Download Piano Keyboard For Pc
Garcia Miller
Use your computer keyboard or click the piano keys to play the piano. The keyboard's top row of letters corresponds to the white keys, and the row of numbers corresponds to the black keys. You can play multiple notes simultaneously.
Click "Hide note names" above the piano to hide the note names. Click "Mark" to mark notes on the piano. Play the marked notes by clicking the "Play" button (only visible after notes have been marked) or pressing the spacebar on your keyboard.
Try our free piano exercises and learn to play notes, intervals, chords, and scales on the piano. You'll also find a variety of other exercises that will expand your musical understanding and help you become better at playing the piano.
The exact height of the keyboard off the floor is less important than the distance between the keyboard and your seat. (Most chairs are too low to the ground to be good as a piano stool) I'd agree with @Jeffrey that forearms-parallel-to-the-floor is a good starting point, also that your knees don't get wedged out of the way by the bottom of the keyboard.
One other thing-- in my experience, most students sit too close to the keyboard. (This may have to do with sitting at a desk most of the time, or with sitting at a piano for the first time while small and then gradually growing and not resetting one's idea of a best distance.)
Then there are many pianists who never cared about posture. Two examples (coming from rather opposite approaches to piano-playing) are the world-famous acoustic pianists Glenn Gould and Keith Jarret, who threw all the rules out of the window and spent their careers making amazing music played with horribly bad, stressful posture.
I measured 30 pianos from eight manufacturers and nearly all were inside this range. This is without wheel stands or any other such things. This is floor to top of white keys when on the standard legs.
I would build your desk for the lower dimension as it is much more comfortable for a tall person to stoop a bit and play low than for a child or small person to scrunch taller and lift their shoulders to play. I have a wide variety of folks who record in our studio and white keys at 28 inches is comfy for most all of them.
For best ergonomics, I was always taught that my forearms should be parallel with the floor, with the fingers resting comfortably on top of the piano keys - so, the arms should be a little above the level of the keys, not reaching up or reaching down. I'd adjust the piano so that the correct piano-playing posture (seated on edge of seat, heel on floor to control pedal) is most comfortable.
As a son of a pianist who taught as well as giving performances, I learned that it is the stool that matters for adjusting access to the keyboard, but the original question asks about the key height. This is not yet well-answered, and it does matter, for the simple reason that a piano is not exactly portable, and cannot be adjusted at will like the stool! For installing a keyboard the height is important because it is the one constant reference to the floor by which all other adjustments are themselves referred.
If someone with access to a room full of pianos could measure and quote several specific examples then this question will be properly answered. Another important measurement that should also be taken in each context is the height of the underside of the keybed above the ground below, because no matter how you adjust the stool, a critical and unadjustable distance is the space available for legroom when using the pedals! Some pianos (and especially electronic actions) may have widely varied thickness of keybed from underside to key tops. This detail is more important than the key-to-floor height alone, because there may be nothing you can do to change it, so it governs all the other adjustments to be made, such as stool height and setback from the front edges of the keys.
I don't think that there is a 'standard' height, rather there's a mean/average. For the 'average' stature pianist this is OK (although people are taller now than they were when the 'norm' height range was developed back in 18/19th centuries. And this is why I have an interest in this subject. I'm tall (6'4") and can't get my legs under an 'average' height keybed. I need at least 68cm or ideally 70cm from floor to underside of the keybed. I've been trying to find some oddball upright with this unusual dimension for some time. They do exist, but they're rare.
I was going over quite a lot of answers that are already posted and I've figured out that I could ask this question anew. My perspective is that I have melodies coming to my head and I record them with my voice. I will be learning music theory, piano and Ableton Live.
There is basically C, D, E, F, G, A and H on a piano keyboard and there is these black keys, which are Sharps / Flats. I am wondering how any melody that can come to my head (I have like 12,000 recorded so far, for like 4 months) translates into this. Any of them can be always played on a piano keyboard? Are sharps / flats some secondary type of notes, or is this something like 1-1-1-1-1-1-1-1-1-1-1-1 (12 sounds of equal importance) just layed out like this on a keyboard. And with this, there is no more sounds, they dont exist? So what exists in the end is these 12 and different octaves, which are on the keyboard (low to high). So there could be more octaves but no more than 12 of these sounds in each set? Or there can be, can there be like 15 or 17 or 30-something making up an octave? Do these 12 sounds translate somehow in any actual value (like Hertz)?
Just trying to understand - connect the music that comes or may come to my head with this piano keyboard. This is just "engraved in stone", that's how this is and it cant be different or what this is? I've always had an impressions that white keys are the main ones and the black keys are somehow secondary ones. I was watching some vids on Youtube and reading answers from here, but I don't get it yet.
In practice the diatonic scale mixes in the other 5 notes from the chromatic scale. Those will be the black keys on the keyboard. Melody and harmony then is a mixture of diatonic and chromatic sounds.
Regarding the pattern of black and white keys and this diatonic/chromatic system you must realize these elements can be transposed to 12 different starting notes. So, all the white keys on the piano are the diatonic scale. If you start that on C, you get the C major scale. But you can transpose that major scale to a different starting note like Db. When you do that the sequence of black and white keys will change, but the pattern will still be diatonic. The relative relationships stay the same. In the beginning this can be hard to understand, but it's a critically important aspect of music theory.
That's a lot of reading and a lot to thing about! It's probably best to stop at this point and give yourself time to digest all of those ideas. It's important to note there are philosophical debates on many of these topics. Don't approach them as absolute truths. Remember music is art. Beauty does not need to be reconciled with the harmonic series and such!
These are all question under the subject of Music Theory. If you're writing music in the Western Tradition, then 12 notes per octave will usually be sufficient. Your keyboard controller has a pitch bender that can get subtle pitches in between the notes of the keys.
If you're just starting out transcribing your own melodies, then an important early step should be determining if it has a Major or Minor kind of sound. Use your "do-re-mi" to find how the melody lays on the scale and if "do" is the tonal center then it's major, or if "la" is the tonal center then it's minor. The tonal center of a melody can usually be found if you sing the melody and play a bass note on the keyboard that sounds good with the last note of the melody. The bass note should feel like "home" if you have the right one.
Oner a long period of time, Western music has been adjusted as far as note pitch is concerned, so each octave (between any note and the one in the same place to the left or right) is divided into twelve. It's called 12tet, and is a little bit of a compromise for some notes, which can sound a touch out of tune. But it now means, on piano at least, that the same tune can be played in different keys and sound pretty good. Older tunings meant tunes sounded best in one particular key - on a well-tuned instrument - but sounded pretty awful in other keys.
The layout of pianos is more for convenience. A piano could have all 88 notes spread out left to right, but only people with exceptionally long arms would be able to play it. So, it's compressed into two layers - black and white keys. It would be ludicrous to have them alternating: you wouldn't be able to pinpoint which notes are which.
There is no direct relationship between notes, keys on a piano and frequencies. If you are mathematically/scientifically minded, you can delve into the ramifications, but I don't think it will help with understanding what's going on, except to know that every octave is split into 12 equal parts. Taking A=440Hz, and its octave being twice that at 880Hz, divide the difference by 12, there are your note frequencies! Maybe that helps - I doubt it, somehow!
Back to your (many) tunes. By playing C E G before you try to play a tune, it will centre the ears on the key of C. Search amongst the white keys, find the appropriate start note, and away you go, using probably only white keys. If you play, for example, E G# B before you start, the ears are going to be in the key of E. Now, you may well have to use up to and including four black keys.
For simplicity's sake, I've only discussed diatonic notes - which a lot of tunes use exclusively - they're the seven specific to any key. In their easiest to understand form, they're the white keys - constituting key C on piano.
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