Top 100 Christmas Holiday Songs

top-100-christmas-songs-for-holidays

This is the season for family, good food,and listening to holiday music by the fire place or on Christmas morning when your opening your gifts. A lot of our student have at one time or another asked, what is a great song to play for Christmas? Here are our top 100 Christmas holiday songs that you can play or listen to this holiday season.

  1. A Caroling We Will Go

  2. Angels From The Realms Of Glory

  3. Angels We Have Heard On High

  4. All I Want For Christmas Is My Two Front Teeth

  5. All I Want For Christmas Is You

  6. All Through The Night

  7. Auld Lang Syne

  8. Away In A Manger

  9. Baby It’s Cold Outside

  10. Birthday Of A King

  11. Blue Christmas

  12. Caroling, Caroling

  13. Chestnuts Roasting On An Open Fire (The Christmas Song)

  14. The Chipmunk Song

  15. Christmas Is Coming

  16. Christmas of Love

  17. The Christmas Waltz

  18. Christmas, Why Can’t I Find You

  19. Christmastime Is Here

  20. Christmas Time Of Year

  21. Christmas Wrapping

  22. Come All Ye Faithful

  23. Dance of The Sugar Plum Fairy

  24. December The 25th

  25. Deck The Halls

  26. Do They Know It’s Christmas

  27. Do You Hear What I Hear

  28. Feliz Navidad

  29. The First Noel

  30. Frosty The Snowman

  31. Fum, Fum

  32. Good King Wenceslas

  33. God Rest Ye Merry Gentlemen

  34. Go Tell It On The Mountain

  35. Grandma Got Run Over By A Reindeer

  36. Hallelujah Chorus

  37. Happy Holidays

  38. Happy Christmas (War Is Over)

  39. Hark The Herald Angels Sing

  40. Have Yourself A Merry Little Christmas

  41. He Who Carves The Roast Beast

  42. Here Comes Santa Claus

  43. Here We Come A-Wassailing

  44. The Holly and The Ivy

  45. Holly Jolly Christmas

  46. I Believe In Santa Claus

  47. I Heard The Bells On Christmas Day

  48. I Saw Three Ships

  49. I Saw Mommy Kissing Santa Claus

  50. I’ll Be Home For Christmas

  51. I’m Getting Nuttin’ For Christmas

  52. It Came Upon A Midnight Clear

  53. It’s Beginning To Look A Lot Like Christmas

  54. Jingle Bells

  55. Jingle Bell Rock

  56. Jingle, Jingle, Jingle

  57. Jolly Old St. Nicholas

  58. Joy To The World

  59. Let It Snow

  60. The Little Drummer Boy

  61. Last Christmas

  62. Lonely Christmas Eve

  63. Mister Santa

  64. Mistletoe and Holly

  65. No More Toymakers To The King

  66. The Most Wonderful Day Of The Year

  67. The Year Without A Santa Claus

  68. My Favorite Things

  69. The Night Before Christmas Song

  70. Oh Christmas Tree

  71. Oh Come All Ye Faithful

  72. Oh Come, O Come Emmanuel

  73. Oh Holy NIght

  74. Oh Little Town Of Bethlehem

  75. Rudolph The Red-nosed Reindeer

  76. Rockin’ Around The Christmas Tree

  77. Santa Baby

  78. Santa Claus Is Comin’ To Town

  79. Silent Night

  80. Silver Bells

  81. Silver And Gold

  82. Skating

  83. Sleigh Ride

  84. Snow and Heat Miser Song

  85. Suzy Snowflake

  86. There’s No Place Like Home For The Holidays

  87. There Is No Christmas Like A Home Christmas

  88. The Twelve Days Of Christmas

  89. Toyland

  90. Up On the Housetop

  91. Ukranian Bell Carol

  92. Waltz Of The Flowers

  93. We Are Santa’s Elves

  94. We Need A Little Christmas

  95. We Three Kings Of Orient Are

  96. We Wish You A Merry Christmas

  97. What Child Is This

  98. Where Are You Christmas

  99. Winter Wonderland

  100. You’re A Mean One Mr. Grinch

Learn more information on Music Lessons in Park Slope when you fill out the contact us form and Happy Holidays!

Is your child ready for music lessons?

Piano lessons Brooklyn

The main factors in determining whether your child is ready for lessons are age, focus, interest, developmental stage and aptitude. This can vary from child to child, but in every case these are the traits we look for to determine readiness for music lessons.

Age

The ideal starting age is between five and eight for most students.  Although some kids are ready younger, most are not.  Starting early is great if the student is really excited about learning music, able to focus and the parents are committed to working with them regularly at home. Very young students don’t do most things on their own yet and shouldn’t be expected to practice on their own. The younger the student, the more likely they will move at a slower learning pace in the beginning so nothing is lost by starting anywhere in the five to eight window.

Focus

Children live in the moment; in order to be ready for lessons, young children need to be able to focus long enough to accomplish something that is not entirely their own idea. If they can’t focus on doing something you ask of them for more than a few minutes, they are probably not developmentally ready. At this stage, working for a half hour can seem like an eternity. One-on-one lessons can be a great way to build focusing stamina but it’s better not to rush into unnecessary struggles that will ease naturally just by waiting a little bit.

Interest

When determining whether to start lessons on the younger side, interest is really important. If the child has a strong interest in PLAYING music and not just listening to it they may already be trying to play the piano (or other instrument).  In this case it’s better to provide guidance before they form habits that can hinder progress later. Most people have a natural interest in music so it’s important to find a way to appeal to each student’s individual musical interest in order to motivate students at any age. This is especially true with younger students, whose minds will wander quickly if not fully engaged throughout a lesson.

Developmental Stage

Children under age four are generally not ready to start private music lessons because most children this age haven’t yet developed the ability to focus, understand concepts and develop basic coordination. These skills are necessary to learn to play an instrument and understand music and are usually beyond the capability of children in this age group. Group sing-a-long or simple percussion instrument classes may be more appropriate at the toddler age.

Aptitude

Natural aptitude for playing an instrument is not necessary to take lessons except when you are considering starting a student very young.  All of the skills that are required to play an instrument ARE learnable and initial aptitude is not an indicator of what students are ultimately capable. Having taught hundreds of students in our studios has shown that many students without a high initial aptitude often develop into gifted musicians through time and work. Some learners start slow and then rocket ahead later when all of the pieces of the puzzle drop into place. All learners need to be nurtured along the way and given a chance to develop.

Starting music lessons at any age during childhood is an advantage since children’s brains are more flexible and able to adapt to new physical coordination and languages. This has such a profound impact on the brain that even students who stop and then return to music lessons as adults struggle less than adult students who never took lessons.

Top 6 Habits that Sabotage Piano Students Learning To Read Music

Piano lessons

Many things that seem like a good strategy to get you or your child playing right away can actually hinder learning to read music. This is particularly true of piano music. Although beginning piano music has only one note at a time, unlike other instruments, piano parts rarely play just one note at a time. The piano can effectively be the whole orchestra, playing everyone’s parts at once. Continue reading “Top 6 Habits that Sabotage Piano Students Learning To Read Music”

Introduction to Reading Piano Notes

Piano lessons Brooklyn

Part 1 – Introduction to Reading Piano Notes

  • Music uses the alphabet from A-G over and over.

piano lesson chart

  • Notes and symbols are put on the staff  piano lesson lines    to tell you what to play.     

 

  • A treble clef piano lesson chef on the staff shows to play notes in the high area of the piano.piano lesson chart full

 A bass clef piano lesson bass chef  on the staff shows to play notes in the low area of the piano.

  • Each line and space on the staff stands for a note on the piano

piano lesson noteLINE NOTE: Note goes on the line like a marshmallow on a stick or a bead on a string.

The line goes through the middle of the note.

piano lesson noteSPACE NOTE: Note goes in the space between two lines.  

The lines touch the bottom and/or top of the note.piano lesson chart full chart

  • What kind of note is used piano lesson note tells how long to hold it creating the rhythm.

  Worry about correct notes first, then add rhythm later.

   (See “Understanding Rhythm is a piece of cake” and “Adding Rhythm”)  

 

  1. Put your right hand in Middle C position. (One finger on each key.)

Look for the set of two black keys under the piano or keyboard label.

                  piano lesson with hand

 

  1. Put flash cards on music stand in C, D, E order.

piano lesson charts

Start with only three notes.  When you introduce too many notes at a time it takes much

longer to master them.  This doesn’t mean you can’t learn to play harder pieces right away but practice reading skills by adding small note regions at a time.

(pdf of flash cards below)

 

  1. Quiz on notes C, D, E in right hand.  Play and say the notes in order, then out of order.  
  • Have someone point to flash cards randomly to help you quiz.
  • Rearrange the cards in different order and play them.
  • Use ‘Piano Notes Pro’ app on the ipad set to just notes C, D, & E.  

 

  1. Use information to play songs until notes are mastered before adding new notes.  

(9 songs using C, D, & E available in “Treblemakers Piano Method Primer A”)

  pdf of first C, D, E song below

 

How to Know When Information is Mastered

If you can come back to information fresh (not having just used it) and you still know it inside and out, it is mastered.  It can seem like you know something well while you’re working with it because the information is stored in your working memory.  Working memory is temporary memory that allows you to do something in the present and is not designed to hold memories for long periods of time.  However, if you revisit the information at regular intervals over time, this tells your brain you’ll need to keep the information causing it to be stored in long term memory.  Because of this, doing a little everyday is much more effective (and easier) than trying to do long practices only once or twice a week.

Learn more about Piano Lessons in Park Slope when you fill out the contact us form and Don’t forget to look for Part 2 of our introduction to Piano!

Suzan’s Cents – My Favorite Things about Treblemakers Summer Day Camp

Treblemakers Music Day Camp

Suzan Stroud, Founder, CEO and Head Instructor of Treblemakers Music School

When we started our first Treblemakers music Day Camp in 2009, I was excited about the projects we could do that can’t normally be done in half hour lessons.  Coming up with curriculum that enhances their growth as musicians and ignites their excitement for music is one of my favorite parts of my job.  I get to use my creativity to help them explore instruments, play music together, write and record music. It’s amazing to see the growth that students make from playing music every day over the two week session. I’m always impressed at how well they bond together, make friendships and learn to work as a team whether doing music together in the mornings or playing together at the park in the afternoons. Here are my favorite things about Park Slope summer day camp.

My 5 Favorite Things about Summer Day Camp

#1 – Watching students come out of camp ON FIRE about music. This is something that consistently happens here and I love watching it unfold. Sometimes it’s a brand new student exploring music for the first time. Other times it’s a student that has already been taking lessons. Not only do I love being able to pass on my excitement and love for music to someone else, I also know that this inspiration is crucial in propelling students forward.  Learning is so much more successful when students are working towards something THEY want to get out of it.

#2 – Seeing students rocket ahead from playing music every day at camp for two weeks. Practicing can be contagious around here. Hearing someone else play something cool makes you think, “I want to do that!” I still get that feeling.

#3 – When students come to me with requests of songs they want to learn. I know if students are playing music they love, they will be motivated to learn and practice.

#4 – When students take what I’ve taught them and create or figure something out on their own.  Mission accomplished! True understanding is the ability to learn information and then use it to do something.

#5 – When students turn around and teach someone else. Teaching someone else solidifies your own understanding as well as helping someone else.

#6 – Playing at the park with the kids and showing them that girls CAN dodgeball!
Seeing kids discover that if given the opportunity to participate and practice they get better!  This is true in music, dodgeball and the rest of life.

12 Reasons Why Students Quit Music Lessons

Drums lessons School

I have been teaching piano for over 20 years.  I pay a lot of attention to how students (mine and others) feel about lessons and why they quit.  The reason I care about this so much is really simple.  I know that most people are capable of learning to play the piano really well if they keep at it a little at a time over a long span.  You can get to somewhere enjoyable pretty quickly but there’s always more to learn.  That last part may seem discouraging but it shouldn’t be.  What that means is that you will always have something to get excited about and look forward to.  I still get a rush out of learning something new.

Here are the reasons students quit and my advice to avoid the pitfalls

1.  Not having a great teacher.

Teaching is a talent just as much as the ability to play an instrument.  Having a bad or mediocre teacher can drive the joy out of anything.  Having a great teacher can be life changing.  You need someone who not only can teach you skills but who also inspires you.

2.  Not recognizing that there will be ups and downs in enthusiasm, commitment and rate of learning.

Keep at it over the long haul and don’t quit during a down.  Change it up when you get in a rut.  Look for ways to re-spark your interest-play music in a group, perform, write, record, go hear live music or listen to music you love.

3.  Not making realistic plans on how much practice will happen and then feeling guilty.

People then quit because they want to stop feeling guilty. It is much better to make a plan you can actually live with over the long haul rather than make a plan you can’t stick to.  Forgive yourself when you get off routine.  Remember that learning music should be something that makes you feel good not be another thing to feel pressured about.  YOU have to decide how you want music to fit into your life and then be ok with that.  If you can’t practice much, accept that your progress will be slower.

4.  Not making concrete plans on when practice will happen.

Attach practice to another already existing routine so there’s not a decision to do it.  Don’t just wait to FEEL like practicing.  Something will always get in the way.

5.  Parents expecting children to be motivated and disciplined to go practice on their own.

Discipline is learned not discovered.

6.   Parents leaving the decision to take lessons or not up to kids.

Kids are not ready to make smart long term decisions yet. They are very much in the now.  No matter how much they enjoy music, there will be a time when they don’t want the work or the responsibility.  Most likely, they will regret quitting as an adult.

7. Not doing music the student loves as soon as possible.

Skills and theory can be taught through music and music can be tailored to fit the level of the student.  It shouldn’t be a far off goal.

8.  Not having clear goals on what the student wants to get out of it.

What kind of music do you want to do?  One on one lessons should be customized.  What skills to focus on might be different depending on what the student wants to be able to do.  Sometimes a student doesn’t know what they want and needs to be exposed to different things until something ignites the spark.

9.  Students being overcommitted and not showing up regularly for lessons.

I’ve seen plenty of students still make progress even if they don’t really practice but not showing up regularly for lessons on top of that make it difficult to move forward.  If there is too much time between using information, the brain will use that brain real estate for something else.

10. Right after the novelty wears off.

It’s easy to be in love with the idea of something and then the reality of the work sets in.  It’s a good idea to move as fast as you can through the ‘novelty’ period so that by the time the newness has worn off, the student is past the first bump and actually able to play fun things.

11.  Middle school and high school happen.

This is a time when many students quit.  The added social and schoolwork pressures often push piano lessons out.  This is a shame because this is the point when they’re usually capable of the most.  If students can get a solid foundation before this time hits, piano practice can be a stress reliever instead of a stress-causer.

12. Student can’t accept that struggling is part of learning.

Adults sometimes forget this is part of learning and can’t bear to have their child feel uncomfortable.  However, if they are not challenged at all, they don’t improve, get bored and quit.  Sometimes people want to believe they can learn the hard thing without doing the hard part.

Holding The Guitar

Guitar Lessons School

Guitar-Holding-Pick-1

In order to move around the guitar easily and play the music you want, it’s important to feel comfortable holding the guitar.

Sitting Position:
This is the best position to start with.

Guitar-Sitting-Position-1

1. Create a shelf to rest the curve of the guitar on. You can:
.Prop your right foot up on a low footstool. You can buy a guitar foot stand at a music store or use a child’s step stool. Just make sure it’s not too high.

.Cross your leg to create the shelf.

Guitar-Sitting-Position-2

2. Rest the curvy part of your guitar on the leg you propped up (right leg).

3. Rest your right arm on the top of the guitar.
You should be able to hold the guitar just by trapping it between your leg and your arm.

Guitar-Thumb-Centered

4. Take your left hand thumb and brace it on the back of the neck. Try to center it in the middle.

Standing Position:
You will need a guitar strap for this Position.

Guitar-Attaching-Strap 1

1. Attach the guitar strap to the guitar. One end ties around the neck.

Guitar-Attaching-Strap-2

The other end goes on the opposite end of the guitar. Push the small slit over the strap pin.

 

Guitar-Adjustting-Strap

2. Adjust the strap (by moving the buckle) to make it longer or shorter.
The proper length will put your guitar in a good playing position when you hang it over your neck.

Guitar-Standing-Position-1

3. Put the strap over your head so it’s across one shoulder and your guitar can hang freely on your body.

Treblemakers Students Perform at 5th Ave Street Fair 2016

Voice Singing Lessons

Thanks to all the students that came out to perform on Sunday! Although it started out a little drizzly, the street fair ended up packed, creating a nice full audience for our students as they performed. We had 22 performers performing over 30 songs on piano, voice and guitar.

Thank you to our performers: Imogen, Roscoe, Mia, Zoe, Eleanora, Audrey, Lydia, Juliana, Kate, Rachel, Alexei, Michael, Nia, Jim, Noe, Saige, Ruby, Dash, Dexter, Kaya, Niko & Madison.

Thanks to Madison for helping announce performers and having a set of ten songs ready to fill in any gaps in the schedule. She’s been practicing in preparation for more than a month even adding a few songs at the last minute.

Thanks to Alexandra for coming out to help and support our students as they performed. Her willingness to pitch in where needed whether it’s encouraging nervous performers, helping out with sound, filming or giving enthusiastic hoots from the audience is always much appreciated.

Sunday started out with the typical worries about sound set-up, rain and other logistics and ended up with the warm glow of pride. Performances are always a snapshot of students in their journey. Whether beginning, intermediate or advanced, I love the whole ride. With beginners, it’s the excitement of all the possibilities that lay ahead. With students further along, it’s being able to celebrate your progress and remember that no matter where you are in the journey, there are always new exciting possibilities ahead.

Getting up and performing can be scary for students of every level but I always encourage them to do it. I want them to have the opportunity to share their accomplishment, get inspired by what other students are doing and get the love and feedback of the audience. The street performances are especially great because the atmosphere is relaxed and festive with sincere compliments from strangers who stop to listen. I love watching the reaction of people as they are genuinely surprised by our students’ talent.

Every time we have an event, the vulnerability of new student performers still catches me off guard. In this year’s street fair I was sitting next to a student who was nervous about performing, ready to help out if necessary. As soon as she finished playing, she immediately turned her head to me to look for my approval. It always moves me and reminds me of what a huge responsibility we have as parents and teachers to give our children that approval and encouragement in those important formative moments.

Buying a Keyboard for Piano Lessons

Piano lessons

A keyboard can be an affordable and space saving alternative to owning a piano. Music equipment technology has made huge leaps in the past thirty years creating better and better options for less money. It is still an area where advancements continue to happen with new models and features coming out constantly. It can be overwhelming and confusing to wade through the information and make a good choice. We will outline some basic information and give some recommendations.

The first thing that will help you as a buyer is to understand the different kinds of keyboards. Each kind is built with a specific purpose in mind. It’s important to understand the difference between them so you don’t make the mistake of thinking you are buying a keyboard that acts like a piano and instead buying a keyboard that is designed for another purpose. This should help you not be overwhelmed with choices and avoid the confusion of marketing blurbs which often give the impression that each keyboard can suit any need. ‘Digital Pianos’ are the most suitable for learning and playing purposes. If the keyboard you are looking at doesn’t have ‘Digital Piano’ in its model name, it is in another category. Beware of close-sounding titles like ‘Grand Piano’.

Different kinds of keyboards

Digital Pianos: are meant to replicate playing a piano. The technology has been around since the 1980’s but continues to improve and move closer to the experience of a playing an acoustic piano. The focus in these instruments is in replicating the sound, action, feel and sensitivity of a piano. Digital Pianos also have built in speakers as they are designed to be able to stand alone. Because most models have midi capability, they can also be used with a computer for recording or triggering virtual instruments. They usually also have outputs for plugging into mixing boards or other sound equipment.

Keyboard controller: Controllers are meant for music sequencing and recording. They are used to play various parts (using virtual instruments) in recordings. Features are centered around these goals, not around sound, response and feel which are crucial in replicating the experience of playing a piano. Most controllers do not have any on-board sounds as they are meant to ‘control’ virtual instrument sounds from a computer. They also don’t usually have on-board speakers as it is expected they will be plugged into a recording set up that already has speakers.

Keyboard workstation: An all in one unit for recording and playing parts. Not meant to replicate the experience of playing a piano.

Synthesizer: Meant to play and perform synthesized sounds (sounds created using computer algorithms). Keys are usually flimsy with no weighted action and limited sensitivity. May not have built in speakers. Not meant to replicate the experience of playing a piano.

Sampler: A keyboard that can sample sound. This is a process of taking a small recording snippet of sound and being able to play it back using the keys of the keyboard. There is usually the ability to edit the sounds created. There are many factory created samples that are usually also included on the keyboard, including piano samples. Digital pianos use this same sampling method to create their piano sounds creating a realistic sound. Although the piano sample on a sampler keyboard may sound good the keyboard doesn’t usually feel like a piano. Not meant to replicate the experience of playing a piano.

Keyboard: You may not be able to tell what category a keyboard falls into if they list it generically as a ‘keyboard’. This is because some keyboards try to fill the functions of several keyboards as an ‘all in one’. It may not have built in speakers.

Simple rule: If it doesn’t say ‘digital piano’ in the model name, it will definitely have compromised on some of the most important features that make a digital piano in order to fulfill its other roles. Although it often implies it will, it will NOT be a choice that gets as close as possible to replicating the experience of playing a piano. Keyboards can be ok in the very beginning to get started and see if you will stick with lessons before investing in something more expensive but they are not usually a long term option.

Crucial High Quality Features Desirable in a Great Digital Piano:

Piano Sample and Voice Engine: This is the part the most drastically affects the sound of the piano. An authentic piano sound requires complexity in the sampling and the computer processing to handle to it. Sampling involves layering small snippets of recordings of each note to replicate all the tonal differences and subtleties of an acoustic piano. The best Samples respond to the way a player hits the note triggering a different sample to reflect the way an actual piano would respond and sound. This technology continues to improve. There is a noticeable difference between very old models and newer ones.

Good Built in Speakers: Speakers can make all the difference in the quality and volume of the sound. Below 8W speakers on a digital piano negatively affects the quality of sound and is often not loud enough to fill a room at full volume. A great sounding piano sample will not sound good played through lousy speakers. Speakers that face the ceiling instead of the floor are also an important factor. Floor facing speakers tend to sound more muffled and muddy.

88 Weighted keys: 88 keys are really necessary to not be limited in the music that can be played. Even if you’re missing one note that you need in a song, it’s a problem. It will be confusing and not sound the same if the note is replaced the same note in another octave.

Weighted refers to the resistance required to press down keys. This is important in learning proper technique and dexterity required to play an acoustic piano. Students that practice solely on unweighted keys for too long have trouble adjusting to the feel of a real piano.

Graded refers to the upper range having less resistance than the lower range the way it occurs on an acoustic piano.

Action: The feel of the keys being pressed down and how they spring back up again. ‘Thumpy’ or ‘Flimsy’ actions can make it hard to play fast or difficult passages well and need to be able to spring back quickly. It’s also important in allowing players to be expressive in their playing.

Sensitivity– Refers to how how the keys respond to a player’s touch and pressure. A good instrument should have sensitive dynamic (louds and softs) and tonal response. (Tone refers to the characteristics that describe a sound. Examples: shrill, smooth, bright, warm etc.)

Polyphony: How many keys can be pressed down at one time and all still continue to sound. Pianos have strings that are struck by hammers and continue to ring until the string stops vibrating. Notes on a keyboard trigger samples of each note. More notes being held or played at the same time require more processing power. Once the amount of voices (notes) in the polyphony are reached, the keyboard will cut off held notes. This quickly can become a problem when the sustain pedal is used. A minimum of 128 voice polyphony is preferred for 88 keys.

MIDI Capablity: Stands for ‘Musical Instrument Digital Interface’. Allows information to be sent and received between instruments and computers. Used for recording and other music technology programs. There are so many great and affordable programs for creating music recordings, sheet music and even note and rhythm reading practice. They are available on phones, computers and tablets. Hook-ups to these devices are easy through MIDI USB cables or standard MIDI ports.

Slim profile: Important feature for those with limited space. The dimensions of the slimmest 88 key digital pianos are 52 ” width and 12” depth.

General Keyboard Recommendations

61 Key Keyboards

Casio and Yamaha are the best temporary options if there is a desire to try lessons out before committing to a bigger instrument purchase. Continuing to practice solely on a beginner keyboard beyond the beginning stage can be very limiting and doesn’t allow work on musicality or technique. These keyboards lack: weighted keys, proper action, sensitivity and enough keys to play the majority of music.

Budget can also be a reason to buy a beginner keyboard first. However, If you are already committed to taking lessons and have the money for the digital piano purchase, skip the beginner keyboard. If having the lump sum of four or five hundred dollars feels like a strain, limited-time 0% financing is usually available at one of the many places you can find music equipment.

88 Key Digital Pianos

Casio Privia Series and Yamaha P-series both manufacture great choices under $1000 that we recommended for their balance in functionality and affordability. While there are are many other choices above $1000, the extra cost is not necessary in order to get a solid instrument.

Click Here Specific Keyboard Recommendations 

Other items you will need with your keyboard:

Getting the keyboard bundled with wooden stand, pedalboard and bench is worth it. It tends to be a better deal than if you buy the items separately. You can certainly get cheaper components but loose pedals tend to slide around and foldable stands can wobble. Sometimes third party stands and benches don’t set to the right playing height as well.

Keyboard Stand: If the keyboard won’t be traveling a lot, the wooden stand is the best option. Although more expensive, it creates a sturdy playing surface at the correct height and is more compact and attractive. It’s important to have one that will go low enough for a good sitting position.

Sustain Pedal: You can get a universal sustain pedal for $25-30 (linked one is $19 at the time of this post, pricing subject to change). Polarity is switchable to work with any brand of keyboard. You may not need this for a while as you’ll learn to connect your notes with your fingers first.

Keyboard Bench: It doesn’t need to be fancy but it should be comfortable and be able to adjust the height so that arms are in a comfortable playing position at the keyboard. We recommend purchasing one that has enough room for you to sit with a young child while practicing together.

Final thoughts:

The less well known brands or cheaper model lines come in at a lower price (around $300) but we advise against these due to the corners they cut in areas that are important for a digital piano. Action, response, sensitivity, polyphony and poor speaker quality (or too low wattage) may not be noticeable by looking at the keyboard but will become apparent not too far down the road at home. If budget is an obstacle, we recommend purchasing the entry-level Casio Privia and opting for cheaper bench, stand and pedal.

It’s also possible to get a better quality used one for the same price. Unlike used pianos which can be hard to assess if anything is wrong, keyboards are easy. Try all of the buttons and make sure everything works and that the sound isn’t crackly or buzzy. Out-of-the-ordinary sounds coming from any of the keys may indicate a problem. Buzzing might also indicate something is loose. It may only happen when certain keys sound. It is often as simple as the screws on the outside case have slowly been vibrated loose by sound over time.

Purchasing a used keyboard is always a matter of personal judgement, so we recommend caution in favor of saving money, but if the value is there and you feel comfortable with the seller, it can be a great way to save a couple hundred dollars off the price of a digital piano.