempo can be a challenge.

It helps students get used to locking in the groove with rhythmic basslines and melodies. It’s repetitive with subtle variations at times, and that’s a good test of concentration. What I like most about this lesson is that it provides students with tools they can use to arrange rhythmic pop songs for solo piano.

I love the Keyboard for Producers course, and I wish more platforms would follow Skoove’s lead in this area.

Progression path 4.0

At the start of your Skoove journey, the platform will ask about your level of piano experience. If we refer to those descriptions of the varied experience levels, the progression path looks pretty good.

If you work through the Beginner, Intermediate, and Advanced courses, you will absolutely master the above descriptions. So, in fairness to Skoove, the platform delivers as promised.

My issue is that the descriptions above are quite flimsy compared to real-world musicianship, and I’d rather see most of the Advanced content moved into the Intermediate level.

The structure has improved, but there are still a few lessons in odd places. For example, The Playing Technique 3 intermediate course begins with a lesson on tucking your thumb under while playing a C major scale.

It’s an invaluable technique, but one you learn with your very first scale as a beginner, and I don’t understand why it needs to be taught or recapped at a serious intermediate level.

Overall, it’s improved, but still requires some adjustments.

Value for money 4.5

Skoove is excellent value for money if you have realistic expectations. If you’re starting from scratch, Skoove is one of the best platforms you can choose. Similarly, if you have some basic skills, Skoove is a solid choice.

If you’re an experienced intermediate player (not just entering the intermediate level), you might not get the same longevity from Skoove lessons.

Skoove is very generous with discounts and promos; you’ll often see Skoove memberships free with the purchase of certain keyboard instruments. If you’re a free member, you may occasionally receive significant upgrade discounts sent to your email inbox.

Compared to others

Skoove is great for piano beginners, but it won’t take everyone as far as they want. Check out these alternatives.

Skoove vs Simply Piano

Simply Piano has its issues, but it has more potential to go further than Skoove. Either one is a fairly safe choice for a beginner. Read the full review

Skoove vs Flowkey

Skoove won’t take you as far as Flowkey, and if you plan to go beyond the intermediate level, Flowkey is the sensible option. If you are happy having fun with beginner content, go with Skoove. Read the full review

Skoove vs Playground Sessions

Playground Sessions is miles ahead of Skoove in most areas. Skoove is only a better option if you’re a complete beginner and get an awesome deal on the price. Read the full review

Skoove vs Yousician

If you focus purely on absolute beginner content, it’s probably about even. But, Yousician offers more value in other areas. Read the full review

Who does Skoove suit most?

Skoove is excellent for beginners and early intermediate students.

Donner has come a long way over the last decade, and its latest generation of pianos promises to be a big step forward for the brand; let’s find out if they deliver.

Final verdict 4.1

Beginners could do far worse than the Oura S100; it’s surprisingly good.

While I view this model as a significant step forward for Donner as a brand, I still believe that the money could be better spent elsewhere, but not enough to suggest it would be a bad purchase.

It sounds good and looks fantastic; it’s not quite there with the bigger brands yet, but an impressive sign of things to come from Donner.

Why you should trust this review

I’ve been playing the piano for over 25 years, and spent much of that time working with digital instruments.

Throughout various stages of my musical education, I’ve had to find the best digital pianos for my level and budget, and not always successfully.

In recent years, with the benefit of experience, I take pride in helping students find the right piano and get the most value for their money.

Contents

Use these jump links to navigate to the desired section of the review.

• Sound quality 4.2
• Speakers 4.0
• Keyboard 4.2
• Features 3.0
• In use 4.5
• Build quality 4.2
• Connectivity 4.4
• Comparisons

Sound quality 4.2

The reality of dealing with budget-friendly brands is that we have to lower our expectations, relatively speaking. But, now and then, a piano comes along that surpasses those expectations, and that’s what we have in the Oura S100.

There are 15 onboard sounds, including acoustic/electric pianos, guitars, jazz organ, bass, orchestral sounds, and layered voices.

The main concert piano and grand piano voices surprised me; they have a maturity that dispels the idea that Donner pianos are toy-like first instruments.

The acoustic piano voices sound excellent, and with a max polyphony of 256 notes, even advanced pieces are unlikely to cause any dropouts.

My issue with the piano voices is that they’re both a little bright and slightly thin, lacking the depth of a premium piano voice. However, this isn’t a premium instrument, and I could easily have similar complaints about more prominent brands, so I see this as a win for Donner.

Of the additional voices, there are a few surprising standouts. The electric pianos are pretty good, especially the 80s-inspired digital DX/FM sounds. But it’s the guitar voices that stood out most to me; these sounds are often novelty voices, but Donner has produced acoustic guitar sounds that are very usable.

A huge step in the right direction.

Built-in speakers 4.0

There’s a part of me that wants to score the speaker system higher because it doesn’t disappoint, in terms of my expectations. But, it’s not spectacular, either, so I think four out of five is a fair reflection of the quality.

The two-speaker system, powered by dual 10-watt amplifiers, delivers plenty of volume for any bedroom musician.

Sometimes, an average speaker system exploits flawed sounds, and, in this case, the somewhat thin acoustic piano voices have nowhere to hide.

On the positive side, I want to stress that this isn’t a problem for beginners; only more advanced students are likely to find reason to complain.

Keyboard feel 4.2

Again, I’m very pleasantly surprised. Donner’s entry-level Oura 88-key digital piano features graduated weighted keys and a lovely hammer action mechanism.

The graded hammer-action keyboard transitions from heaviest to lightest (low to high notes), and the weight is pretty accurate.

One of the things I like most about the keyboard feel is the matte finish on the black keys. It may seem like a small detail, but it’s something I wish we saw more of in beginner pianos; it makes a genuine difference.

Many manufacturers are opting for a compact hammer-action keybed in entry-level instruments to reduce the overall size and weight. While I’m very happy with the compact design of the S100, and I’ve enjoyed the keyboard action, it’s not quite at the same level as some of the competition.

Features 3.0

As an entry-level model, the Oura S100 isn’t feature-packed, and I’d like to see more in this area, but there are very few bells and whistles with this model.

• Demo songs. The Oura S100 features three demo songs to enjoy, learn, and play along with.
• Melodics. Oura S100 owners will get access to the Melodics app, where they can work through various lessons and songs.
• Three-pedal unit. You’ll get all three pedals, just like you would on a real acoustic piano.

In use 4.5

As a minimalist digital piano, there are very few controls to deal with, which means there can be very few complaints.

The Oura S100 uses key triggers to perform standard functions such as changing the voice or launching demo songs. It’s very easy to use; you press the master Function button, along with the corresponding key, and you’re done.

The downside is that the simplicity of this piano stems from the fact that it offers almost no additional functionality; however, it does what it says on the tin.

Build quality 4.2

There are things I love, and things I’m not so fond of.

I think the Oura S100 looks fantastic, with its compact design and synthetic wood finish. However, I know that synthetic wood may be enough to put off some potential buyers.

I really love the addition of red felt at the key pivot point; it adds a premium element to this budget piano.

In terms of how robust the instrument is, it’s very sturdy. The tube legs look beautiful and give the impression of something more expensive, rather than a cheap keyboard stand.

Although it doesn’t feature a premium wood finish, the aspect I like most about the S100’s build and design is that it looks and feels like a grown-up piano, which is something beginners often miss out on.

Connectivity 4.4

The connectivity is above average in its class. I like to see dual headphone jacks on beginner pianos, and the S100 offers just that (two 1/4-inch jacks).

You also get an AUX input and output, allowing you to play your favorite songs and backing tracks through the onboard speaker system.

Additionally, you have a 1/4-inch input for the three-pedal unit and MIDI over USB.

You also have Bluetooth connectivity, allowing you to connect wirelessly to your favorite piano apps.

Compared to others

Donner is consistently a popular choice among first-time buyers looking for a budget digital piano. Here are a few alternatives in the same price range as the Oura S100.

Donner Oura S100 vs Casio CDP-S360

If you can buy the S100 during a sale or promotion, then I’d favor the cheaper option. But, at full price, Casio delivers more value and versatility for your money. See the current price

Donner Oura S100 vs Kawai ES60

Although the ES60 is far from a flagship model, I find it impossible not to love the Kawai sound. The ES60 is exceptional value for money. Read the full review

Donner Oura S100 vs Yamaha P-143/5

Few digital pianos are as tried and trusted as Yamaha’s P Series, and the P-143/5 features the newer compact keyboard action, which I think performs better than the S100. Read the full review

Who is the Donner Oura S100 best suited for?

The Oura S100 suits early beginners who want a straightforward digital piano that doesn’t break the bank.

Nocturne in E-flat major, Op. 9, No. 2 – Frédéric Chopin

Chopin composed this piece between 1830 and 1832 when the legendary virtuoso was just around 20 years old. The Nocturne in E-flat major comes from a set of three that he dedicated to one of his students, Marie Pleyel.

Nocturne in E-flat major is an incredibly moving piece and is now Chopin’s most famous work. It’s also full of youthful enthusiasm with no shortage of drama. The finale’s dramatic trills and waltz-like accompaniment create an emotion-packed climax.

Nocturne in E-flat major is a piece that almost dares the pianist to express themselves. In this case, the overwhelming emotion may be determined to some extent by the performer’s mood. Of course, I’m talking about the nuances of articulation rather than any significant changes.

Whether Chopin would approve of how any pianist interprets this work today is another matter, as he’s known to have been a harsh critic when comparing students to his immaculate standards.

Clair de Lune – Claude Debussy

You don’t have to be a classical music lover to appreciate the rare beauty of Claude Debussy’s Clair de Lune. Even if you don’t recognize the title, you know the composition; it’s featured in many movies and TV shows, notably a famous scene from the blockbuster Ocean’s Eleven.

Clair de Lune is one of the most romantic and dreamy classical piano compositions ever written. Although full of romance, the piece is also sad, reflective, and mournful over what might have been. A Paul Verlaine poem that discusses the sad but beautiful light of the moon is the inspiration for Clair de Lune.

Debussy is one of my favorite composers, and this particular piece taught me a lot about patience and ignoring the temptation to rush. The B section transitioning from Fm (iii chord) to Fb/Ab is a beautiful highlight before the piece modulates.

Aspiring pianists will be glad to hear that Debussy’s ethereal classic isn’t the most technically challenging piece on the list. The downside is that playing the right notes is never enough; playing them with feeling is what matters here.

Goldberg Variations – Johann Sebastian Bach

Johann Sebastian Bach is possibly the most important and influential classical composer ever. Although Bach’s work is often featured among the most significant piano pieces, he was not primarily a pianist. The Baroque era composer was a multi-instrumentalist, playing organ, harpsichord, viola, and violin to exceptionally high standards.

His works for keyboards aren’t just beautiful; they are milestones for technical excellence for piano students everywhere. Bach composed many significant works, including sonatas, concertos, suites, and cantatas. However, his Goldberg Variations are undoubtedly among his most important compositions.

The Goldberg Variations take a simple theme and develop it over 30 variations. Each variation gets increasingly more complex and less familiar.

Canadian pianist Glenn Gould’s recordings are widely considered the gold standard performances of Bach’s variations. If you have time to listen to the entire thing, it’s astounding, and if you’re like me, it will remind you that your technique needs some work!

Piano Sonata No. 14 – Ludwig van Beethoven

Beethoven’s Piano Sonata No. 14 in C-sharp minor became better known as Moonlight Sonata after his death. The name Moonlight Sonata comes from the German poet Ludwig Rellstab, who said the first movement was akin to a boat floating in the moonlight on Lake Lucerne. This comparison came in 1830, almost three decades after Beethoven premiered the sonata.

The first movement of Moonlight Sonata is one of the most recognizable pieces of classical music ever. Despite its apparent romantic quality, the dark tones and strong octaves in the left hand also evoke feelings of despair and mystery.

If there’s ever a piece of music that confirms beauty doesn’t have to be complex, it’s Moonlight Sonata. It’s such a moving composition, and if you’re an aspiring pianist, I suggest tackling the first movement; it’s not too tricky, and the joy you’ll get from playing it is incredible.

The first movement can teach all composers not to fear simplicity; it’s never a sign of weakness. The second and third movements get increasingly more complex as the piece progresses. The entire sonata is around 15 minutes long, and I’d encourage you to listen from start to finish, especially if you’re less familiar with the second and third movements.

Piano Sonata No. 14 in C minor – Wolfgang Amadeus Mozart

Mozart composed his Piano Sonata No. 14 in C minor in 1784; Artaria published it the following year. The piece has three movements and lasts around 18 minutes: Molto Allegro, Adagio, and Allegro Assai.

This sonata has lots of contrast, with bold octaves and techniques taken from the Mannheim school leading into the more tranquil second movement. The dramatic flair returns in the third and final movement, which, although short, has significant impact and tension.

Piano Sonata No. 14 in C minor is one of just six sonatas Mozart composed during his Vienna years and one of only two written in a minor key. Many people consider the choice of key to be a significant decision that suggests the piece was more personal to Mozart than most.

Although published along with Fantasia No. 4 in C minor as the same opus, it’s not certain that Mozart intended them to be played together. Mozart occasionally played the pieces separately.

Prelude and Fugue in C major – Johann Sebastian Bach

Prelude and Fugue in C major from Book 1 of The Well-Tempered Clavier is another example of the beauty that often lies in simplicity.

This piece is far removed from some of the more technically challenging works from Bach. Despite its relative simplicity, this piece and the other 47 in books one and two of The Well-Tempered Clavier remain some of the most innovative and influential keyboard works ever.

Johann Sebastian Bach wrote the first book in 1722, changing the entire landscape for piano composition over the following centuries.

Book one’s Prelude and Fugue in C major is bright and melodic; the flowing arpeggiated chords create a peaceful and tranquil mood. Sadly, some pianists overlook this prelude as too simple, but I consider it a seminal piece for beginners and a joy to play at any level.

Each book opens with a prelude in C major and closes with a fugue in B minor.

Intermezzo in A major, Op. 118 No. 2 – Johannes Brahms

Intermezzo in A major is the second of Brahms Six Pieces for Piano, Op. 118, completed in 1893. Brahms dedicated these works to Clara Schumann, and they showcase a more tender side of the renowned virtuoso. Intermezzo in A major is one of the best-loved short pieces of the Romantic era.

It has a different kind of intensity than his more virtuosic pieces; it is melancholic and heart-wrenching. Depending on how you approach it, the piece embodies yearning for something you can’t have or regret for something you once lost.

As much as it’s steeped in nostalgia, pain, and sadness, it’s undeniably beautiful. Despite departing from his more virtuosic style, Brahms later works, this piece in particular, highlight the intensely emotive character of the Romantic era.

Intermezzo in A major is a fantastic piece for intermediate players to tackle; it’s an immersive emotional experience that teaches much about expression.

Sonata in A major – Franz Schubert

Schubert wrote Sonata in A major just a few months before he died in September 1828. It is the second of his final three sonatas.

Although written in 1928, Schubert’s final piano sonatas remained unpublished for over a decade until his brother sold the manuscript to the publisher Diabelli in 1839. The works were dedicated to Robert Schumann, one of Schubert’s most illustrious supporters.

Schubert experimented with cyclic devices and recurring movements in the later stages of his career and life. Schubert also challenged the typical sonata form with repeating rhythmic fragments and bold harmonies, creating dramatic and contrasting emotional shifts.

Sonata in A major is a great example of Schubert’s late style; you can hear the opening sequence re-emerge in the slow movement. As bold and daring as Schubert became, his love for re-using various elements in different ways throughout maintains a sense of familiarity.

Fantasie in C, Op. 17 – Robert Schumann

Robert Schumann’s Fantasie in C is another piece that wasn’t published immediately. Schumann wrote Fantasie in C in 1836, and after some revision, it was published in 1839. He dedicated the piece to Franz Liszt; despite voicing opposing views on several issues concerning musicians, there was always mutual respect between the two virtuosos that turned into a friendship.

Fantasie in C, Op. 17, is one of the most significant works of the early Romantic era. It has three movements, the first of which is passionate with cascading runs and a sweet melody. Schumann wrote it to express his longing to be reunited with Clara Wieck (Clara Schumann).

The second movement is grand and majestic, leading to a slow, somber, and reflective final movement. Although dedicated to Liszt when published, Schumann intended to offer the piece as a contribution to the Bonn, Beethoven monument fund in 1836.

Piano Sonata No. 29 in B-flat major, Op. 106 – Ludwig van Beethoven

Beethoven wrote his Sonata No. 29, better known as Hammerklavier, in 1817 (published in 1818). The name Hammerklavier is German for pianoforte and comes from Beethoven’s wish to replace Italian terms with German.

The Hammerklavier is widely considered one of Beethoven’s most challenging piano pieces and perhaps the most important of his third period. It’s one of the most physically demanding solo works of the Classical era. It’s fitting that the first documented performance, in 1836, was by Franz Liszt.

Hammerklavier has four movements, mirroring the structure of Beethoven’s earlier sonatas. In contrast to the earlier works, the Scherzo (light and playful) comes before the Adagio (slow). It’s not just the technical difficulty that makes Hammerklavier a physically demanding task; performances typically take around 40 to 45 minutes.

Piano Sonata No. 2 in B-flat minor, Op. 35 – Frédéric Chopin

Frédéric Chopin’s Piano Sonata No.2 in B-flat minor is one of the Polish composer’s most famous solo piano works. Chopin completed the sonata in 1839 while living with the French novelist and journalist George Sand. The sonata was published a year later, in 1840.

Sonata No. 2 in B-flat minor has four movements, the most popular being the third, Chopin’s Funeral March (Marche Funébre). Interestingly, the Funeral March was written several years before the sonata was completed and remains (on its own) one of Chopin’s most popular compositions.

Despite its popularity, Chopin’s Sonata No. 2 had harsh critics, none more notable than Robert Schumann, who said Chopin couldn’t handle the sonata form. Nonetheless, this sonata, clearly influenced by Bach and Beethoven, is remarkable.

Années de pèlerinage – Franz Liszt

Years of Pilgrimage, or Années de pèlerinage in French, is a collection of three suites for solo piano. These works are the second of Liszt’s major piano cycles and a clear example of his virtuosic prowess and experimental mindset.

Liszt prefaces pieces with literary passages from writers like Senancour and Byron; the link between the romantic literature of the time and Liszt’s broadening horizons is clear. Lizst spoke of traveling to many new countries and how the history of those places stirred deep emotions in his soul that he tried to embody in his music.

The first two suites are virtuosic masterpieces, works that could only come from Franz Lizst. The third and final suite of the cycle is more a study of harmonic experimentation. Years of Pilgrimage is a highly personal work and a window into the soul of a true master.

Conclusion

It’s hard to match the grandeur of the greatest piano concertos with a single instrument, but the solo works on this list are no less significant. These pieces each mark important milestones in the composer’s lives and the musical development of piano students everywhere. It’s an absolute joy to revisit them, and I hope you enjoy these masterpieces.

Final verdict: P-225 wins comfortably

Admittedly, there are a few areas where the competition is close, but Yamaha wins where it counts. Although the Roland FP-30X offers more variation, the P-225 sounds and feels better, and that’s what matters most. On a less significant and more subjective note, I also think the Yamaha looks better.

Why you should trust this review

I’ve been playing piano for over two decades and spent many years testing and reviewing digital pianos and keyboards.

As a music educator, I’ve spent years matching students with the best-suited instruments and, more importantly, helping them avoid making the wrong purchase.

At Pianist’s Compass, all reviews are based on hands-on testing, and if you’d like to learn more about our approach and process, you can read about how we test digital pianos and keyboards.

Contents

Use these jump links to navigate to the desired section of the review.

• Sound quality
• Built-in speakers
• Keyboard feel
• Features
• In use
• Build quality
• Connectivity
• Compared to others

Sound quality: P-225 wins

The Yamaha P-225 wins, but there’s a twist. Roland’s FP-30X offers more onboard sounds (56 in total) and a higher max polyphony at 256 notes. It also offers 12 acoustic piano sounds, compared to Yamaha’s four. The higher polyphony and additional acoustic piano voices might appeal more to some pianists, and it shouldn’t be ignored.

My problem with the FP-30X is that, despite my love for Roland’s SuperNatural sound engine, I prefer the CFX concert grand sound of the P-225. I can sacrifice the variety of sounds for a stronger flagship piano, and that leads me to choose the P-225.

The Yamaha P-225 has a max polyphony of 192 notes, but the difference between 192 and 256 is unlikely to be an issue for anyone thinking of buying either of these pianos.

When I compare the non-piano sounds, both pianos are pretty good, and the difference is not massive. However, I feel that the Yamaha sounds are more authentic; there’s something more organic and less clinical about the P-225 sounds, especially the clavichord and jazz organ.

In summary, the FP-30X offers more sounds, while the P-225 provides better sound quality.

Built-in speakers: P-225 wins

I don’t think there is any significant difference in the quality of the speaker systems, but Yamaha’s redesign for the new P-Series models is what sways me.

The P-30X has a pair of 4.7-inch speakers with dual 11-watt amplifiers. Yamaha’s P-225 offers the same size speakers with 7-watt amplifiers. You get more power from Roland, but as neither is likely to be gigged without external amplification, the difference is negligible. At home, both will do the job equally well.

Yamaha’s recent redesign of the speaker system provides a more authentic playing experience thanks to vents that allow sound to travel toward the player. It creates a more realistic and three-dimensional sound stage.

Keyboard feel: It’s a draw

When I initially tested each of these pianos, I scored the P-225 ever so slightly higher in the keyboard feel department. However, my score was, in part, influenced by the fact that Yamaha’s new compact hammer-action keyboard surpassed my expectations.

Yamaha’s compact hammer-action keyboard is perfect for the smaller and lighter P-225. The black keys have a matte finish. Roland’s PHA-4 graded hammer-action keyboard has authentic escapement and a simulated ivory feel.

It would be easy to argue that the PHA-4 action is every bit as good, or even better, depending on your preference. However, Yamaha’s compact action impressed me more, and I think the benefits of having a lighter piano with a great action adds to the appeal.

Features: P-225 wins

Neither of these keyboards is feature-rich, and I don’t expect them to be, given the price. However, we can compare some of the main features.

Both pianos feature a built-in recorder; the FP-30X offers recording and playback of up to 70,000 notes, while the P-225 offers one-song, two-track recording.

Both pianos offer the standard keyboard modes, including Dual, Layer, and Split.

Roland has two standout features: the Piano Designer app and desktop placement optimization.

The Piano Designer app acts like a virtual piano technician, allowing you to adjust various parameters, such as tuning, acoustic resonance, and piano lid position. The desktop placement optimization minimizes the impact of surface vibration when the piano is placed on a desk.

As much as I like those features, Yamaha’s Intelligent Acoustic Control, along with the improved speaker system design, creates a more authentic overall experience, and that’s what matters most here.

In use: P-225 wins

If I set aside sound and keyboard feel for a moment, I could say that both of these pianos deliver a similar experience. Neither one of them is unusually bulky or heavy, and they both offer a minimalistic interface with user-friendly controls.

While neither one is particularly heavy, the Yamaha P-225 is significantly lighter, and if you decide to gig with your piano, the weight will make a huge difference. The lighter piano is also easier to move around the house whenever necessary.

Now, if I consider the sound, feel, and overall piano experience again, Yamaha’s P-225 starts to pull ahead of the FP-30X. It’s worth keeping in mind that some elements are subjective, and it’s always worth trying both pianos, especially when some areas are close.

Build quality: P-225 wins

When you’re buying a piano around the $700 mark, the build quality will never match that of a high-end stage piano. It’s very unlikely that you’ll see a metal chassis; instead, you’re more likely to see lots of plastic and an optional wooden stand.

With reasonable expectations in mind, neither piano presents any real concerns. Both pianos have a hard plastic chassis that will easily survive life on the road if you’re sensible. If you’re buying purely as a home piano, you shouldn’t have any issues at all.

While they are very similar, the P-225 feels slightly more premium to me; I prefer its buttons over the FP-30X, and the slimmer, sleeker design looks better.

Connectivity: P-225 wins

Connectivity is another very close area. I scored the P-225 slightly higher when I reviewed these pianos, and part of that score was because it’s cheaper and exceeds expectations.

Both of these pianos offer Bluetooth, MIDI over USB, two 1/4-inch audio outputs, and two headphone jacks.

The one difference so far is that the P-225 has two 1/4-inch headphone jacks, while the FP-30X has one 1/4-inch jack and one 1/8-inch jack. I prefer having two 1/4-inch jacks; it’s unlikely to be an issue for most users, but it puts the P-225 slightly ahead.

Both also offer a 1/4-inch sustain pedal input and a six-pin mini-DIN input for a three-pedal unit.

Compared to others

If you aren’t set on one of these great pianos yet, here are a few alternatives to consider.

P-225/FP-30X vs Yamaha P-145

The P-145 is cheaper, but it doesn’t have the flagship CFX concert grand piano sound. It’s a great option, but it’s worth paying extra for the P-225 if you can. Read the full review

P-225/FP-30X vs Casio PX-S1100

If you want the slimmest stage piano with fully weighted keys, it’s the PX-S1100. It sounds great, and it’s relatively budget-friendly. Read the full review

P-225/FP-30X vs Studiologic Numa Compact SE

The Numa Compact has semi-weighted keys, which could be a potential issue. However, I had to include it as a wildcard choice because the sounds and feature set are fantastic value for money. Read the full review

All you need is a solid understanding of some fundamentals and a little ear training, and you’ll be a hit at every party (every party with a piano, at least; if not, you’re on your own).

Managing expectations

When we talk about playing by ear, we’re typically talking about picking out chords and melodies.

We aren’t talking about playing challenging piano concertos note-perfect after one listen. If you can do that, you’re doing better than most of us. If you can’t do that, you’re one of us, don’t worry about it.

When it comes to popular music, it’s not unreasonable to think we can replicate catchy piano parts with some accuracy. Even with jazz, we might be able to replicate specific piano parts after a few listens.

However, the aim of playing by ear is to identify the key, chords, and melody so we can busk and improvise our favorite songs.

We can play by ear in four steps:

1. Find the tonic
2. Identify the chord quality
3. Think about diatonic chords
4. Figure out chord progressions and bass movement

Don’t worry if it feels like you’re just guessing as you go through some of the steps; I’ll explain how to practice at the end so you can play by ear quickly and accurately.

Step 1. Find the tonic

The first thing we need to know is what key the song is in. Songs often start on the tonic chord (the I chord of the scale), but not always, so we can’t count on the first chord giving us the key.

For example, if the first chord is Cmaj, it could be:

• The I of C major
• The IV of G major
• The V of F major

Whatever the case, we want to find the tonal center, the home base of the song.

Even if you don’t know what the chords are yet, you’ll get a sense of home because it’s where the song resolves most obviously.

If you’re new to playing by ear, pick a note and play it a few times over the song. You’ll immediately know if the note is really far off because it will sound terrible. But if it sounds like it fits, we know the note is diatonic to the key of the song.

Assuming we can tell where the tonic occurs (the home base), whether it’s the first chord of the song or where each vocal line ends, we want the note we’re playing to be a perfect match. If it’s a perfect match, you’ll have the root of the tonic chord, and you’re halfway to knowing the key signature.

Don’t worry if you don’t get it right away; even experienced pianists without perfect pitch don’t get it right on the first attempt every time. The trick is always to get close enough that we can work it out in seconds, and that’s something we can learn.

For now, trial and error is fine; just go through the process, and I’ll talk about how we can train our ears below.

Step 2. Identify the chord quality

Once we have the root of the tonic chord, let’s say it’s C, we need to identify the tonal quality as major or minor.

Since we have the root, the fastest way is to try playing both the major and minor versions over the tonic in the song.

I’ve talked in other articles about major chords sounding bright and happy and minor chords sounding darker and sad. I’ve also spoken about minor chords being in the tonic family when it comes to functional harmony, but despite the close relationship, we should be able to tell major from minor quite easily with a bit of work.

The aim is to know major from minor by ear, without the need to test the chords. Once we know the quality of the tonic chord, we have the key; let’s say it’s the key of C major.

Step 3. Think about diatonic chords

Now that we know the song is C major, we should remind ourselves which chords are diatonic to the C major scale.

Having the diatonic chords in mind will help you figure out the chord progression easier.

Step 4. Figure out chord progressions and bass movement

Knowing the key of a song is just part of the puzzle, but we need to know what path the music takes.

There are a couple of ways we can follow that journey.

Sometimes, the chord progression is very simple, and we can hear it immediately. But if you can’t hear it, immediately focus on the bass movements.

More often than not, the bass will play the root of each chord as they change. If we can identify the target bass notes, we’ll find the chord progression.

How to practice

Here’s where it gets interesting. The steps above are great if you find the correct key and chords quickly, but we want to turn trial and error into a skillful process.

Most of us aren’t fortunate enough to have perfect pitch, but we can train and develop relative pitch.

Relative pitch is the ability to identify one pitch compared to a reference pitch. For example, if we take middle C as our reference, we can identify other notes by their relationship to middle C.

When I say relationship, I’m talking about the interval between the two notes. Here are some examples:

• C – Eb – Minor 3rd
• C – E – Major 3rd
• C – F – Perfect 4th
• C – G – Perfect 5th
• C – A – Major 6th

Interval training

You should start every practice session with some ear training, even if it’s only 10-20 minutes.

Interval training is how we develop and improve our relative pitch, and it’s not difficult.

Choose a reference note; we can make it C to start, but it can be any note. Play your reference note, then close your eyes and play any other note.

Make sure you don’t feel too much for the keys to get a hint, and use your index finger only.

To start, you can play your reference note before every new note. As you get more comfortable, try playing your reference note less.

Once you get used to identifying intervals, finding the tonic of any song won’t take too many attempts because, if your first attempt is wrong, you’ll hear how far away you are.

Identifying intervals quickly also helps you figure out chord progressions.

Major or minor

While you’re doing some ear training, spend a little time getting used to the difference between major and minor chords.

Choose a chord, spend a few minutes alternating between major and minor, and listen closely to the difference.

Once you’ve done that, put your fingers over a basic Cmaj triad to get your hand in the correct shape. Then, close your eyes and move your hand around the white keys, playing simple triads.

Try to do this for a few minutes each day, identifying whether the triads are major or minor as you go (if you land on that Bdim, you’ll know).

The more you do it, the easier it gets, and it becomes less about guessing and more about skill.

Chord progressions

I highly recommend that you work through our common chord progressions article. But don’t just do it once; work on these progressions as part of your practice routine.

Great musicians aren’t psychic; they don’t magically know what’s coming next. They know what’s coming next because they can spot common patterns and indicators.

Practice our common chord progressions, and listen to lots of music. I know that sounds like obvious advice, but I mean, really listen to music; pick out common patterns, pick out techniques that your favorite musicians use, and learn while you listen.

Don’t be afraid to explore new genres either; the more open you are, the more you’ll learn.

Explore the melody

As pianists, we spend a lot of time accompanying singers (or singing ourselves, if we can – I can’t), and although we consider the melody, we don’t always play it. It’s always beneficial to learn and play the melody, even if you don’t need to.

Playing the melody helps us understand harmony better because we focus on the relationship between the melody notes and the underlying chords.

Once you start working on your relative pitch, the melody provides another way to find the key of the song. Pick out one melody note, and relative pitch will help you find the others. You’ll soon hear what scale you’re using and have the song’s key.

Conclusion

Playing by ear isn’t magic, and there’s no big secret behind how it’s done. The answer, as it often is, is practice! The more you practice, the easier it gets.

In this article, I’ll discuss the practicalities of teaching yourself and some core elements of learning piano that you can’t ignore.

Can you learn to play piano by yourself?

The short answer is yes, absolutely! However, it’s more difficult without traditional piano lessons or a good online piano course.

The thing that makes it more difficult is a lack of accountability. If no one holds you accountable for your results, it’s easier to develop bad habits in how you practice and play. Once bad habits sink in, correcting them can be very difficult.

With that in mind, it’s possible to teach yourself, but there are a few core principles that you should adhere to.

1. Practice regularly

Time and money are the two main restrictions when it comes to formal piano lessons, but we can work around those.

Regular practice sessions are vital to any aspiring pianist, but the definition of regular depends on your schedule. You don’t have to commit to hourly lessons at a set time every day/week, but you should make time to play piano every day.

It doesn’t matter if it’s morning, noon, or night, and it doesn’t matter if it’s only 20 minutes at a time. All that matters is that you make enough time to keep the things you’re learning fresh in your mind.

2. Choose the right learning resources

Obviously, I hope you keep coming back to Pianist’s Compass as a source of information and inspiration as you learn to play piano, but there’s lots of great content online; the trick is finding the right content.

YouTube is an absolute treasure trove of valuable information, but it’s also full of potential pitfalls. The number one pitfall is the lack of structure that you’d get from a well-organized course.

Music, like most creative arts, has rules that we can break, but you have to understand when and how to break the rules. Otherwise, we hit the wall pretty soon, and our progression slows drastically or stops altogether.

YouTube offers ample opportunity to run before we can walk, and if you want to become a well-rounded pianist, you have to avoid that by creating a structure around your learning.

While I don’t expect you to write yourself a detailed course plan, there are some core elements of music that self-taught musicians can prioritize and some steps you can take to get the most out of your time and money.

3. Be patient with yourself

Managing expectations doesn’t just mean you should know your limits; in fact, it’s almost the opposite. I mean that you should be patient with yourself and give yourself time to develop.

I like to think I was a good student with a natural passion for music, but I wasn’t a Keith Jarrett or young J. S. Bach. I’d love to say I was, but very few musicians are, and that’s OK.

Some people appear to have prodigal talents and are destined to be a savant from day one, but there are a few things you should keep in mind:

• If you’re one of those people, appreciate it and work hard.
• If you take a little more time to learn, don’t be disheartened; you’ll still reach your goal with hard work.
• You don’t need to be a prodigy to reach a professional standard.
• Becoming a professional doesn’t have to be your goal; music is fun, and you should learn for your own reasons.

4. Pick the right piano for you

The first step for any aspiring pianist is choosing an instrument. I constantly repeat that the best piano/keyboard overall isn’t automatically the best choice for everyone. You have to think about features that benefit you as an individual and always keep value for money in mind.

Check out my reviews and suggestions for the best beginner keyboards and pianos before you buy.

5. Learn major and minor scales first

There’s no getting away from it; whether you are self-taught or a full-time student, scales are key to your success.

As a self-taught student, getting into modes and advanced scales like diminished or bebop scales is not a requirement. You can do so if you take your journey that far, but a firm understanding of basic diatonic scales is a must, in my opinion.

Check out my article on major and minor scales to get started.

6. Understand chords – Don’t just memorize them

While being a self-taught pianist won’t always mirror the path of traditional learning, there are some things that you shouldn’t ignore.

Many self-taught musicians prioritize chords because it allows them to play more songs quickly, and that’s fine. But one of the most common bad habits is to learn chords without any fundamental structure.

What that means is to learn piano chords as individual items rather than as part of a universal concept.

Some pianists focus on learning chords on a per-song basis, and much like many aspiring guitarists, they get used to memorizing shapes. Memorizing shape is fine to a certain extent, but if that’s all you do, you won’t understand the theory behind constructing chords.

Now, here’s the interesting part. Music theory isn’t just about passing exams; it’s about developing a fundamental knowledge base that allows you to make creative decisions on the fly. It’s a common misconception that music theory isn’t directly related to performance, but it is.

By learning the major and minor scales mentioned above, you can learn to harmonize them and understand diatonic chords (chords that occur naturally within a scale).

Understanding diatonic chords means that in addition to playing lots of songs, you can play them in any key (something that’s terribly difficult when you focus on learning shapes).

7. Learn common chord progressions

As an extension to learning diatonic chords, common chord progressions provide a shortcut to working out your favorite songs (one of the rare shortcuts that I encourage).

Some of the most popular songs in most genres share the same chord progressions. Knowing these common progressions and being able to identify them by ear means you can jam along with almost any song in seconds.

8. Start playing by ear

Playing by ear doesn’t stop at identifying common chord progressions. Most of us aren’t lucky enough to have perfect pitch (if you do, congratulations!), but we can develop a high standard of relative pitch.

Relative pitch is the ability to identify one pitch in relation to another. The best way to develop good relative pitch is interval training. Play a reference note (middle C, for example), close your eyes, play another note, and see if you can identify the note and the interval.

For example, if the reference note is C, and you play the E above it, your answer is a major third, and E. Use one pointed finger to play the notes so you can’t get clues from feeling the surrounding keys.

Check out my article on playing by ear that will help you get started.

9. Learn to read music

Reading music is the aspect of music that self-taught musicians avoid most, and they shouldn’t.

Learning to sight-read music doesn’t mean you need to do it at the same level as a concert pianist, but learning to do it at some level will improve your overall musicianship immeasurably.

Self-taught musicians can become great artists or session players, and there are countless real-world situations where reading music is essential.

For example, in a rehearsal or recording session, you might have someone hand you chord charts, give general directions, and let you do your thing (after all, they probably hired you because they like your style). But you’ll also encounter situations where you’ll have specific lines to play (melodies, counter-melodies, intros, etc.).

In those situations, you don’t want to be the one holding things up because you have to work out what to play. Even if you don’t go down the professional path, reading music is beneficial; you can read melody lines and add your own chords.

10. Practice, practice, practice!

It’s the most cliché saying in teaching, but it’s true: practice makes perfect. So, I want to finish off by reaffirming what I said earlier: regular practice is vital!

Don’t worry if you can’t dedicate hours each day (it’s fantastic if you can), but try to make sure you practice every day. Twenty minutes every day is better than an hour once per week.

11. Don’t just play what you’re good at

Lastly, practice time is valuable, so don’t waste it. Playing the things you’re good at on repeat is one of the most common and most damaging bad habits for piano students.

Self-appreciation is essential, and you should never lose sight of that. But, overindulging in playing the things you do well and forgetting anything that’s still difficult is the beginning of the end.

Remember the accountability I mentioned at the start? Here’s where it comes into play: you need to hold yourself accountable to the standard you aspire to in every practice session, every exercise, and every song.

Playing what you’re good at on repeat is a sure way to halt your progression.

Final thoughts

Whether you are looking into formal music education or teaching yourself, I’d encourage anyone to bring music into their life. Teaching yourself has various pitfalls, but if you’re dedicated, there’s no reason you can’t make it work.

Some of the best pianists in the world are self-taught, but it doesn’t matter if you want to be a superstar, a pro, or just have some fun; all that matters is that you get started.

Final verdict 4.8

I love the Kawai CA501, but I know more versatile instruments are available. The CA501 is all about the realistic, immersive piano experience, and that’s enough for me. The Shigeru Kawai concert grand voice remains one of the best sampled piano voices I’ve ever played.

Why you should trust this review

I’ve been playing piano for over two decades and spent many years testing and reviewing digital pianos and keyboards.

The important thing to remember when choosing an instrument is that everything is relative to price and requirements. Teaching piano helped me understand the concept of value for money better than I did as a student, and that experience helps me assess new instruments more transparently.

I also have a particular fondness for Kawai pianos, and if the CA501 doesn’t deliver the expected quality, I’ll be the first to complain.

At Pianist’s Compass, all reviews are based on hands-on testing, and if you’d like to learn more about our approach and process, you can read about how we test digital pianos and keyboards.

Contents

Use these jump links to navigate to the desired section of the review.

• Sound quality 4.9
• Speakers 4.9
• Keyboard 4.9
• Features 4.7
• In use 4.8
• Build quality 4.8
• Connectivity 4.9
• Comparisons

Sound quality 4.9

If I had to justify the extra cost of the CA501 (over the cheaper CA401), I’d start with the sound quality. While the CA401 boasts impressive Progressive Harmonic Imaging technology, the CA501 features the upgraded Harmonic Imaging XL engine. The upgraded sound source provides a higher max polyphony of 256 notes and a more authentic immersive experience.

The highlight of the immersive experience is the SK-EX Competition grand piano voices. I’m a massive fan of the Shigeru Kawai SK-EX concert grand sound; it’s incredibly dynamic, and it’s recreated very well here. I also love that it’s warm but a little darker than many grand pianos. The newer Competition voices give you that flagship sound from the player’s perspective because the samples come from the front of the piano rather than microphones on the inside. The more authentic stereo field helps you get lost in practice or performance; as cheesy as that might sound, it makes a difference.

The Kawai CA501 offers 45 voices; besides the Shigeru variations (Competition, EX, SK-5), you get upright pianos, organs, strings, and more. For me, the other sounds are nice, but it’s all about the Shigeru samples.

Built-in speakers 4.9

The built-in speaker system is another element that shows me where that extra investment goes. It boasts two 5.11-inch bass speakers and two 4.7-inch top speakers. Dual 50-watt amplifiers power the built-in speakers.

The power stands out because many similar digital pianos opt for 20-watt amps, and that’s great. But it’s the clarity that impresses me most. The CA501 speaker system delivers the Shigeru sound as it was sampled, without coloring or harshness at louder volumes. More importantly, it delivers the immersive aspect of the Competition voice perfectly. The piano sounds great from any perspective, thanks to the built-in 360-degree speaker diffusers.

As for the cheaper CA401, the speaker system is somewhat lacking, and the Competition voice is perhaps best in headphones, which is unfortunate.

Keyboard feel 4.9

Kawai’s CA501 features the manufacturer’s Grand Feel Compact keyboard action with ivory touch surfaces.

When people hear the word compact in relation to a keyboard action, they often think it means compromise. There’s no escaping the fact that shorter keys typically mean a lighter action and less nuanced dynamics, but there are many more factors to consider.

Although shorter than genuine grand piano keys, the CA501 has 12-inch white keys (the whole key, not the part you see/play, of course), so they aren’t short compared to other compact actions. The action is still lighter than an acoustic piano and lighter than some high-end digital pianos, but when you consider the simulated ivory feel and real wooden keys, it’s very convincing.

It’s very enjoyable to play, and the very accurate counterweights, triple-sensor detection, and authentic let-off mechanism add to the immersive quality of the Shigeru Competition sound.

The Kawai CA501 keyboard action is one of my favorites in the sub-$4000 range.

Features 4.7

Here are some of the key features offered by the Kawai CA501.

• 10-song recorder. The built-in recorder is pretty average for its class. It provides two-track recording, up to 10 songs (max 10,000 notes).
• Grand Feel Pedal System. With the lack of physical hammers and dampers, digital piano pedals will never feel exactly like the real thing. But many digital pianos get close enough, and Kawai’s Grand Feel Pedal System gets closer than most in its class.
• Alfred songbook lessons. Alfred music education books are popular with many teachers and pupils and provide a good starting point for beginners. A great feature of the CA501 is that you can transpose songs to any key.
• Spatial Headphone Sound. Playing with headphones generally doesn’t provide a realistic experience because it’s not how we hear things in the real world. Kawai’s Spatial Headphone Sound technology creates a more realistic stereo field.
• Onboard effects. In addition to multiple reverb types offered by most digital pianos, you get a nice assortment of high-quality effects, including delay (various types), chorus, pan, and phaser.
• Keyboard modes. The CA501 features Dual, Split, and Four Hands modes. The Four Hands mode creates two identical keyboard zones for duets or piano lessons.

In use 4.8

I don’t have much to complain about; the Kawai CA501 really is a joy to play. It’s also easy to navigate with dedicated buttons for sound categories, transport controls, etc. A lovely OLED display visualizes any menu-diving you have to do, and the controls are neatly packaged to the left of the keyboard.

However, there’s something I don’t like about the buttons themselves: they don’t scream $4000 to me, and that’s about what you’ll pay for this piano. It doesn’t impact the functionality at all, so I can’t be too harsh with my judgment, but they just don’t look or feel great.

Build quality 4.8

I can’t help but feel the build quality and finish should be at a higher standard across the board when paying close to $4000. However, the Kawai CA501 is around the same level as the similarly priced Yamaha CLP-845, so it’s relatively good.

The cabinet design looks lovely, and I like the height of the CA501; it really starts to feel like a real upright piano. The sliding lid (keyboard cover) works well and suits the modern take on a traditional design. I wish the buttons were different; otherwise, I have no real complaints.

Connectivity 4.9

Where the CA401 only offers dual headphone jacks, the CA501 provides dual headphone jacks, a pair of 1/4-inch audio inputs, and a pair of 1/4-inch audio outputs. You also get MIDI over USB and Bluetooth for wireless streaming.

The Kawai CA501 is great at home, but the connectivity makes it an excellent choice for live performance venues, too.

Compared to others

Here are a few more options that might be better suited to some players.

Kawai CA501 vs CA401

I’ve pointed out some shortfalls of the CA401, but at around $1000 cheaper, it’s still a valid option. If you don’t mind the inferior speaker system and don’t need extended connectivity, it’s worth a look. See the current price

Kawai CA501 vs Yamaha CLP-845

It’s a tough call for me; the CLP-845 has a better recorder, Fortepiano voices, and it sounds fantastic. I’m just a sucker for the Kawai sound, and that might be enough to sway me toward the CA501. See the current price

Kawai CA501 vs Roland GP-3

The mini baby grand design looks absolutely stunning in polished ebony; it’s a real showstopper. I still prefer the Kawai sound, but the GP-3 certainly offers something different in the same price range. See the current price

Who is the Kawai CA501 best suited for?

Although it suits players of all levels, I’d suggest a cheaper option for beginners, making the Kawai CA501 best-suited to intermediate and advanced players.

As a pianist and composer for over two decades, I know that certain famous piano concertos explore the depth of human feeling more than any other works. Here are the greatest piano concertos ever written.

Piano Concerto No. 2 in C minor, Op. 18 – Sergei Rachmaninoff

Rachmaninoff’s Piano Concerto No. 2 is a genuine masterpiece, but it didn’t come easy. Rachmaninoff wrote this concerto in 1900, after a well-documented period of severe depression and writer’s block. One notable cause of Rachmaninoff’s depression is the relative failure of his Symphony No. 1.

Despite the writer’s block, Piano Concerto No. 2 was an instant success and remains one of the most critically acclaimed concertos ever. It defined the quintessential Rachmaninoff style; it’s physically demanding, powerful, tender, and moving; it has it all. The concerto’s highly emotive nature is why it’s featured throughout the 1945 movie Brief Encounter.

As a piano student, playing Rachmaninoff’s Piano Concerto No. 2 is less of a right of passage and more of an achievement completed by a select few; it’s stunning.

Piano Concerto No. 5 in E-flat major, Op. 73 – Ludwig van Beethoven

Beethoven’s Piano Concerto No. 5, also known as the Emperor Concerto, is a very important piano concerto for several reasons. The Emperor Concerto would be his final concerto and a sign of things to come.

Beethoven was never far from innovation, but this concerto, written in 1809, was like nothing else of the Classical era. Instead, it was more fitting of the Romantic era, a period that didn’t take effect for another two decades.

Beethoven’s student and protege, Carl Czerny, debuted the concerto in 1812. Given the name of the concerto and the period (firmly in the thick of the Napoleonic Wars), it’s easy to assume that it’s a dedication to Napoleon. However, Beethoven was openly critical of Napoleon and even retracted the prior dedication of his third symphony.

The concerto lives up to its Emperor title; it’s bold, majestic, and forward-thinking. Works of a grand scale characterize Beethoven’s heroic period, and throughout the three movements of this concerto, the piano is clearly the hero.

Piano Concerto in A minor, Op. 7 – Clara Schumann

Clara Schumann is one of the most revered pianists of the 19th century and an exceptionally gifted composer. Astonishingly, Clara Schumann began writing this piece at just 13 years of age. The gifted composer premiered the finished Piano Concerto in 1835 before reaching 16 years old.

While working on this concerto, Clara Schumann (then Clara Wieck) was a student of Robert Schumann, her future husband. It’s well-documented that Robert Schumann made some revisions to Clara’s concerto. These revisions are significant because many teenagers, no matter how prodigal, would concede to the changes made by such a renowned pianist and composer.

However, when premiering the concerto, the young Clara reverted to her original work, choosing to ignore Schumann’s direction. As a female composer leading her generation aside giants like Chopin and Liszt, Clara Schumann is a monumental figure in classical music, and her Piano Concerto embodies that.

Piano Concerto No. 3 in D minor, Op. 30 – Sergei Rachmaninoff

Sergei Rachmaninoff had an undeniable ability to write beautiful music that terrified musicians because it was so technically and physically demanding. So much so that Josef Hofmann, an outstanding musician and pianist to whom Rachmaninoff dedicated the concerto, never performed it publicly.

Rather than Hofmann, Rachmaninoff premiered the piece himself, often declaring it his favorite composition. This particular piano concerto is frequently a measure of a pianist’s ability because performing it well is a monumental task. It’s arguably the most technically challenging concerto on the list, thanks to its many lightning-fast runs and immense chord structures.

For all of its technical challenges, and there are many, I like it most for its simplicity (in some areas). The opening melody is absolutely breathtaking in its simplicity and one of my favorite lines in all classical music. The same can be said of the harmonic arrangement in some areas; Rachmaninoff wasn’t afraid to keep things simple when simple is enough, and that’s a mark of a true genius.

Piano Concerto No. 2 in B-flat major, Op. 83 – Johannes Brahms

Brahms wrote his Piano Concerto No. 2 in 1881, more than 20 years after his first. In a letter to Clara Schumann, Brahms ironically described his work as a very small piano concerto with a pretty scherzo. In reality, this 50-minute-long concerto isn’t small in any way.

The Piano Concert No. 2 in B-flat has four movements, rather than the typical three. It begins with a beautiful, unassuming call and response between the opening horn and the piano. A cadenza introduces the virtuosic nature of the piece and a constant push and pull between dramatic virtuosity and soothing elegance.

With some irony, again, Brahms labeled the second movement as a scherzo, which is uncommon in a concerto. The most ironic thing is that the scherzo is the most dramatic, passionate, and virtuosic movement of the entire concerto.

The call-and-response theme continues throughout, creating a rollercoaster of emotions. The Piano Concerto No. 2 showcases Brahms’ creativity as much as his incredible virtuosity.

Piano Concerto No. 21 in C major – Wolfgang Amadeus Mozart

Mozart completed and premiered 21 piano concertos before his untimely death at the tender age of 35. He completed this particular concerto in March of 1785, shortly after his D minor concerto (Piano Concerto No. 20).

Mozart’s concertos are among the most celebrated because he had a particular style; he wrote for himself, fearless of outside influence, and he turned every instrument into a character with a vital role to play.

The concerto opens with a quiet march figure and slow-rising volume. The overall feel of the first movement is uplifting and triumphant, with the march feeling briefly subsiding and returning before the solo.

The second movement (Andante) is in F major, the subdominant, and splits into three parts. This movement is more dreamlike, featuring muted strings and many pizzicato articulations.

The triumphant feel returns in the third and final movement (the Rondo), with a call and response between the piano and orchestra. The exchange of themes between the piano and orchestra builds toward blistering scale runs that end the concerto in a dramatic fashion.

Piano Concerto No. 2 in G major – Béla Bartók

Béla Bartók is one of my favorite composers because he wasn’t afraid to push boundaries or explore alternative paths.

The famous Hungarian composer wrote his Piano Concerto No. 2 in the early 1930s, at a time when many composers aimed to simplify their works. Bartók, too, shared a desire to simplify elements of his composition. He also expressed his intention to make this concerto more contrapuntal, and his use of counterpoint is what makes this concerto so challenging.

Various pianists, including András Schiff and Stephen Kovacevich, declare Bartók’s Piano Concerto No. 2 the most difficult they have ever played. I’m no stranger to Bartók or counterpoint, but this concerto would test the virtuosity of Yuja Wang (who, of course, plays it superbly).

It remains one of Bartók’s most celebrated works and has been heavily featured in orchestral performances worldwide since its premiere in 1933.

Piano Concerto No. 1 in B-flat minor – Pyotr Tchaikovsky

Tchaikovsky’s Piano Concerto No. 1 is another piece that most people know, whether they realize it or not. The opening sequence is so lush, majestic, and unforgettable, and that’s why you’ll hear it in countless movies and advertisements. It’s ubiquitously considered one of the most beautiful sequences ever written.

Despite its reputation as a stellar work of art, Tchaikovsky’s concerto had its critics. He wrote the piece in 1874-75, and it premiered in Boston in 1875 with Hans von Bülow as the soloist. However, Nikolai Rubinstein was Tchaikovsky’s first-choice pianist. Rubinstein criticized the concerto but later withdrew his criticism and championed Tchaikovsky and his composition.

There is some confusion around the dedication of this work, with some suggesting a dedication to Rubinstein was retracted. However, Tchaikovsky’s biography confirms that Hans von Bülow was always the intended recipient, and Tchaikovsky just hoped that Rubinstein would perform the piece in Moscow.

One of my favorite performances is from Martha Argerich and the Verbier Festival Orchestra.

Piano Concerto in A minor, Op. 16 – Edvard Grieg

The Piano Concerto in A minor is the only concerto written by Grieg and is one of his most popular works. The first movement opens with a timpani roll, but it’s the following piano flourish that signals dramatic intent with authority.

Edvard Grieg was just 24 years old when he composed this piano concerto in 1868, citing inspiration from Robert Schumann.

The second movement (Adagio) is less intense and more pensive and reflective. It’s a beautiful display of harmony, leading the audience on an emotional journey. The third movement is animated and energetic, demonstrating Grieg’s fascination with Norwegian folk music.

It’s believed that the reason Grieg didn’t premiere the concerto himself was a prior engagement with another orchestra. Instead, Edmund Neupert premiered the piece in Copenhagen (1869) in front of an accomplished audience, including Anton Rubinstein.

Piano Concerto No. 2 in F major, Op. 102 – Dmitri Shostakovich

Shostakovich wrote this piano concerto in 1957 for his son Maxim’s 19th birthday. Maxim premiered the concerto later that same year at his graduation concert at the Moscow Conservatory. In addition to writing the concerto for his son, Shostakovich intended the piece to be a development tool for young piano students. The concerto has three movements and lasts around 20 minutes.

The first movement features lots of unison playing, typically an octave or two octaves apart. It then introduces percussive and rhythmic moving octaves in the low range. It’s clear from the first movement that Piano Concerto No. 2 is far more cheerful than Shostakovich’s typical style.

The remaining movements explore rhythm and time further. The second movement highlights triplets and a four-against-three rhythm. The final movement introduces the 7/8 time signature and extensive use of the pentatonic scale.

Piano Concerto No. 1 in E minor, Op. 11 – Frédéric Chopin

Frédéric Chopin wrote just two piano concertos; interestingly, although labeled as No. 1, this piece was the second written. The confusion stems from Chopin’s publisher releasing the concerto in E minor first. Chopin wrote both of his piano concertos before turning 20, which is quite astounding.

Frédéric Chopin is as celebrated as most classical composers, but his concertos continue to divide opinion. Many critics believe that Chopin didn’t fully understand the concerto form and couldn’t compose for an orchestra. However, most critics also acknowledge Chopin’s originality; Robert Schumann was among Chopin’s most vocal supporters.

One of the most interesting facts about this concerto is that there is no cadenza in the three movements. Although surprising, given Chopin’s reputation as a virtuoso, the piano, which is relentless throughout the entire concerto, is almost virtuosic from start to end.

Piano Concerto No. 4 in G major, Op. 58 – Ludwig van Beethoven

Beethoven composed his fourth piano concerto in 1805-6. He performed it privately for the first time in 1807 at the home of his then-patron, Prince Lobkowitz.

The first public performance came in 1808 in Vienna, with a famous performance that included premieres of his Fifth and Sixth Symphonies. This concert was also the last time Beethoven would perform publically as a concerto soloist due to his declining hearing.

Beethoven’s Piano Concerto No. 4 starkly contrasts his previous concertos and everything else of the era. Rather than bold, authoritative gestures and feats of technical ability, this concerto is intimate and personal.

The opening melody, played in block chords, is soft and sweet, and the orchestra sympathetically creeps in, beginning an ongoing conversation between the soloist and orchestra.

Although the piece ends with a very lively coda, for the most part, the gentle soloist is taming the orchestra with songlike playing, and it’s beautiful.

Conclusion

Although sonatas and preludes beautifully showcase the piano’s range as a solo instrument, its true power is often most on show when leading an entire orchestra.

The piano concertos on this list can sometimes be intimidating, daunting, and overwhelming, but always captivating. We can see variations in the typical concerto form and some complete deviations from the rule book. These remarkable compositions mark some of the defining moments through each era of classical music.

Round Midnight – Thelonious Monk

Thelonious Monk is my favorite jazz composer and one of the reasons I got into jazz as a student. “Round Midnight” is one of many Monk tunes considered a jazz standard and his most celebrated piece.

Depending on the source, Monk wrote “Round Midnight” in the late 1930s or early 1940s, but he didn’t record it till 1947 (the first recorded version was Cootie Williams in 1944). Monk’s 1947 single featured another of my favorites, “Well, You Needn’t” as the B-side.

Monk’s style is still misunderstood at times, and back in the 1940s, there was a time when people questioned why bandleaders hired him. Monk was a pioneer of the bebop era, and although he didn’t get widespread recognition till the 1950s, he became idolized by his peers in the late 1940s.

“Round Midnight” is a jazz ballad in C minor that explores unusual phrasing with the most beautiful harmonic tension and release. It became the tune that every jazz musician wanted to play, and despite Monk encouraging self-expression, they all wanted his approval.

Miles Davis famously commented on his happiness when Monk said he played “Round Midnight” well. Miles Davis later recorded a version inspired by a Dizzy Gillespie arrangement called “Round About Midnight.”

Round Midnight is also the title and theme song of a movie starring saxophonist Dexter Gordon, an American jazz musician living in Paris (scored by Herbie Hancock).

Watermelon Man – Herbie Hancock

Herbie Hancock can do it all, but it’s his tasteful and often simple approach that makes him so special. That “less is more” approach is never more prominent than in his iconic “Watermelon Man.”

Herbie Hancock released two significant versions of “Watermelon Man:” one on his 1962 debut album, Takin’ Off, and the other in 1973 with his Headhunters electric band.

Herbie played the original version in a hard-bop style with a simple F-blues structure (loosely). As Herbie recalls in many interviews, the idea came to him through a childhood memory of hearing a street merchant selling watermelons, touting for business.

The opening melody line translates to what Herbie recalls as “Hey, watermelon man.” That opening melody line has only three notes, yet it’s one of the most memorable melodies in jazz history, which is a valuable lesson to us all.

The melody never gets more complex, and the piece relies on a simple catchy tune, and fantastic rhythm section. What I like most about “Watermelon Man,” besides the melodic simplicity, is that it’s a great vehicle to practice soloing over. In part because it’s not too tricky but mainly because it teaches us not to overplay.

The later electric version is an excellent study of how instrumentation can change a tune.

Misty – Erroll Garner

Erroll Garner had such an immaculate touch on the piano. What I mean by immaculate is that he had sublime control of dynamics and unrivaled musicality to know when to use his famous light and dreamy touch. “Misty” is a great example of Garner’s sublime touch and one of the most played and requested jazz standards ever.

Garner apparently wrote “Misty” during a flight from San Francisco to Chicago. The flight is said to have passed through a thunderstorm when Garner spotted a rainbow running through the mist. If you listen to many live recordings of “Misty,” particularly with Garner’s trio, you’ll hear him explore dynamics as if mimicking the transition through a storm to calmer weather.

Erroll Garner recorded “Misty” the same year he wrote it, in 1954. Later that same year came a vocal version with lyrics by Johnny Burke. Misty became one of the early crossover hits when the pop star Johnny Mathis recorded and released it on his 1959 album, Heavenly.

Although many versions exist, spanning various sub-genres, “Misty” is a jazz ballad at heart with one of the sweetest melodies ever.

Waltz for Debby – Bill Evans

Bill Evans is another of my favorite jazz composers and pianists, which isn’t surprising as he’s one of the most celebrated jazz musicians of all time.

Bill Evans had an exceptionally varied repertoire throughout his career, ranging from his modal work with Miles Davis to bebop, blues, and classical music. “Waltz for Debby” is one of the very few tunes that stayed with Bill throughout his performing life.

The piece started as a piano solo for his debut album, New Jazz Conceptions (1957). Evans wrote the piece as a musical portrait of his niece, which explains his attachment to it throughout his career.

As a waltz, the tune starts in 3/4 time, a time signature that most jazz musicians love. I love this tune because it sounds more complex than it is, and it provides a fun (yet impressive) opportunity to explore waltz time. As an added bonus, the tune shifts to 4/4 time, which is typically easier to solo over.

“Waltz for Debby” is the perfect combination of beautiful melody and rhythmic exploration. Very few pianists blend melody, rhythm, and unusual phrasing as beautifully as Bill Evans (Dave Brubeck is another).

Maple Leaf Rag – Scott Joplin

Maple Leaf Rag isn’t universally considered a jazz standard, but I think it merits a place on the list. It’s my favorite Scott Joplin rag and something I consider a milestone piece in a student’s studies.

The early stride pianists like Willie “The Lion” Smith and James P. Johnson might not be household names, but they influenced the most prominent composers in the history of jazz. From Duke Ellington to Thelonious Monk to Art Tatum and Count Basie, all the greats studied the stride piano masters.

Scott Joplin and his Maple Leaf Rag offers a more forgiving entry into the world of stride piano. It’s not quite as physically demanding as Smith’s “Fingerbuster,” but it explores many of the same elements.

It develops hand independence and coordination while helping you understand elements like counterpoint. It’s also a great way to learn that a piano is a percussion instrument and not purely rooted in melody and harmony.

Most importantly, it sounds great and is so much fun to play!

Autumn Leaves – Joseph Kosma

“Autumn Leaves” is one of those standards that gets mixed reactions these days. It’s a standard that every jazz piano student should play, and every jazz piano student does play. So, it’s not unusual to hear one or two grumbles from the audience, as they may have heard too many times before. Nevertheless, “Autumn Leaves” remains a vital addition to any pianist’s repertoire.

The original version, “Les Feuilles Mortes,” was published in 1947 by Kosma. The concept came from his original ballet music, with inspiration from Tchaikovsky. A few years later, in 1950, Johnny Mercer wrote the English language lyrics for the piece we now know as “Autumn Leaves.”

“Autumn Leaves” was my first introduction to the circle of fifths progression. What I like most about “Autumn Leaves,” from a technical point of view, is that it’s a fantastic way to practice voice leading. The harmonic content isn’t too complex, and once you have the chords down, you can explore voicings and voice leading.

It’s also one of the most iconic melodies in jazz history.

Night Train – Jimmy Forrest

“Night Train” isn’t a tune that would make it onto everyone’s essential standards list, but it gets a place on mine. As I said earlier, all of these standards are fantastic tunes, but I also like to pick out tunes that provide a platform to learn and practice a particular technique or genre. In this case, “Night Train” was the tune that helped me realize that blues music isn’t just for guitarists.

Admittedly, I probably heard “Night Train” on the Back to the Future soundtrack before I knew who Jimmy Forrest was, but it quickly became one of my favorite tunes to play.

It’s not difficult to play, but like many blues songs, it’s more about how you play it. You can play the same blues hundreds of times, and when you least expect it, something clicks, and you feel it more. There’s nothing like playing the blues with attitude and not being afraid to highlight simple phrases.

Unfortunately, Oscar Peterson also loved to play “Night Train,” and once you hear him play it, everything else sounds, well, not as good (but I still enjoy it!).

Blue Monk – Thelonious Monk

Thelonious Monk first recorded “Blue Monk” in 1954 and often referenced the piece as one of his favorites. “Blue Monk” is a simple blues, yet it sounds no less innovative or unique than anything Monk played at Minton’s Playhouse during the height of the bebop era.

The lesson I took from Monk, and this track in particular, is that we should embrace our own sound, whatever it is. Monk was a genius; there’s no debate over that, but he expressed himself in a way that led many to question his technical ability.

I’m no Thelonious Monk, nor am I a Chick Corea or Herbie Hancock. As a young student, I wanted to emulate my idols, and I spent so much time trying to sound like others I had no idea what my sound was. When I learned to embrace the shortcomings in my playing, as well as the things I do well, I became a more confident musician with a more distinct sound.

“Blue Monk” is an excellent example of self-expression, particularly the early trio recording with Art Blakey on drums or Monk’s solo piano. It’s worth checking out Carmen McRae singing Monk, too.

Take Five – Paul Desmond

“Take Five” is the biggest-selling jazz record of all time; this Paul Desmond classic beats Miles Davis, Herbie Hancock, John Coltrane, and every other giant of the genre.

Many people still assume that “Take Five” is Dave Brubeck’s composition because it appears on his Time Out album, but it was written by his supremely gifted saxophonist, Paul Desmond.

I’ve added “Take Five” not just for its popularity but because it’s the tune that encourages many jazz pianists to experiment with time signatures.

Time Out is an album that explores less common time signatures, inspired by Brubeck’s 1958 Eurasia trip. Ironically, despite Dave Brubeck’s fame and Paul Desmond writing the iconic melody, “Take Five” happened because Joe Morello (Dave’s drummer) asked for a solo in 5/4 time.

“Take Five” was released as a single in 1959 but didn’t reach hit status until 1961, and still generates ample radio play today.

Someday My Prince Will Come – Larry Morey and Frank Churchill

“Someday My Prince Will Come” is a song from Disney’s 1937 animated film Snow White and the Seven Dwarfs. Beginners might wonder why a Disney classic features among the most important jazz standards ever, but it’s pretty common.

Jazz musicians like Miles Davis, John Coltrane, and Keith Jarrett loved to adapt songs from musicals for jazz arrangements. “Someday My Prince Will Come” is one of the most popular of those adaptations.

The tune is in waltz time (3/4), and my favorite version comes from the 1961 Miles Davis album of the same name. The album came during a time of transition for the Miles Davis Quintet, but it’s the only studio recording featuring Hank Mobley (tenor saxophone), which makes it special.

“Someday My Prince Will Come” is a tune that helped me focus on letting the melody sing. The lyrics and melody are so well-known it’s the perfect tune to practice phrasing your melody like a vocalist.

Blue Bossa – Kenny Dorham

Kenny Dorham wrote “Blue Bossa” in 1963, and it was first released by Joe Henderson on his Page One album.

For me and many others, “Blue Bossa” was the first venture into the world of Latin jazz. “Blue Bossa” is by no means as challenging as the most rhythmically complex Latin jazz, but it teaches the basic feel with a catchy melody that you can sing.

Since many musicians use “Blue Bossa” as a stepping stone into Latin jazz, it sometimes suffers the same fate as “Autumn Leaves.” Audiences sometimes tire of hearing it, but it’s an important tune to learn.

It allows you to learn and understand more about the typical phrasing patterns of Latin jazz without overwhelming you with hard-to-play rhythmic accompaniments.

“Blue Bossa” is a tune that you should spend a decent amount of time on because although many pianists play it, not all take the time to play it well. Once you know the notes, how you play them becomes the most important thing.

The Nearness of You – Hoagy Carmichael and Ned Washington

Hoagy Carmichael is one of the most important songwriters in jazz history, and “The Nearness of You” is one of his best-loved hits. Hoagy Carmichael composed this song in 1937, and Ned Washington added lyrics.

“The Nearness of You” is as pure a love song as you’ll find in the jazz genre. Although Carmichael composed many standards, like “Stardust,” “Georgia on My Mind,” and “Heart and Soul,” “The Nearness of You” remains one of his most covered works.

Its popularity lies in its simple melody and heartfelt lyrics. “The Nearness of You” has endured multiple revival periods, with notable artists like Glenn Miller (in the 1940s) and Norah Jones (in the early 2000s) covering the iconic record.

However, my favorite versions of the song come from the inimitable Oscar Peterson featuring Ray Brown (bass), Herb Ellis (guitar), and Buddy Rich (drums). And, the wonderful Roy Hargrove.

All Blues – Miles Davis

“All Blues,” from the Miles Davis album Kind of Blue, is a standard that changed the entire landscape of jazz music in 1959. There’s nothing complex about “All Blues;” it’s a 12-bar blues in 6/8 time.

One of the first things we need to acknowledge about “All Blues” is that it features one of the greatest sextets ever. In addition to Miles, the lineup included Julian “Cannonball” Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb. Every one of those names is a giant of jazz music and a master of their craft.

This period of Miles’ career was far removed from the bebop days playing with Charlie Parker’s band. This music was more about space, no wasted notes, and making everything count (Miles might have said it more like if you have nothing to say, shut your mouth).

As pianists, we need to focus on the role of Bill Evans here. The modal style of “All Blues” introduced us to those quartal voicings from Bill Evans; stacking fourths instead of thirds. Pianists like McCoy Tyner are famous for using quartal voicings, generating a very angular sound, but Evan’s was different. Evan’s weaved between harsh angular lines and delicate singing melodies over those voicings.

It’s a true masterpiece.

All the Things You Are – Jerome Kern

If you attend any jam session, you’ll inevitably have to play Jerome Kern’s “All the Things You Are,” so you might as well learn it now.

Jerome Kern wrote “All the Things You Are” in 1939 for a new musical, Very Warm for May. Musical theatre titan Oscar Hammerstein II added lyrics to the composition.

Upon its release, the most famous bandleaders in America couldn’t wait to record it with their orchestras, including Tommy Dorsey and Artie Shaw. It also became a mainstay on setlists for social and formal events all over the country.

The song doesn’t have the “cool” status that many standards on my list achieved, but it’s no less important. It’s almost a challenge now to find a new way to perform the standard; get it wrong, and you’ll hear about it fast. But get it right, and you’ll turn an overplayed standard into the hippest thing since sliced bread.

Take the ‘A’ Train – Billy Strayhorn

Billy Strayhorn was a composer, pianist, bandleader, and seminal figure in jazz history. Strayhorn’s 1939 standard, “Take the ‘A’ Train,” is the signature sound of Duke Ellington.

It’s remarkable to think that the Duke’s signature sound comes from someone else’s composition, but Ellington took Strayhorn under his wing. Anything they collaborated on was very much a product of that relationship and mentorship.

“Take the ‘A’ Train” gets its name from the first line of travel instructions that Ellington gave Strayhorn to get to his house. The ‘A’ train refers to the ‘A’ subway service in New York City.

“Take the ‘A’ Train” has one of the most famous introductions of all jazz standards. Strayhorn was a massive admirer of the arranger Fletcher Henderson and almost binned “Take the ‘A’ Train” for fear that it sounded too much like a Henderson arrangement.

Fortunately, Ellington and his orchestra recorded the song in 1942, and it remains a prime example of the golden age of big-band jazz in New York City.

Summertime – George Gershwin

“Summertime” is a George Gershwin composition from the opera Porgy and Bess. Gershwin composed the song in 1934, with the opera coming a year later.

“Summertime” is one of my favorite standards because you can do anything with it. It’s a simple aria that you can play as a blues, a spiritual piece, in a modern modal style, and everything in between.

It’s a great song to practice singing while you play. Now, you don’t have to be a good singer; I’m certainly not. But, the more you get used to singing melodies as you play, the more familiar you become with pitch, and the more freely you can play. After a while, you can start to sing your improvised lines because you’ve developed that connection between your ideas and the instrument.

Another reason I love “Summertime” is that it’s an introduction to Porgy and Bess, and all of the wonderful music it features.

One of my favorite recordings of “Summertime” comes from the late Keith Jarrett, live in Japan (1987).

Final thoughts

You’ll notice that many of these standards aren’t composed by pianists, and that’s OK. One of the best things you can do to develop your technique is to learn from other instruments. These standards highlight essential elements of music showcased by different instruments at the forefront, and I hope you enjoy them as much as I do.