The pianists on this list, past and present, have inspired and influenced countless pianists and composers worldwide and will continue to do so for many, many years.

Martha Argerich (born 1941)

People often describe Martha Argerich as the greatest living classical pianist, and it’s difficult to argue otherwise.

Martha Argerich’s career spans seven decades and has barely slowed down over the years. The Argentine pianist, now in her 80s, is often noted as playing with the same energy and enthusiasm she had 50 years ago.

Her glittering career has seen her performing at every significant venue around the world while picking up any award that matters to classical musicians, including being honored by The Kennedy Center.

With nothing left to prove, Martha continues to tour for the love of music, and if you get a chance to see her perform live, I suggest you grab it with both hands.

Watch this video of Martha Argerich performing Prokofiev’s Piano Concerto No.3

Although always appreciative of fans, this short and simple quote best demonstrates her love of music:

Clara Schumann (1819 – 1896)

The easiest way to summarize the importance of Clara Schumann is to say she was one of the very best pianists of the Romantic era, a time when she stood at the forefront of innovation alongside giants like Liszt and Chopin.

Unfortunately, in the broader conversation, she is still best known for being the wife of famed composer Robert Schumann. I think it’s remarkable that we can equally consider Clara Schumann as an er-defining talent and underrated.

Her virtuosic talent made her a prominent figure in a male-dominated time, and in turn, she inspires many new pianists to this day, especially females. It’s no exaggeration to say we may not have some modern-day greats without Clara Schumann.

Her headstrong approach to composition, which saw her ignore the advice of her then-teacher, Robert Schumann, inspires and influences me very much.

Thankfully, educators now consider Clara Schumann one of the most important musicians in the history of classical music.

An interesting fact about Clara Schumann is that her prodigious talent was so evident at just nine years old that it convinced a young Robert Schumann to give up studying law to study music under Clara’s father (Friedrich Wieck).

Watch this video of Isata Kanneh-Mason performing C. Schumann’s Piano Concerto

Myra Hess (1890 – 1965)

Dame Myra Hess is a perfect example of an artist who inspired, motivated, and influenced people far beyond the realm of her music.

During World War II, Hess performed over 150 times at the National Gallery in Trafalgar Square, London, bringing music and hope to people when they needed it most.

These were no ordinary performances; these were short intervals from the harsh reality of war, a fleeting window of calm. Myra Hess used her gift to unite people in a world on the verge of division.

If I can take anything from the music and playing of Myra Hess, it’s that music can be a force for good, and it’s most potent when built on personal expression. Myra Hess, known for vulgar jokes and smoking in public, was far from the typical image of a classical pianist, which I find refreshing.

It’s important to note that the influence of Hess was far more than significant timing during the war. Myra Hess was a prodigious child who was granted a scholarship to London’s Royal Academy at 12. By her late teens, she had already performed with some of the most respected musicians and conductors in music, including Sir Thomas Beecham.

Watch this video of Myra Hess performing her famous arrangement of Bach’s Jesu, Joy of Man’s Desiring

Mary Lou Williams (1910 – 1981)

Mary Lou Williams has influenced every musician who ever played with or after her, directly or indirectly. Despite making this bold claim, I still feel she is vastly underappreciated in any mainstream sense.

She paid her dues as a jazz big band musician in Kansas City. If you know about jazz big bands in the Swing era, you don’t make the cut in Kansas City unless you are a serious talent. Williams made a name for herself at just 25 years old, playing with Andy Kirk and his Clouds of Joy.

Although she lacked confidence in her early prominence, Williams had already displayed abilities surpassing those of her peers. Her talent as a pianist was easy to see, but her ability to blend techniques and ideas from different styles and genres makes her influential/important, and not just great.

Despite any confidence issues, Williams’s responsibilities and influence in Andy Kirk’s band grew. Before long, she had the attention of iconic bandleaders like Duke Ellington, Louis Armstrong, and Benny Goodman.

Watch this video of Mary Lou Williams performing at the Montreux Jazz Festival in 1978

I’ve picked out a simple quote that’s a common saying in jazz, but it’s always nice to be reminded by such a talent:

Nina Simone (1933 – 2003)

Often referred to as the High Priestess of Soul, Nina Simone is a musician and leading Civil Rights Activist whose legacy will live forever.

Born Eunice Waymon, as a youngster, she showed an early interest and talent for music. Most people know that Nina Simone plays piano but perhaps don’t know the extent of her ability. She started by studying classical music and was inspired particularly by the works of J.S. Bach, which led to her developing immaculate technique.

Although Nina Simone could mimic anyone, as she expressed herself more through singing, composition, and arrangement, her piano playing adopted a unique style.

What I liked most about Nina Simone’s piano playing is that she had impeccable taste and judgment. She had a talent for playing incredibly raw and gutsy chords/lines while sounding beautifully elegant.

Her influence extends far beyond music, but as a pianist, I aspire to play with even a touch of the soul she puts into every note.

Watch this video of Nina Simone performing live at the Montreux Jazz Festival in 1976

Sophie Menter (1846 – 1918)

Sophie Menter was born in Munich, Germany, in 1846. Her father, Josef, was a cellist, and her mother, Wilhelmine, was a gifted singer. While it’s not unusual for noteworthy pianists to come from musical families, Sophie was particularly fortunate to have parents who played different instruments, which provided a unique perspective from a young age.

Unfortunately, the influence of Sophie’s cellist father was cut short as he passed away in 1856. Soon after her father’s death, she began studying music at the Munich Conservatory.

One of her first paying jobs was as a court pianist for a Prince in 1867. Then, in 1869, came a defining moment in her career when she met the incomparable Franz Liszt in Vienna. She performed his Concerto in E-flat so well that he took her as his protégé.

Liszt referred to Menter as his only piano daughter, and she was known to be one of his favorite and most gifted students.

Like many virtuoso musicians, Sophie Menter wasn’t short of eccentricities. She was as interesting as she was talented and lived in a castle with her cats.

Menter was a fearless performer. An interesting fact about Menter is that she was well-known for tackling music that terrified other pianists, including some of Franz Liszt’s most challenging works.

Listen to this recording of Sophie Menter performing Liszt’s Un Sospiro

Maryla Jonas (1911 – 1959)

Maryla Jonas has a remarkable story and one fitting for the silver screen. Maryla began her musical education at the Warsaw Conservatoire at the age of 11. By her 20s, she had studied under Ignaz Paderewski and Emil Von Sauer, two would-be successors to Franz Liszt.

After such a promising and credentialed start, her performing career was brought to a halt by the Nazi invasion of Poland. Maryla’s life then took an even more tragic turn when her family was killed, and she was held captive by the Gestapo for seven months.

By chance, a music-loving Nazi officer who had previously seen her perform released her and advised her to head for the Brazilian Embassy in Berlin. This journey would see her traveling over 400 miles on foot, sleeping where and when she could along the way.

After fleeing to Rio De Janeiro, Brazil, she rekindled her career with help from the legendary Arthur Rubinstein. Maryla Jonas continued to perform until she died from ill health in 1950.

Listen to this recording of Maryla Jonas performing Chopin’s Mazurka

Interesting fact: Despite the relatively short career of Maryla Jonas, her Chopin Mazurka in F major is widely regarded as one of the best ever recorded.

Olga Kern (born 1975)

Olga Kern is one of the most decorated classical pianists on the list. Both of Olga’s parents were talented pianists who taught her to play from a very young age. Having displayed immediate potential, Olga played her first concert at the age of seven.

The acclaimed pianist won her first international piano competition at 11 years old and followed up with many more. At 17 years old, Olga Kern became the first-ever winner of the Rachmaninoff International Piano Competition, a considerable achievement.

While still a teenager, Olga Kern, like many past masters, had the world of classical piano in the palm of her hand as everyone watched with great expectations.

Another thing that Olga has in common with past masters is a rare blend of supreme technicality and unfaltering stage presence. It’s not the easiest thing to explain, but some pianists create a higher level of anticipation when they sit at the keys; Olga is one of them.

Competitions would remain a significant part of Olga’s life, and the Olga Kern International Piano Competition is now one of the biggest platforms for the brightest young pianists to compete.

Watch this video of Olga Kern performing Rachmaninoff’s Piano Concerto No.3

Khatia Buniatishvili (born 1987)

Khatia Buniatishvili is a young classical pianist with undeniable ability. The Georgia-born pianist began her musical journey at the age of three with her mother as her teacher. She was performing with the Tbilisi Chamber Orchestra when she was six years old. By the age of ten, Khatia was performing internationally.

Despite her obvious talent and international success, Khatia is a pianist who divides opinion among purists. While she is a technically superb musician, her creative choices aren’t appreciated by all.

Like all music, classical music is open to interpretation, although perhaps not as loosely as other genres. Khatia has sometimes been accused of expressing too much creative freedom when playing the works of past masters.

I have very mixed views on classical music; I love it, but I don’t like the lack of flexibility from many (not all) in the classical world. It’s important to respect the music, but there still has to be a permitted level of self-expression, and that’s why I had to include Khatia.

Khatia inspires a new generation of Classical musicians to explore expression and individuality, and I love that.

Watch this video of Khatia Buniatishvili performing Schumann’s Piano Concerto

Hiromi Uehara (born 1979)

Hiromi Uehara is a Japanese pianist and composer who embodies what it means to be a virtuoso. She is known for her energetic performances that often leave people wondering how she does so much with just two hands.

One of her best qualities is her ability to merge various musical genres into short musical sections seamlessly. Her most prominent genres are jazz fusion, post-bop, and classical.

In recent years, Hiromi has released multiple solo albums to much critical acclaim. She has also released material as part of various combos.

Her unquestionable talent and unique personality have gained the attention of some of the world’s best-known musicians. She has collaborated with some of the biggest names in jazz and even released an album (Duet) with the legendary Chick Corea.

You have to watch Hiromi, not just listen, to appreciate her ability fully. Hiromi’s virtuosity is so mind-blowing it might scare you out of playing piano at first. But, after a minute or two, the sheer joy on her face as she performs is enough to inspire anyone, and it’s what I love most about her. She reminds us that having fun is important as we work hard at our craft.

Watch this video of Hiromi performing live at Jazz in Marciac 2010

Marian McPartland (1918 – 2013)

Marian McPartland was a true pioneer for women in music, especially jazz music. But her musical career didn’t begin with jazz music; after playing from a young age, her formal music education began at 16 as a classical piano student. As a standout product of the Guildhall School of Music, McPartland was performing professionally in the 1930s.

She was one of many jazz greats with a strong background in classical music, like Chick Corea and Keith Jarrett, and it gave her a different perspective than many.

Marian McPartland played with an intelligence and thoughtfulness that embodied her admiration for Duke Ellington. Even with blistering technique, she never gave in to the temptation of playing more than necessary, which is why she was a favorite of legends like Dizzy Gillespie.

Marian McPartland isn’t always discussed in conversations about the greatest jazz musicians, but when those greats were playing, you could be sure her name was often on their minds.

Watch this old video recording of Marian McPartland performing live

Her modesty was as charming as her music:

Diana Krall (born 1964)

To many people, even some music lovers, Diana Krall is a great singer who also plays piano. In reality, her piano playing deserves so much more attention. As a protégé of the late, great Oscar Peterson, Krall has inherited his impeccable sense of rhythm.

Although you’ll regularly hear her sing jazz standards from the Great American Songbook, her style is deeply rooted in the blues. Like Oscar Peterson, she has the ability to turn simple phrases into something extraordinary. Regardless of tempo, Diana Krall can swing as hard as any pianist alive today.

If you listen to Krall play something like “C Jam Blues” or “Deed I Do,” you’ll hear the influence of Oscar Peterson, but you’ll also hear something unmistakably Diana Krall.

One of my favorite things about Diana Krall, and something I think never gets enough credit, is her perfect phrasing. Whether improvising a solo or just comping, there are never any throwaway notes; everything is supremely musical.

Someone like Barry Harris would say that improvising is composing on the spot, and Krall is a master. It’s more than running scales and modes; it’s always melodic and has a purpose; there’s a lot to be learned by listening to Diana Krall.

Watch this video of Diana Krall performing live in New York

Interesting fact: Diana Krall is married to acclaimed singer, producer, and songwriter Elvis Costello.

Joanna MacGregor (born 1959)

Joanna MacGregor has had (and continues to have) a stellar career as a performer and educator. Along with performing with the world’s leading orchestras, Joanna is Head of Piano at London’s Royal Academy of Music. She is also a professor at the University of London.

Joanna MacGregor is known to be very open-minded musically, and I think we need more of that in classical music.

Joanna is one of the world’s most influential female pianists for several reasons. The most apparent reason is that she is one of the most celebrated active pianists, perhaps most notably when performing the works of J.S. Bach. Her exceptional technique allows her to make the most complex pieces appear easy.

My favorite thing about Joanna as a pianist is her interpretation of written music. She has an innate ability to capture every nuanced emotion intended by the composer without sacrificing her own voice.

Another obvious reason Joanna is an influential pianist is her position as an educator. If we had more educators like Joanna in prominent roles, the future of classical music would be in very safe hands.

Watch this video of Joanna MacGregor performing Piazzolla at Stapleford Granary

DOMi Louna (born 2000)

The young pianist Domi isn’t yet a household name, but her fame is rising by the day. She came to the attention of many through several viral YouTube videos as a then-teenager displaying frightening technique and musicianship.

One of the most popular videos shows her sight-reading a Cory Henry solo from the Snarky Puppy track “Lingus.” This Cory Henry solo is one of the most talked-about keyboard solos in recent years, so for the then 17-year-old Domi to perform it so authentically with such relative ease was quite a statement.

Although YouTube brought her into the homes of many music fans, Domi was already on the radar of the legendary jazz record label Blue Note. Domi’s debut album under Blue Note came as half of the Domi & JD Beck duo with the album Not Tight.

The drummer, JD Beck, has an incredibly tight yet quirky style that perfectly accompanies Domi’s imaginative playing.

The young pianist can already boast an impressive list of collaborators, including Anderson Paak and Thundercat. Despite her young age, I chose to add Domi because she’s already inspired many youngsters to follow in her footsteps, and I’m sure she will continue doing so for decades.

Watch this video of DOMi & JD BECK performing at Nord Live Sessions

Domi is known for playing at great speed, and in her typically blunt but enthusiastic manner, when asked about her style, she said:

How I chose

A list of the most influential female pianists ever will always be subjective, and that’s something I can’t avoid. But I can ensure that every pianist I select is worthy of a place on the list by considering just a few things.

The first thing I look for from an influential pianist is a distinct voice. When I say distinct voice, I don’t mean someone who plays the same way every time; I mean someone with defining characteristics in their musicianship that are easily identified.

Examples of defining characteristics include virtuosic technique, specific chord voicings, compositional habits, etc.

I also consider the era in which each of these women exists and other prominent pianists of the time. Looking at other prominent pianists in any given generation gives a clearer understanding of the impact pianists on our list made on music.

For example, Clara Schumann was performing and composing when the likes of Chopin, Liszt, and Wagner were giants of classical music; the fact that she managed to stand out in that time (while arguably not getting all the credit she deserved) speaks volumes about her exceptional talent.

Another benefit of looking at specific eras is that you better understand the extent of each pianist’s influence. Some world-class pianists were stars of their time but didn’t necessarily have a significant impact on future generations.

So, I looked for pianists who are still studied long after they are gone or active pianists whose influence transcends multiple genres and generations. Some influence even transcends music, as evidenced by artists like Myra Hess and Nina Simone.

It’s also interesting to look at musicians who came before potential list nominees. You can often see a deeper lineage of influence, perhaps most noticeable with someone like Diana Krall as a clear protégé of Oscar Peterson.

While virtuosic technical ability is by no means a requirement of an influential musician, it often attracts attention early. Some musicians are fortunate enough to have the rare blend of elite technical ability, a sublime sense of expression, and a distinct voice; the women on this list are those musicians.

Finally, I wanted to choose pianists who not only inspired new ideas in existing musicians but also inspired newcomers to learn piano.

Conclusion

Musical ability is gender-neutral, but female pianists are often under-represented in discussions regarding influential musicians. As you can see, the pianists on this list have each contributed a great deal to music and, as such, continue to inspire musicians of all levels.

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 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.

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.

How I chose the greatest jazz pianists?

Before choosing any pianists for this list, I wanted to better define in my mind what it meant to be the greatest. The list would never end if it were simply about being the most talented; there are too many amazing pianists to consider.

To create some distinction, I chose to add pianists who, while being amongst the most talented, had the most significant influence on jazz music. Some influenced the technique of others, some influenced creative choices, and some pioneered entire movements.

What they each have in common is that without them, something vital is missing, and jazz doesn’t take the same path.

The most difficult part is accepting that I’ll have to leave out so many worthy artists.

Art Tatum (1909 – 1956)

Art Tatum was the pianist who made other pianists want to quit. There are countless stories of jazz pianists hearing Art Tatum for the first time and thinking it was two pianists. Tatum redefined what was possible with two hands and 88 keys.

Although Tatum lost most of his sight by age four, the child prodigy could read music in Braille. He also had perfect pitch, allowing him to quickly learn anything he heard on the radio or in his mother’s piano roll collection.

He could do it all: stride piano, bebop, swing, but Tatum is often overlooked in discussions about the giants of jazz or reduced to someone with remarkable technique and could play very fast. While that’s true, Tatum also had a creative mind years ahead of his peers. If you remove the fast tempo, you’ll hear him making sublime harmonic choices; he heard music like no one else in his time.

Watch this rare footage of Art Tatum performing live

Bill Evans (1929 – 1980)

Bill Evans lived a musically brilliant but troubled life. Like many musical greats, Evans struggled with substance abuse, primarily heroin and cocaine.

Regardless of his struggles, Evans became a leading figure in jazz, playing on some of the most influential records ever. One such record is Miles Davis’ Kind of Blue, which changed the harmonic landscape of jazz by trading some harmonic complexity for melodic freedom.

Evans’ playing on this iconic modal jazz album was mind-blowing: his use of quartal harmony and cantabile right-hand lines inspired generations.

Evans continued to display his unique interpretation of harmony and melody through extensive work leading his trio. His early trio with Scott LaFaro and Paul Motian recorded one of his seminal albums, Portrait in Jazz.

Thanks to his advanced musical mind and impeccable execution of modern musical ideas, Evans would remain part of the jazz vanguard as long as he lived.

Watch this footage of Bill Evans performing “Waltz for Debby”

Thelonious Monk (1917 – 1982)

I don’t think Monk would be on everyone’s list because he wasn’t the flashiest player in the world. But, make no mistake, Thelonious Monk was a genius who held a place at the forefront of the bebop movement, which is no small feat.

The bebop era produced some of the biggest names in jazz history and some of the most virtuosic players, like Charlie Parker and Dizzy Gillespie. Although Monk didn’t always display conventional technique, he was a standout Juilliard graduate who also studied under the great James P. Johnson (stride pianist).

Monk could play like anyone he chose to; his quirky, eccentric style wasn’t born out of being unable to do other things; it was by choice, and I’m incredibly thankful for it.

Monk had a way of getting right to the core of harmony and melody; he could strip away anything unnecessary, keeping only the most impactful notes. He did so in a way that created powerful harmonic content, highlighted by his strong use of dissonance. Monk always played with an unapologetic, crunchy feel that is still instantly identifiable.

Watch this footage of Thelonious Monk performing with his Quartet

Oscar Peterson (1925 – 2007)

Oscar Peterson might be at the top of many lists, and I understand why: nobody swings like Oscar.

Although he started in classical music as a child prodigy, Oscar Peterson was drawn to the jazz tunes he heard on the radio at a young age. After hearing the unmistakable Art Tatum, Peterson was motivated to become even better than him, and to many, he succeeded.

Peterson played on his first record in 1945, soon becoming one of jazz music’s most in-demand pianists. His unique style that blends virtuosic technique with the smoothness of Nat King Cole’s singing is one of the defining sounds of jazz piano.

Oscar Peterson was also heavily influenced by Duke Ellington, and even his trio arrangements had a level of sophistication rarely heard.

Peterson is best known for his insane technique, machine-like left hand, and swinging like no other, but his music was more than those things, as you can hear in his 1962 composition, “Hymn to Freedom” (written for Martin Luther King Jr.).

Watch this footage of Oscar Peterson performing “Hymn to Freedom”

Herbie Hancock (born 1940)

Herbie Hancock is perhaps the most famous name in jazz piano thanks to a prolific career spanning many decades and genres.

Herbie Hancock recorded his first solo album, Takin’ Off, in 1962. The debut album included one of his most iconic tunes, “Watermelon Man.” Takin’ Off featured some jazz heavyweights like Freddie Hubbard and Dexter Gordon and announced Hancock as a serious force in music.

Herbie’s sense of rhythm and modern approach to harmony caught the ear of Miles Davis, who quickly drafted Hancock into his new band. That band featuring Ron Carter, Tony Williams, and Wayne Shorter is perhaps the greatest quintet in jazz history.

The lessons Hancock would learn in his time with Miles Davis turned what was already undeniable talent into a jazz powerhouse in his own right.

Herbie Hancock went on to have huge success in jazz and funk and even had a mainstream 80s chart hit with the single “Rockit” from Future Shock. He also won an Oscar in 1986 for scoring the movie “Round Midnight”.

Watch this video of Herbie Hancock performing live at the Java Jazz Festival

Keith Jarrett (born 1945)

Keith Jarrett is a monumental figure in the world of jazz piano. He is a naturally gifted pianist who inspires and intimidates in equal measure.

As a young classical pianist, influenced heavily by the work of J.S. Bach and, later, Béla Bartók, Jarrett developed immaculate technique and a passion for improvisation. Classical music featured heavily throughout Jarrett’s recording career, but his love of improvisation and exploration would make jazz his defining genre.

As one of the most prolific performers and composers on my list, Jarrett played with a who’s who of jazz icons, most notably Art Blakey and Miles Davis. It’s fair to assume that Jarrett was so prolific because he was ahead of his time and always searching for the next thing. The Köln Concert became the best-selling solo album in jazz history (3.5m+ sales).

Whether he was performing jazz standards with a big band or fusion with the Miles Electric Band, innovation was at the forefront of his mind. He is a true pioneer of new ideas and perhaps the best example of a musician’s instrument being an extension of themselves.

Watch this video of Keith Jarrett performing a solo concert

Chick Corea (1941 – 2021)

Chick Corea was a classically-trained pianist who became one of the most critically acclaimed musicians in jazz history. The 27-time Grammy winner wrote and performed some of the most forward-thinking compositions over a career spanning well over 50 years.

Latin music influenced his work heavily, and even in his jazz fusion days, the classical and Latin influences could still be heard. In 1969, Corea played on the milestone Bitches Brew album with Miles Davis. His work on this album cemented Chick Corea as a permanent fixture amongst the jazz elite.

He would later write some of his most iconic tunes that are considered jazz standards today, like “Spain” and “Armando’s Rhumba”. Chick Corea was known for the creative use of harmony and blazing solos that often included mirroring both hands.

Chick Corea toured extensively throughout his professional life and gave so much to his fans through his love of sharing wisdom.

Watch this video of Chick Corea performing live with his band

McCoy Tyner (1938 – 2020)

McCoy Tyner is most famous for his work with The John Coltrane Quartet. John Coltrane was a unique voice in music, the likes of which we won’t hear again. One of the biggest tributes I can pay to McCoy Tyner is that even behind such a powerful presence like Coltrane, his voice was heard.

Rather than blend into the background, Tyner’s signature percussive style played a massive role in the success of The John Coltrane Quartet. You can hear it on seminal records like A Love Supreme and My Favorite Things.

McCoy Tyner’s playing style often divided opinion, with many, including Miles Davis, saying he was too heavy-handed. However, Tyner remained true to his percussive style and innovative use of quartal harmony and pentatonic scales.

Although Tyner utilized many concepts that seemed simple in theory, his implementation was nothing short of genius, and his ability to seamlessly drift inside and outside the tonal center was remarkable. His solo performance of “Giant Steps” is breathtaking.

Watch this video of McCoy Tyner performing “Giant Steps”

Bud Powell (1924 – 1966)

Bud Powell is one of the most underrated jazz pianists ever. As part of the bebop vanguard who held court at Minton’s Playhouse in New York City, his peers called him the Charlie Parker of the piano. This nickname was a nod to his unbelievable virtuosic ability to play things others simply couldn’t.

Despite not always getting the recognition from wider audiences that many of his peers received, Bud Powell changed how every jazz pianist after him played. His influence was so significant that even his one-time mentor, Thelonious Monk, decided to write a song about him called “In Walked Bud”.

Sadly, after an alleged racially motivated incident, the police beat Powell to the head so much that he never fully recovered. He recaptured his best form occasionally, but physical and mental health issues largely diminished his career. In a very short time, Bud Powell showed the world that he was a true jazz great.

Watch this footage of Bud Powell performing live

Barry Harris (1929 – 2021)

Barry Harris may be a surprising addition to the list, but I’m adding him for his contribution to jazz education as much as his performance.

Barry Harris was a bebop master from a musical family who displayed early prodigious talent. In the late 1940s and 1950s, Harris championed the bebop sound pioneered by musicians like Monk, Charlie Parker, and Dizzy Gillespie. He would go on to cement the sound of hard bop as the pinnacle of jazz at the time, alongside people like Milt Jackson and Tommy Flanagan.

While Harris didn’t achieve the record sales or notoriety of many on the list, his influence is particularly relevant today. For much of his life, Harris taught weekly low-cost classes to students of all ages and ignored the many calls to teach at exclusive universities. He wanted jazz education to be available to anyone, and not only those who could afford expensive courses.

In recent years, students worldwide have turned to Barry Harris’s masterclasses online, particularly for his application of the Major 6 Diminished scale.

Watch this video of Barry Harris performing live at Clasijazz

Conclusion

The one thing stronger than my adoration for the pianists on this list is my regret over those I’ve left out. But that would be the case no matter who I chose.

The musicians above are giants of the jazz world in many different ways, and studying them will benefit any musician immensely. I encourage all musicians to learn more about the pianists above and then keep going with the many greats who aren’t listed.

So, I’m going back to square one to clear up some common misconceptions, answer frequently asked questions, and help you choose the right instrument.

Contents

Use these links below to navigate to the desired section of the article.

• What is a digital piano?
• What is an electronic keyboard?
• What’s the difference between a digital piano and a keyboard?
• Which offers better sound quality?
• Which is better at keyboard action/feel?
• Which is more portable?
• Which offers more features/functions?
• Which has better connectivity options?
• Which is more cost-effective?
• Which is better for beginners?
• Which is better for on-stage performance?
• Which is better for on-the-go use?
• Which is better for home use?
• Frequently asked question

What’s in a name?

It’s no surprise there are ongoing debates over certain keyboard instruments; even the names confuse people.

Before I start, I want to clarify a few things and remove a few unnecessary names from the conversation.

I’ll be discussing digital pianos, portable digital pianos, and electronic keyboards, and I’ll define each below.

We can remove the following names to avoid confusion:

• Stage piano: a 73- or 88-key keyboard with weighted keys that requires external amplification (no built-in speakers) and typically has performance-based features and controls.
• Electric piano: a piano that uses analog electric components to pick up/amplify sound generated by hammers striking metal tines (sometimes strings). Instruments like a Fender Rhodes or Yamaha CP-70 (often vintage instruments).
• Portable keyboard: we can assume that all electronic keyboards are portable, so we can remove this term to avoid confusion.

What is a digital piano?

A digital piano is a keyboard instrument that recreates the experience of an acoustic piano in various ways: sound, feel, and image.

Digital pianos prioritize high-quality grand piano sounds over all other voices (electric pianos, organs, strings, etc.). While some digital pianos offer many onboard voices, most have an average of around 10.

Unlike a stage piano, a digital piano has built-in speakers and doesn’t require external amplification.

A digital piano will almost always have 88 hammer-action keys, but on rare occasions, 73-key models are available.

On even rarer occasions, a digital piano may have semi-weighted keys, but this scenario is limited to budget-friendly options.

Many digital pianos have premium features like simulated ebony/ivory keys.

When I say digital piano, I’m referring to an instrument that emulates the look of a real piano. Manufacturers achieve this by building the keyboard into a wooden cabinet or console that mimics the appearance of an upright piano (traditional or modern).

Some digital pianos even have the appearance of a baby grand piano; these models typically offer the most premium sound quality and are relatively expensive.

Whether they have an upright or grand appearance, digital pianos have realistic features like a music stand, key cover/lid, and three-pedal units.

A portable digital piano is everything I mentioned above without the wooden console/cabinet, making it far easier to move.

If you want to add some style and realism, manufacturers typically offer an optional wooden stand with a three-pedal unit.

The wooden stand slightly resembles an upright piano without being as bulky, heavy, or permanent as a console.

What is an electronic keyboard?

An electronic keyboard is a lightweight and portable keyboard, typically with fun and educational features aimed at beginners of all ages.

Electronic keyboards usually offer a blend of the following qualities:

• portability,
• budget-friendly.
• versatility,
• fun.

Electronic keyboards can have any number from 25 to 61 keys, with 61 keys being the average size for anyone hoping to progress to a full-size piano.

Rather than being realistic, electronic keyboards have lighter velocity-sensitive or semi-weighted keys.

In addition to being lightweight and portable, electronic keyboards have built-in speakers and usually offer optional battery power so you can play anywhere.

Sound quality, although it can be high, isn’t always a primary concern, and many electronic keyboards focus on quantity over quality.

It’s not unusual for an electronic keyboard to have hundreds of onboard sounds, making them versatile and a lot of fun for experimenting beginners.

Most electronic keyboards offer a wide range of accompaniments, demo songs, and practice lessons (lessons are sometimes available via apps rather than built-in to the keyboard).

Electronic keyboards are relatively cheap as the target market is primarily children, beginners, and first-time buyers.

The lower average prices make them the ideal choice for anyone who wants to test the waters before making a larger financial commitment.

So, what’s the difference?

The most significant difference is that a digital piano focuses on realism while electronic keyboards concentrate on fun and convenience (cheaper, portable, versatile).

Digital pianos typically offer fewer sounds but higher sound quality and a more realistic keyboard action than electronic keyboards.

In most cases, a digital piano is a stationary instrument and not as readily portable as an electronic keyboard.

Digital piano vs keyboard: An in-depth comparison

To help you determine which instrument is best for you, I’ll compare the two types in the most common areas.

Sound quality and authenticity

The Yamaha Piaggero NP-15 is one of my favorite electronic keyboards because it has a beautiful grand piano sound.

However, if I compare it to an entry-level portable digital piano, like the Alesis Recital Pro, I’d still favor the digital piano.

Even if the Yamaha uses a better piano sample, you can’t get the best out of it with lighter keys. For that reason, digital pianos will almost always sound more authentic.

Keyboard action/feel

A digital piano with hammer-action keys will always feel more realistic, and I recommend learning on fully-weighted keys if you can.

But some players, especially kids, struggle with weighted keys, and I’d prefer a student make good progress on lighter keys than waste time struggling.

If you struggle with weighted keys, I recommend an electronic keyboard with semi-weighted/velocity-sensitive keys until you can transition to something more realistic.

Please try both before you buy.

Portability/size/weight

Digital pianos with an upright console or grand body are essentially stationary instruments, just like a real piano. These are the best options if you want something that looks and sounds beautiful at home.

A portable digital piano offers a compromise for those who prioritize realism but want a more portable option.

But it’s important to remember that a portable digital piano is still far heavier than an electronic keyboard and not something younger learners can carry around freely.

Besides being bulkier and heavier, digital pianos have more keys. I prefer that students learn with 88 keys, but the weight issue discussed above is where you should decide. If heavier keys are a problem, I suggest a 61-key electronic keyboard.

If your priority is a lightweight instrument that you can move around the house quickly or even take outdoors, an electronic keyboard is the best option.

Features/functions

On average, electronic keyboards have more features and functions than a typical digital piano.

Digital pianos have fewer features because the goal is to provide a realistic piano experience.

However, they usually have an important feature that many electronic keyboards don’t: a built-in recorder. I encourage all students to record themselves for critical listening.

Electronic keyboards often have many features, such as:

• light-up keys (indicating which notes to play),
• play-along songs,
• extended sound/rhythm/accompaniment banks,
• Intro/Fill/Ending functions for rhythms,
• drum kits.

Those are some common features, and they make electronic keyboards incredibly fun.

The downside of having so many features is that some younger students are easily distracted, and a fun practice can turn into just fun.

I always advise parents, guardians, or relatives buying for younger children to choose an instrument that best suits their personality/temperament.

Connectivity options

I don’t consider connectivity a serious concern with these instruments because the average user won’t need much.

A digital piano commonly offers MIDI via USB, a 1/4-inch audio output, at least one dedicated headphone jack, and a three-pedal unit input.

Electronic keyboards typically offer less with MIDI via USB, a headphone jack, and sustain pedal input.

The above are standard examples, and there are exceptions. However, I think a few things are important in certain situations.

If you plan to take lessons from a piano tutor, a digital piano with dual headphone jacks is ideal (it keeps the rest of the household happy).

More expensive digital pianos should offer extended audio out/in options (for potential performance or studio recording).

I don’t look for much from an electronic keyboard, but I urge you to choose one with a sustain pedal input.

Although most do, some don’t, and, instead, provide a sustain button, but getting used to pedaling is vital.

Cost

An electronic keyboard costs anywhere from under $100 to a few hundred dollars and is significantly cheaper than the average digital piano.

To provide some context, the Yamaha NP-15 (61-key electronic keyboard), which I love, costs around $270, whereas the Yamaha YDP-105 (entry-level digital piano) costs around $900.

If budget is a deciding factor, then your choice is simple. But cheaper alternatives don’t mean that something like the YDP-105 isn’t good value for money because it is.

My advice to anyone of any age who wants to learn to play the piano is that a digital piano is the better choice if you have the budget, can handle heavier keys, and don’t need something more portable.

However, if you or the beginner you’re buying for isn’t certain that learning piano will be a long-term endeavor, I suggest buying a cheaper electronic keyboard.

You can always buy a digital piano when you’re sure it’s a worthwhile investment.

For beginners

If we forget about budget for a minute, here’s what I recommend:

• Digital piano: beginners of any age who don’t need a portable instrument;
• Portable digital piano: teen/adult beginners who want realism but don’t have space for a larger console;
• Electronic keyboard: younger beginners who need something light, portable, and more fun.

For stage/performance

Electronic keyboards aren’t built for the stage; you can perform with any keyboard that has an audio output (or even use the headphone jack), but it’s not the intention of these instruments.

Things like arranger keyboards are great for performing and are technically electronic keyboards. However, musicians tend to separate them from the beginner electronic keyboards I’m describing in this article and refer to them specifically as arranger keyboards or arrangers.

Digital pianos aren’t ideal for performance either unless used as a house piano in a venue due to their size and weight.

If you’re looking for an instrument to practice on and take to the stage, it’s a portable digital piano.

On the go/travel

There’s only one winner here, and that’s an electronic keyboard. It has everything you need to practice or create on the go: it’s light, battery-powered, and has built-in speakers.

Some portable digital pianos are battery-powered, but it’s a much heavier journey wherever you take it.

For home use

Each type is ideal for home use as long as you choose the one that suits your requirements.

But, the ultimate home playing experience is a digital piano with a beautiful upright console (or grand if you have the budget). These instruments go beyond the music and make stunning home decor additions.

Frequently asked questions

Since the very first issue of this guide, I’ve constantly received questions about digital pianos, keyboards, and how they compare to each other in different situations.

I’ve compiled these questions, and in this section, I will address some of the most common concerns to help you make an informed decision.

Can I learn to play the piano on a keyboard?

Absolutely! You won’t get the same level of expression and dynamics, but as I said, a keyboard with lighter keys is the best choice for some first-timers.

Are digital pianos very expensive?

Some models are, but you can buy an entry-level portable digital piano for a few hundred dollars and an entry-level upright console for around $700 upwards.

Do keyboards come with built-in learning tools?

Not all, but many do.

Can I use a sustain pedal (or just pedals) with a keyboard?

Yes, and I recommend that you avoid keyboards without a pedal input (unless very young, perhaps).

Can keyboards replicate the sound of other instruments?

Electronic keyboards and digital pianos can replicate the sound of other instruments, like organs, strings, and vibraphones. Electric keyboards usually have more sounds and include a diverse range of instruments.

How long do digital pianos and keyboards typically last?

They will last as long as you care to look after them. Unless there is a manufacturer’s fault, these instruments will last for many years. Electronic keyboards often suffer more damage because, well, kids will be kids!

Are digital pianos more durable than keyboards?

They are certainly more robust due to the larger wooden consoles/stands. Even portable digital pianos feel more robust than a typical electronic keyboard, but keyboards aren’t too fragile, so don’t worry.

Final thoughts

I hope this article has clarified some common misconceptions regarding digital pianos and electronic keyboards.

As always, it’s not about one being better than the other; it’s about one being the best for you.

The information above should help you start on the right foot by choosing an instrument that will enhance your learning and not slow it down.

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.

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.

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.