For those looking for an ideal keyboard bench to go with their digital piano, you are at the right place!
There are a few factors you should look at when purchasing a best keyboard bench:
Portability: The best portable keyboard benches are made to be lightweight and portable. The best adjustable keyboard benches can also fold for easy storage and carrying. If you are looking for a music bench that is meant to be stable and sitting in the same place, you may be looking for a piano bench.
Height Adjustments: Most keyboard benches do not have quick height adjustment knobs. The ones that do, such as the Hercules KB200B, are a bit pricier, but are worth it if you want to quickly adjusting sitting positions in a tight situation.
Please do not confuse keyboard benches with piano benches (as even google confuses the two).
For professional musicians, I highly recommend this best digital keyboard bench.
A key feature of the Hercules KB200B bench is the quick and easy height adjustment knob. You can easily switch between four different height positions with this best adjustable keyboard bench. With the other keyboard benches, you have to painstakingly flip the keyboard bench upside down, unscrew the securing latches, and switch the positioning of the keyboard legs in order to change the height.
In addition, with a micro adjustment knob, you can adjust the keyboard bench in subtle amounts. This is best for keyboard players looking for a very specific height position.
This keyboard bench weighs about 14 pounds.
Some users of this bench feel that the padding is a bit hard.
Forever alone: a popular, usually humorous way for people to express online that they will never find lasting love and be single until the day they die.
Even though a pianist is capable of super-human like powers, such as hypnotizing their audience into feeling whatever emotion they wish to convey through the piano, sometimes there are issues with finding and keeping a significant other and being forever alone.
Even Beethoven, Brahms, Chopin, and Liszt, musical geniuses whose music is used even today to swoon lovers and captivate audiences, failed to find a life partner.
Perhaps every pianist goes through similar difficulties and can relate to the challenges being presented.
Have fun reading!
Loser Van Beethoven
How can a man who writes beautiful music that is played even in modern wedding ceremonies (such as the 2nd movement of the Pathetique piano sonata) end up never being married?
Let’s take a quick look at some of Beethoven’s lovers and see the reasons why his relationships didn’t work out!
Problem: Beethoven planned to proposed to her, but failed. According to one source, Beethoven planned to perform Fur Elise to her and propose, but got drunk and did not do it. She married Wilhelm von Droßdik, a Hungarian Count instead.
There are many other reported lovers of Beethoven, but this should suffice for understanding about Beethoven’s issues.
And let’s not forget about Beethoven’s physical appearance. According to many reports, Beethoven was short, had bushy eyebrows, lots of small pox scars, not orderly, and dressed badly. One time Beethoven was arrested by the police being confused for a homeless person. While the pictures and sculpture that we have today convey a certain image of Beethoven, we should not forget what sort of image he actually portrayed to the people in front of him.
The majority of Beethoven’s lovers were students of his. They were usually of high social class. Beethoven, being a musician who was quite clumsy with his money, was of a lower social class, which may have led to the demise of many of his relationships. With Magdalena Willman, Beethoven may have had a chance at happiness since they were both musicians, but she was simply not attracted to the poor guy.
With the information above, it can be hypothesized that Beethoven failed at finding a significant other for two reason: he was ugly and was of a low social class.
Johannes Alone Brahms
I have mad respect for this man. Johannes Brahms, the man who willfully stayed in Clara Schumann‘s friend zone and took the phrase “bros before hoes” to the next level, ultimately died alone as well.
Did Brahms suffer from the same issues as Beethoven? Was Brahms ugly? Let’s take a look.
Dayum! This man is beautiful! If Disney ever needed an actor for Prince Charming in the 19th century, they would most definitely choose a young Johannes Brahms. Brahms had no problems at attracting the ladies, and was known for having quite a few romantic attractions. But why is it that he never got married?
It’s all her fault! Clara Schumann
Robert Schumann, a fellow composer and friend of Brahms, became sick, and, being a good bro, Brahms helped Robert Schumann’s wife with household chores and communicating with Robert. Brahms quickly fell in love with Robert’s wife, Clara Schumann, and developed a strong friendship with her.
After Robert’s death, Brahms and Clara remained good friends. She became a supporting figure for Brahms, encouraging him to compose and giving him feedback to his music.
It is unknown if Brahms made a move on Clara, but I choose to believe that he remained a true gentleman and never made an advance on her since she was the widow of his dear friend.
I believe that because Brahms was deeply in love with Clara Schumann, he could not quite find himself to love another woman as deeply as he loved her. It may be because of this reason that he never married.
If you could make a dollar for each time Chopin’s music was used for swooning, you’d have enough money to buy a Bosendorfer grand piano.
There are two lovers of Chopin that we can study briefly that will give us an understanding of why this romantic man never married.
Maria Wodzinksa was a very talented artist who was the daughter of Count Wincenty and Countess Theresa Wodzińska (meaning she came from a pretty wealthy family). Here is a famous watercolor painting of Chopin she made:
Pretty dayum good right?
Maria also was a talented pianist who studied with John Field and Chopin.
Chopin was a friend of the Wodzinksa family since childhood, and was asked to come visit the family in Dresden in 1835.
There, Chopin was able to meet his childhood friend who was at the age of 16 (I believe this was a legal age to marry at that time – possible source). Here is a portrait of her:
Needless to say, Chopin could not resist her. Chopin may have found a way to make a move on her while teaching her (I’m guessing that it is a trend among great pianists to flirt with their students) and the two fell in love.
The next year, Chopin asked Maria to be married. Maria’s parents were not so approving of the relationship, but they allowed the great composer to show them if his health and income could improve, thus showing himself to be a suitable partner for their daughter. And what did Chopin do? He became increasingly sick, and was not doing so well financially either.
In 1837, their relationship ended. Four years later, Maria married to Józef Skarbek, the son of Chopin’s godfather. After their divorce, she married Władysław Orpiszewski in 1848. They lived happily until 1881, when Wladyslaw passed away.
A good bro always has his bro’s back. While Chopin was mourning over his loss and suffering from lung issues, his bro, Franz Liszt (who also made it to the forever alone list), decided to introduce Chopin to a new cutie, George Sand. Let’s take a look at her.
In modern times, it’s no problem (at least it should not be) if we see a woman dressed this way. However, in this time period, being a woman and dressing like a man was extremely improper and repulsive. Being a passionate novelist and feminist, George Sand choose to oppose the status quo of how women should dress. She justified her choice to dress this way by saying it was cheaper and easier to move in men’s clothes. Chopin was quite disgusted when he first met her. He even asked Liszt if she was a woman.
In some bizarre and unknown way, the two fell in love and had a ten year long relationship from 1837-1847. The two seemed to benefit from their relationship by the prolific writings they were both able to produce during this period. However, the couple ran into two major problems.
Problem no. 1 – Chopin was always sick. And being sick, George Sand would have to take the role of a mother and would have to nurse the poor guy. Chopin died two years after their break up in 1847. While some believe that George Sand contributed to Chopin’s early death (he was really sad and was not taking care of himself), I choose to believe that if it was not for George Sand, Chopin may have died much earlier.
Problem no. 2 – Family Drama. I’ll try to make this short. George Sand had a daughter named Solange and was in a bitter fight with her in regards to borrowing money. George asked Chopin to not be in contact with her, and he ignored her. Chopin was accused of being “in love” with Solange, which led to the couple fighting with each other. They eventually broke up, and seized talking to each other. George did not even attend the funeral for Chopin (for reasons unknown).
It seems that overall, the reason why Chopin failed to keep a lover was because he could not take care of himself. Being constantly ill, he should have taken better care of himself, but devoted himself to composing music.
Liszt, a rock star of the piano, was known for making countless women fall in love with him. Even while being in a committed relationship, he was accused of having affairs with other women. Let’s take a quick look at two women he had serious relationships with.
Countess Marie D’Agoult: Met her in 1833 at the age of 22. A married women that Liszt was in a relationship with for 12 years. They had 3 children together. Their daughter, Cosima, would later marry Richard Wagner.
Carolyne Wittgenstein: A princess who Liszt met while in Russia in 1847. She left her husband for Liszt. She also made Liszt stop touring so that he could focus on their relationship (lame). They never officially married because of church issues surrounding her divorce with her husband, but they lived with each other while being unmarried. In 1860, they almost bypassed the church’s regulations of divorcing Carolyne’s husband, but failed. Their relationship ended shortly after.
Liszt was such a charming lad that he was able to attract women of a high class and even have them leave their wealthy spouses. But why is it that he never married?
After his failed love attempts, Liszt decided to become a monk of the Catholic Church in 1863. Two years later, he officially became a monk. He devoted his life to forever aloneness, teaching music and composing until his lonely death.
Liszt basically gave up on trying to find a suitable partner, and made the decision to be forever alone.
It is quite sad to see the issues that the composers to the music we play had to go through. It can be humbling to see that even they faced simple, human problems like we do…
While reading about the above composers, it is important to not forget that there were many pianists who ended up living happily with a spouse. So if we ever get depressed and think that all pianists end up being alone, we should remember that there are actually more marriage pianists than unmarried. Let’s take a look at some of these pianists.
Scarlatti – Married to Maria Caterina Gentili (1728-1742). After her death, he married Anastasia Maxarti Ximenes.
J.S. Bach – Married to Maria Barbara Bach (1707-1720) and Anna Magdalena Bach (1721-1750). Maria died suddenly in 1720 from unknown causes (possibly pregnancy complications). Had 7 kids with Maria (4 survived infancy) and 13 from Anna (7 died young).
Haydn – Maria Anna Aloysia Apollonia. He was known for not being happy with her, as seen from the following quote from Haydn: A Creative Life in Music by Karl and Irene Geiringer: ‘But what upset Haydn the most was Maria Anna’s total lack of interest in his music. Outraged, he complained, “she doesn’t care a straw whether her husband is an artist or a cobbler.”’
Electronic keyboards are great because of their low pricing, versatility, light weight, and portability.
The best digital keyboard are generally inexpensive in comparison to other type of digital pianos (keyboard workstations, digital upright pianos, etc.). The keys are either weighted or unweighted (weighted keys imitate the feel of a real piano, unweighted keys feels like pressing down on plastic). They are great for beginners who wish to start learning the piano, or for gigging in bands.
Careful consideration was taken to the listing of these best musical instrument keyboards with factors including pricing, weighted or unweighted keys, popularity, internal speaker quality, sound quality, sound effects, and customer satisfaction.
These bad boys contain a large amount of built in sound functions, and are used generally in music production. Keyboard synthesizers usually have to be plugged into an external speaker, as they do not contain internal speakers. They also connect with computers for music production.
Keyboard Arrangers are perfect for the one-man band. It can play tracks along with you as you are performing live.
Usually these get confused with keyboard workstations.
Keyboard Workstation allows for music production in one device. You can think of it as a keyboard synthesizer that does not need to be connected into another device to create and produce music.
Workstations also come in 61, 77, and 88 keys. The priciest of these are 88 keys, weighted, and costs over 1000 dollars.
Digital Upright Piano
The design of these digital pianos is made to emulate an acoustic upright piano. Digital Upright pianos usually cost between 500-1500 dollars.
Digital Grand Piano
The construction of this digital piano is made to imitate the look of an acoustic grand piano. This musical instrument generally costs around 2000 or more dollars.
You can think of stage pianos as extra expensive electric keyboards designed for professional performances. They imitate the feel of a real piano with weighted keys, usually have graded hammer keys, and are heavy (weighing 50 pounds or more).
8 Best 61-Key Digital Keyboards
In terms of simplicity and realistic feel, I personally recommend the Yamaha NP12 as the best 61 key digital keyboard.
With its compact design, this keyboard can easily be played on a desk or counter.
Weighing 15 pounds, this best portable keyboard can easily be picked up and moved around.
This digital music instrument also has very good sound quality that imitates the sound of an acoustic piano.
The GST (Graded Soft Touch) keys are slightly weighted, touch sensitive and respond well to different dynamics and articulations.
The Yamaha NP 12 comes in either black or white.
Internal battery support with 6 AA batteries. Can last for 7 hours with batteries.
MIDI support through USB.
You can see a demo of this best musical keyboard here:
Basically, the FP 30’s sound quality is a bit better than the FP 10 and there more tones to choose from. The FP 10 is more compact and is lighter. From my personal playing, the FP 10 and FP30 feel the same, but the FP30 sounds a bit better.
I would personally recommend the FP 10 over the FP 30, ultimately because of the pricing. You have a 200 dollar difference from the FP 30, and the only thing you lose is a bit of sound quality and fewer tone options.
This keyboard has PHA-4 Standard Keyboard action, which highly realistic, and provides the best feel for playing. It has Escapement and ivory sensation on the keys.
With the SuperNATURAL Piano Sound, this best digital keyboard provides the most beautiful and realistic piano sound, as expected from the well known Roland brand.
This best electric keyboard has 128 polyphony, Twin piano feature (good for teaching purposes – you can adjust the octaves on either end of the keyboard to match each other so that a student and teacher can play on the same range on the keyboard)
The Roland FP-30 also has bluetooth, something that the Yamaha P125 does not have.
The FP-30 has Bluetooth MIDI, but does not have bluetooth audio.
In short, this is what the Yamaha P125 has over the Yamaha P115:
– More number of voices. The P125 has 24 voices, while the P115 has 14. (Voices refer to different sound settings such as organ, electric, etc).
– More rhythm settings. The Yamaha P125 has 20 settings, while the P115 has 14.
– The Yamaha P125 has more advanced speakers than the Yamaha P115 with the Table EQ.
What is the same is:
– Same weight (11.8 kg)
– Same number of polyphony (192)
The P stands for portable.
Can be plugged in and be used with the “Smart Pianist” app to control the advanced features of the Yamaha P125, analyzing any song to display the chords of that song, and even help with practicing
Yamaha P125 vs P45
P125 uses Pure CF sampling (more modern and realistic sounding)
P45 uses AWM advanced
Polyphony (number of notes that can be sustained at once)
P125 has 192 polyphony
P45 has 64 polyphony
P125 2 7W amplifiers, 2 12 cm speakers, and additional 4 speakers
P45 has 2 6W amplifiers, 2 12 cm speakers
P45 does not have
In short, the P125 has better sound, and recording functionality.
Here is a demo of the Smart Pianist app:
With the Table Top EQ setting, it can detect if the Yamaha P125 on a table top. If it is on a table top, the internal speakers automatically brings out more bass, which allows for a better sound while being on a table.
The Yamaha P125 does not have bluetooth for MIDI capability. You will need to use a USB for MIDI.
With 192 note polyphony, you will never have to worry about a note not being fully sustained (Note Polyphony refers to how many notes can be sustained or played at once. Since there are only 88 keys on the piano, you really don’t need to go over 88 polyphony. 192 note polyphony is kind of an overkill.)
The Graded Hammer Standard weighted keys gives this electric keyboard the same touch response as an acoustic grand piano. The lower end has heavier keys, and the higher end has lighter keys.
This keyboard reproduces the sound from Yamaha’s 9 foot CFIIIS concert grand piano with its Pure CF Sound Engine.
There are 14 different groups of sound effects including piano, electric piano, and rock organ!
Can use the “Digital Piano Controller” app, a Yamaha app that allows you control the many features of the Yamaha P115 with a friendly user interface.
The Yamaha P115 does not have bluetooth, but has Midi capability through USB.
Watch this professional review by Yamaha on the Yamaha P115:
The Casio PX 160 is a superb digital keyboard with its Tri-Sensor Scaled Hammer Action (fancy way of saying weighted keys) and 128 polyphony. The texture of the keys also emulate that of a real acoustic piano.
The sound engine of this product, “AiR”, which stands for Acoustic and intelligent Resonator, captured the sounds of a real 9 foot acoustic grand piano and is able to replicate it.
The 8w x 8w Grand Sound System has speakers in both the front and the back of the instrument, which is ideal for both private and public performance.
Weights about 25 pounds.
Many people who are searching for the best digital keyboard often compare the Casio PX 160 to the Yamaha P115. I personally recommend the Yamaha P115 over this, and you can watch these videos to help you to understand too:
This is a larger model of the Yamaha ypg- 235 electric keyboard.
I personally believe that the pricing for the Yamaha YPG 535 is too high. The keys are only semi weighted and does not feel quite like a real piano. I personally believe that other digital keyboards in this page have a better feel and sound in comparison to this instrument.
If you are using this keyboard for recording purposes, then it is a very good buy!
You can see and hear what this instrument is like with this video:
This page will feature the best music stands to hold your sheet music for orchestra rehearsal, jazz band rehearsals, or whatever purpose you need to hold your sheet music. These best music stands have been carefully selected with regards to sturdiness, reliability, weight, quality, and portability. Please take a careful look at each music stand and choose the one that best fits your needs.
The best music stand for guitar, best music stand for violin, and best music stand for instruments are all here!
Note: If you are looking for a music stand to carry heavy objects, such as a laptop or large music book, consider buying a strong music stand, such as the Manhasset music stand, GearLux, or the ASC Professional music stand. For light carrying, the lighter music stands such as the Chromacast music stand will be suitable.
Manhasset Model #48 Sheet Music Stand
Manhasset music stands are standards in many musical settings such as schools and orchestras.
The bases of these stands are made completely from steel, so you can be ensured that these stands will be durable and will not rock around.
With the “Magic Finger Clutch,” the stand can be adjusted with one hand. The clutch can support up to 8 pounds.
The bearings is made from brass, which is greaseless and reduces friction from adjusting the music stand.
The desk (holds the sheet music), is made from sturdy and light weight aluminum. The black coat finish aids the stand from scratches and damage.
Manhasset Model 48
The most popular and high demand music stand by Manhasset. The dimensions of this best heavy duty music stand is 20″ wide, 12 1/2″ high, and a lip of 2 1/4″. This music stand can be adjusted from 26 through 48 inches.
Weighs a little less than 8 pounds!
You can see a video of assembly of this music stand here:
Autograph fair copy (clean copy of draft that was corrected by Chopin)
French first Edition published in July 1836 by Paris: M. Schlesinger (According to notes in this edition, Chopin was known to have carefully proofread the French first edition and made some changes to it.) Click here to see the second French edition.
Autograph/fair copy (basis for French first edition)
First French Edition. Published by M. Schlesinger publishing company in 1836 (This company also printed the first editions of Beethoven’s last two piano sonatas)
Second French edited with corrections by Chopin. (In the critical notes for the Wiener Urtext, it is said that Chopin carefully made corrections for this edition. In the National Edition Source Commentary, it says that he was careless with his corrections.)
French Edition owned by Camille Dubois, a student of Chopin. Her scores contained annotations by Chopin, fingerings, performance notes, and corrections from errors made by printing.
First German Edition published by Breitkopf and Hartel in 1836.
Second, Third, and Fourth German Editions.
First English Edition (the source commentary says that the First English Edition was based on the first French edition)
There is a subtle editorial marking added in the national edition. There is a decrescendo marking written on the and of 4 in the National Edition.
Editorial marking – There is a quarter rest written in the left hand part, m 44 beat 6, for the Wiener Urtext.
There is a difference in the direction of the stems for the right hand. In the national edition, the B flat (M 85 beat 1) is up stemmed, while it is down stemmed in the wiener urtext. Having all the stems going upward shows the musical line in this phrase and to bring out these up stemmed notes.
M. 87 – 88
Notice the staccato on M 88 beat one in the National Edition. This staccato is not present in the wiener urtext. Also, the phrasing in the National Edition shows M 87 beats 5 and 6 connecting to the first beat of M 88. In the Wiener Urtext, the phrase in M 87 beats 5 and 6 ends on the sixth beat, and a new phrase begins with M 88.
M 161 – 162
Beats 1 in Measures 161 and Measures 162 have differences. In the national edition, the notes on beat 1 have a staccatissimo placed for the articulation. In the wiener urtext, the articulation is a staccato.
This measure is a booger! In the French first edition, there was an error with the placement of the Ab (in the fourth note of the quintuple).
The second French edition features this change to M 171 (made by Chopin’s request):
Notice the D added to the fourth note of the quintuplet.
The Wiener urtext claims to reproduce what is written in the autograph score for this measure. The national edition chooses to make M 171 similar to measure M 170, and then writes what is written in the autograph score above M 171.
The national edition says it is doubtful whether or not Chopin wanted the added D in the fourth note of the quintuplet. It also states other instances in which the first French edition made similar errors.
There are tenuto markings on the and of 4 in Measures 194, 196, and 198. These markings were made by Chopin in Camille DuBois’ score.