SECONDRY GUITAR

Not all guitars are the same. Each one can have a different sound and feel, and can be used to play various styles of music. It is not unusual for a guitar player to purchase a second guitar, a third one, and even more. Here's help in going beyond your first guitar.

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BASS GUITAR

he bass guitar[1] (also called electric bass,[2][3][4] or simply bass;  /ˈbeɪs/) is a stringed instrument played primarily with the fingers or thumb (by plucking, slapping, popping, tapping, or thumping), or by using a pick. The bass guitar is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four, five, or six strings. The four-string bass—by far the most common—is usually tuned the same as the double bass,[5] which corresponds to pitches one octave lower than the four lower strings of a guitar (E, A, D, and G).[6] The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines. Like the electric guitar, the bass guitar is plugged into an amplifier and speaker for live performances. Since the 1950s, the bass guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While the types of basslines performed by the bassist vary widely from one style of music to another, the bassist fulfills a similar role in most types of music: anchoring the harmonic framework and laying down the beat. The bass guitar is used in many styles of music including rock, metal, pop, punk rock, country, reggae, blues, and jazz. It is used as a soloing instrument in jazz, fusion, Latin, funk, and in some rock and metal styles. Contents  [hide]  1 History 1.1 1930s–1940s 1.2 1950s 1.3 1960s 1.4 1970s 1.5 1980s–2000s 2 Design considerations 2.1 Fretted and fretless basses 2.2 Strings and tuning 2.2.1 Alternative range approaches 3 Pickups and amplification 3.1 Magnetic pickups 3.2 Non-magnetic pickups 3.3 Amplification and effects 4 Playing techniques 4.1 Sitting or standing 4.2 Performing techniques 4.2.1 "Slap and pop" 4.2.2 Picking techniques 4.2.3 Palm-muting techniques 4.2.4 Fretting techniques 4.2.4.1 Two-handed tapping 5 Uses 5.1 Popular music 5.2 Jazz and jazz fusion 5.3 Contemporary classical music 6 Pedagogy and training 6.1 Formal training 6.2 Informal training 7 See also 8 Footnotes and references 9 Further reading 10 External links [edit] History [edit] 1930s–1940s Musical instrument inventor Paul Tutmarc outside his music store in Seattle, Washington In the 1930s, musician and inventor Paul Tutmarc from Seattle, Washington, developed the first electric string bass in its modern form, a fretted instrument designed to be held and played horizontally. The 1935 sales catalog for Tutmarc's electronic musical instrument company, Audiovox, featured his "Model 736 Bass Fiddle," a four-stringed, solid-bodied, fretted electric bass instrument with a 30½-inch scale length.[7] The alteration to a "guitar" form made the instrument easier to hold and transport, and the addition of frets enabled bassists to play in tune more easily. Around 100 of these instruments were made during this period. Around 1947, Tutmarc's son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L.D. Heater Co. wholesale jobber catalogue of '48. However, the Tutmarc family inventions did not achieve market success. [edit] 1950s Design patent issued to Leo Fender for the second-generation Precision Bass In the 1950s, Leo Fender, with the help of his employee George Fullerton, developed the first mass-produced electric bass.[8] His Fender Precision Bass, introduced in 1951, became a widely copied industry standard. The Precision Bass (or "P-bass") evolved from a simple, uncontoured "slab" body design similar to that of a Telecaster with a single coil pickup, to a contoured body design with beveled edges for comfort and a single four-pole "single coil pickup." This "split pickup", introduced in 1957, appears to have been two mandolin pickups (Fender was marketing a four string solid body electric mandolin at the time). Because the pole pieces of the coils were reversed with respect to each other, and the leads were also reversed with respect to each other, the two coils, wired in series, produced a humbucking effect (the same effect is achieved if the coils are wired in parallel). A Fender Standard Jazz Bass (front and back views) The "Fender Bass was a revolutionary new instrument, one that could easily be played by an electric guitarist, could be easily transported to a gig, and could be amplified to just about any volume without feeding back"[9] Monk Montgomery was the first bass player to tour with the Fender bass guitar, with Lionel Hampton's postwar big band.[10] Roy Johnson, who replaced Montgomery in Hampton's band, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender Bass pioneers.[8] Bill Black, playing with Elvis Presley, adopted the Fender Precision Bass around 1957.[11] Following Fender's lead, Gibson released the violin-shaped Electric Bass with extendable end pin in 1953, allowing it to be played upright or horizontally. Gibson renamed the Electric Bass in 1958 as the EB-1 [12](The EB-1 was reissued around 1970, but this time without the end pin.) Also in 1958 Gibson released the maple arched top EB-2 described in the Gibson catalogue as A hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics.[13] In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was very similar to a Gibson SG in appearance (although the earliest examples have a slab-sided body shape closer to that of the double-cutaway Les Paul Special). Gibson EB-3 Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket. The EB-3, introduced in 1961, also had a "mini-humbucker" at the bridge position. Gibson basses also tended to be smaller, sleeker instruments; Gibson did not produce a 34" scale bass until 1963 with the release of the Thunderbird, which was also the first Gibson bass to use dual-humbucking pickups in a more traditional position, about halfway between the neck and bridge. A small number of other companies also began manufacturing bass guitars during the 1950s: Kay in 1952, and Danelectro in 1956;[11] 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin bass made using violin construction techniques by Walter Höfner, a second generation violin luthier.[14] The instrument is often known as the "Beatle Bass", due to its endorsement by Paul McCartney. In 1957 Rickenbacker introduced the model 4000 bass,[15] the first bass to feature a neck-through-body design; the Fender and Gibson versions used bolt-on and glued-on necks. [edit] 1960s With the explosion of the popularity of rock music in the 1960s, many more manufacturers began making electric basses. First introduced in 1960, the Fender Jazz Bass was known as the Deluxe Bass and was meant to accompany the Jazzmaster guitar. The Jazz Bass (often referred to as a "J-bass") featured two single-coil pickups, one close to the bridge and one in the Precision bass' split coil pickup position. The earliest production basses had a 'stacked' volume and tone control for each pickup. This was soon changed to the familiar configuration of a volume control for each pickup, and a single, passive tone control. The Jazz Bass' neck was narrower at the nut than the Precision bass (1½" versus 1¾"). 1970s Fender Jazz Bass with maple fretboard Another visual difference that set the Jazz Bass apart from the Precision is its "offset-waist" body. Pickup shapes on electric basses are often referred to as "P" or "J" pickups in reference to the visual and electrical differences between the Precision Bass and Jazz Bass pickups. Significantly, Fender chose to label the headstock of this model with a decal noting Jazz Bass Electric Bass [3]. Fender also began production of the Mustang Bass; a 30" scale length instrument used by bassists such as Tina Weymouth of Talking Heads and Bill Wyman of The Rolling Stones ("P" and "J" basses have a scale length of 34", a design echoed on most current production electric basses of all makes). In the 1950s and 1960s, the instrument was often called the "Fender bass", due to Fender's early dominance in the market. Gibson introduced the short-scale (30.5") bass the Gibson EB-3 in 1961, favoured by Jack Bruce of Cream. [edit] 1970s A Rickenbacker 4001 bass. The 1970s saw the founding of Music Man Instruments by Tom Walker, Forrest White and Leo Fender, which produced the StingRay, the first widely produced bass with active (powered) electronics. This amounts to an impedance buffering pre-amplifier on-board the instrument to lower the output impedance of the bass's pickup circuit, increasing low-end output, and overall frequency response (more lows and highs). Specific models became identified with particular styles of music, such as the Rickenbacker 4001 series, which became identified with progressive rock bassists like Chris Squire of Yes, and Geddy Lee of Rush, while the StingRay was used by Louis Johnson of the funk band The Brothers Johnson. In 1971, Alembic established the template for what became known as "boutique" or "high-end" electric bass guitars. These expensive, custom-tailored instruments, as used by Phil Lesh, Jack Casady, and Stanley Clarke, featured unique designs, premium hand-finished wood bodies, onboard electronics for preamplification and equalization, and innovative construction techniques such as multi-laminate neck-through-body construction and graphite necks. In the mid-1970s, Alembic and other boutique bass manufacturers, such as Tobias, produced four-string and five-string basses with a low "B" string. In 1975, bassist Anthony Jackson commissioned luthier Carl Thompson to build a six-string bass tuned (low to high) B0, E1, A1, D2, G2, C3. [edit] 1980s–2000s An early 1980s-era Steinberger headless bass In the 1980s, bass designers continued to explore new approaches. Ned Steinberger introduced a headless bass in 1979 and continued his innovations in the 1980s, using graphite and other new materials and (in 1984) introducing the TransTrem tremolo bar. In 1987, the Guild Guitar Corporation launched the fretless Ashbory bass, which used silicone rubber strings and a piezoelectric pickup to achieve a "double bass" sound with a short 18" scale length. In the late 1980s, MTV's "Unplugged" show, which featured bands performing with acoustic instruments, helped to popularize hollow-bodied acoustic bass guitars amplified with pickups. During the 1990s, as five-string basses became more widely available and more affordable, an increasing number of bassists in genres ranging from metal to gospel began using five-string instruments for added lower range—a low "B" below the standard "E" string. Some bass players who performed a lot in a solo setting used five-string basses to get a higher range by adding a high "C" string as the fifth string (this is known as "tenor tuning"). As well, the onboard battery-powered electronics such as preamplifiers and equalizer circuits, which were previously only available on expensive "boutique" instruments, became increasingly available on modestly priced basses. In the first decade of the 21st century, some bass manufacturers included digital modelling circuits inside the instrument to recreate tones and sounds from many models of basses (e.g., Line 6's Variax bass). Traditional bass designs such as the Fender Precision Bass and Fender Jazz Bass remained popular in the first decade of the 21st century; in 2011, a 60th Anniversary P-bass was introduced by Fender, along with the introduction of the Fender Jaguar Bass. [edit] Design considerations Bass bodies are typically made of wood, although other materials such as graphite (for example, some of the Steinberger designs) have also been used. While a wide variety of woods are suitable for use in the body, neck, and fretboard of the bass guitar, the most common type of wood used for the body is alder, for the neck is maple, and for the fretboard is rosewood. Other commonly used woods include mahogany, maple, ash, and poplar for bodies, mahogany for necks, and maple and ebony for fretboards. Other design options include finishes, such as lacquer, wax and oil; flat and carved designs; Luthier-produced custom-designed instruments; headless basses, which have tuning machines in the bridge of the instrument (e.g., Steinberger and Hohner designs) and several artificial materials such as luthite. The use of artificial materials (e.g., BassLab) allows for unique production techniques such as die-casting, to produce complex body shapes. While most basses have solid bodies, they can also include hollow chambers to increase the resonance or reduce the weight of the instrument. Some basses are built with entirely hollow bodies, which change the tone and resonance of the instrument. Acoustic bass guitars are typically equipped with piezoelectric or magnetic pickups and amplified. Instruments handmade by highly skilled luthiers are becoming increasingly available. Exotic materials include woods such as bubinga, wenge, ovangkol, ebony and goncalo alves. Graphite composite is used to make lightweight necks[16][17] Exotic woods are used on more expensive instruments: for example, Alembic uses cocobolo as a body or top layer material because of its attractive grain. Warwick bass guitars are also well known for exotic hardwoods: most of the necks are made of ovangkol, and the fingerboards wenge or ebony. Solid bubinga bodies are also used for tonal and aesthetic qualities. The "long scale" necks used on Leo Fender's basses, giving a scale length (distance between nut and bridge) of 34", remain the standard for electric basses. However, 30" or "short scale" instruments, such as the Höfner 500/1 "violin bass" played by Paul McCartney, and the Fender Mustang Bass are popular, especially for players with smaller hands. While 35", 35.5" and 36" scale lengths were once only available in "boutique" instruments, in the first decade of the 21st century, many manufacturers have begun offering these lengths, also called an "extra long scale." This extra long scale provides a higher string tension, which yields a more defined tone on the low "B" string of five- and six-stringed instruments (or detuned four-string basses). spraypaintstencils.com	Weird Bass Guitar 745 × 274 - 21k - jpg profile.ultimate-guita...	how to record the bass guitar Recording Bass Guitar - The Basics 288 × 217 - 9k - jpg world-of-songwriting.com	Bass Guitar Lessons for Beginners 800 × 600 - 62k - jpg theguitarsociety.wordp...
Image Fender electric bass guitar - Img 10456 531 × 750 - 20k - jpg edupics.com	Gibson Thunderbird IV 4 String Bass Guitar, Vintage Sunburst 565 × 565 - 43k - jpg dv247.com	Electric Bass Guitar Shootout & Comparison | Gear Audition 300 × 295 - 43k - jpg gearaudition.com

keyboard

B)   KEYBOARD

         

1.  PENGENALAN KEYBOARD.

Keyboard ini khas dari Barat. Alat musik keyboard mendapatkan suaranya dari manipulasi kunci-kunci, ada yang ditekan, ada juga yang dipijak. Susunan kibor mengikuti logika dari kiri nada-nada rendah ke kanan nada-nada tinggi. Susunan kiri kanan untuk bass ke treble ini berlaku untuk segala jenis keyboard yang umumnya adalah piano, organ, harpsiscord dan clavichord.

Para pemusik sendiri lebih suka untuk mengelompokkan nya dalam caranya menghasilkan suara. Ada chordophone di mana dawai-dawai diketuk hingga bergetar dan menimbulkan suara. Ini masuk dalam kelompok piano. Kemudian aerophone di mana tabung-tabung dilewati udara yang getarannya menghasilkan suara. Di dalamnya adalah kelompok Organ.

Terakhir adalah electrophone di mana gelombang listrik digetarkan untuk menghasilkan suara. Instrumen piano elektrik, organ elektrik merupakan contoh. Kelompok terakhir ini berkembang sangat pesat pada akhir abad ke-20. Instrumen electrophone ini sekarang boleh menghasilkan semua kualitas suara saudara tuanya. Mulai dari piano hingga organ boleh dihasilkan oleh kibor elektronik yang disebut synthesizer.

2.  SEJARAH KEYBOARD.

Instrumen kibor ini sudah ada sejak zaman kuno. Tidak jelas awalnya yang tepat. Dalam tangga nada Barat yang disebut diatonis, tonal terbagi dalam 12 nada. Ada nada penuh dan ada nada semi-tone. Pada instrumen kibor kedua kelompok nada ini biasa dibedakan dengan kunci berwarna terang dan untuk semi-tone. Susunan deret kunci yang chromatic (mencakup 12 nada) muncul di Eropa pada abad ke-14.
Pada awal kemunculannya bilah-bilah masih dalam ukuran sangat lebar. Satu bilah boleh mencapai beberapa sentimeter lebarnya hingga tidak banyak nada harmoni boleh dihasilkan. Baru pada abad ke-16, 200 tahun lamanya, muncul pembakuan lebar bilah. Satu oktaf sebanyak 12 bilah dibuat selebar 16,5 sentimeter. Ini bermaksud nada diatonik boleh dicakup dalam lebar satu tangan hingga musik harmonik boleh dihasilkan. Pada perkembangan ini juga inovasi kunci putih dan hitam dicipta.

Pada abad 15 diciptakan instrumen musik berdawai dengan dibunyikan melalui petikan, munculah harpsichord. Harpsichord ini terus berkembang pada abad ke-17 dan ke-18. Suatu teknik membunyikan dawai kembali dikembangkan dengan alat pukul kecil yang bekerja. Akibatnya pukulan pada bilah kunci bisa dilakukan pelan dan keras. Pelan dalam bahasa Italia adalah piano dan keras adalah forte. Instrumen inovasi baru itu sangat populer karena volume nada boleh diatur dengan keras lemahnya memanipulasi papan kunci. Nama alat itu pun menjadi pianoforte. Lama kelamaan diringkaskan menjadi piano.Instrumen kibor ini yang memungkinkan berkembangnya musik barat dengan spektrum harmoni yang boleh dikatakan tidak tertanding oleh aliran musik lain di bumi ini. Komposisi orkes simponi berasal dari kemampuan piano menghasilkan nada-nada harmonik.

Kibor elektronik baru muncul pada abad ke-20. Dipasarkan pertama kali oleh Laurens Hammond di Amerika Serikat 1935. Sejak itu mulai berkembang instrumen yang sekarang ini menjadi raja alat musik. Suara orkes simponi pun dengan puluhan instrumen boleh dihasilkan oleh satu kibor saja.

Era Synthesizer

Munculnya transistor silikon dengan harga yang murah dan kualitas atas memudahkan supaya para insinyur untuk mengembangkan instrumen musik penghasil suara. Alat yang ringkas dan dapat menghasilkan suara konvensional seperti suara akustik sebagaimana yang dihasilkan dawai, gendang, atau alat tiup, maupun suara yang tidak lazim seperti suara atonal semacam derit antar logam. Pada tahun 1962 seorang insinyur Italia Paolo Ketoff mengeluarkan instrumen yang disebut Synket. Alat ini menghasilkan musik eksperimental yang bagi pendengar awam tidak musikal.

Dua tahun kemudian di Amerika muncul alat musik yang diciptakan Donald Buchla dan satunya oleh Robert Moog. Alat Donald Buchla tidak menggunakan kibor sebagai perangkat memainkannya melainkan dengan permukaan yang sensitif terhadap sentuhan. Robert Moog membuat alat yang menggunakan kibor sebagai perangkat pengolahnya. Di sisinya pun dipasang alat pengontrol yang konvensional seperti tombol putar untuk mengeraskan dan memelainkan suara, maupun untuk mengatur tinggi rendahnya nada yang dihasilkan. Ciptaan Robert Moog ini lebih memudahkan penggunaannya untuk mengalunkan musik tradisional dalam tatanan suara baru. Karya-karya Johan Sebastian Bach bisa dimainkan dengan Mini Moog, begitu alatnya disebut.Ketika itu alat ini belum bisa memainkan nada harmonik. Hanya satu-satu nada boleh dimainkan, hingga ianya populer sebagai pembawa melodi pada musik pop

Era Digital
Baru pada tahun 1980 synthesizer dapat mengeluarkan suara harmonik. Peralatan pertama yang terkenal adalah Yamaha DX-7 yang keluar 1983. Peralatan ini menggunakan pengembangan synthesizer dari zaman Robert Moog dengan Frequenty Modulation Synthesis yang dirancang oleh John Chowning dari Stanford University di Palo Alto, California. FM menghasilkan variasi timbre dengan cara mengubah frekuensi suatu gelombang dengan amplitudo gelombang lain yang proposional. Yamaha DX-7 memiliki kibor lima oktaf. Lebih dari 100.000 perangkat ini dijual Yamaha.Kemudian pada tahun berikutnya Casio mengeluarkan CZ-101 yang menggunakan baterai untuk tenaganya. Memiliki empat suara dan mengikuti kemampuan synthesizer analog. Harga jual CZ-101 ini hanya seperempat dari harga Yamaha DX-7 hingga popularitas kibor elektronik menjadi sangat meningkat.Suara-suara bisa direkam. Hasil rekaman ini berupa gelombang nada yang diterjemahkan sebagai data digital. Data digital ini bisa diolah dan dibunyikan ulang dengan kontrol musikal. Ini yang disebut sampling. Sampling ini telah menjadi bagian yang umum dalam instrumen kibor elektronik.Sampling pertama dikeluarkan pada tahun 1970 oleh Fairlight komputer Musical Instrumen (CMI) di Sydney. Fairlight CMI adalah perangkat komputer umum dengan tambahan perangkat yang dapat merekam dan mengubahnya jadi data digital (digitize), kemudian menyimpan dan memainkan ulang pada instrumen kibor.Kemampuan simpan dan memainkan ulang ini dikembangkan oleh Raymond Kurzweil pada tahun 1984 melalui perangkat yang disebut Kurzweil 250.Pada kibornya itu terdapat kode-kode digital dari suara Grand Piano, alat musik gesek (string), dan banyak lagi timbre alat musik orkestra. Alat ini selain ditujukan untuk penggunaan pertunjukan juga ditujukan untuk membuat komposisi. Kibor yang berkembang dengan kemampuan synthesizer polifoni dan sampling disebut workstation musikal.Pada tahun 1983 beberapa manufaktur instrumen musik bersepakat untuk tata cara menggabungkan berbagai peralatan musik agar boleh bekerja dalam suatu perangkat komputer.

3.  PERBEZAAN ANTARA KEYBOARD, ORGAN DAN PIANAO.

Ramai orang yang berpandapat bahawa keyboard, organ dan piano adalah sama. Namun sebenarnya kesemua alat muzik tersebut adalah berbeza. jadual di bawah menunjukkan perbezaanya.

PIANO Piano pada umumnya terbagi menjadi 2 jenis: 1. Stand-Up Piano. Adalah piano yang standard atau pendek “ekor”nya. Contohnya adalah pada gambar berikut: 2. Grand Piano: piano jenis ini sering kita melihat dimainkan di hotel-hotel. Sesuai dengan namanya piano besar.

ORGAN Pada umumnya, organ juga ada dua jenis: 1. Organ Pipa (Orgel). Adalah organ “akustik” yang memiliki pipa-pipa raksaksa. Ciri-cirinya, seperti dalam  gambar: Organ pipa memiliki deretan tuts lebih dari satu (biasanya 4, seperti yang terlingkar pada gambar), dan tombol analog yang sangat banyak. Organ Pipa sendiri memiliki pipa-pipa raksaksa: 2. Organ Elektronik :contoh populernya adalah “Yamaha Electone“. Seperti yang ditunjukkan pada foto:

2. Organ Elektronik : contoh ialah “Yamaha Electone“. Seperti yang ditunjukkan pada foto: Ciri khasnya (yang tidak dimiliki piano maupun keyboard) adalah seperti yang saya tandakan di atas: ·         Deretan tuts nya mayoritas 2 baris (ada yang 1 baris tapi sudah langka) ·         Pedal kaki (pedalboard) nya sangat banyak

KEYBOARD Keyboard ini memiliki banyak jenis. Tapi, kalau kita mengenali ciri-cirinya, kita akan mudah membezakannya dari Piano dan Organ. Sebagai contoh keyboard di bawah. Ciri-cirinya yang membedakannya dari piano dan organ: ·         Tidak memiliki pedal nada (pedalboard) seperti pada organ ·         Deretan tuts selalu satu. Belum pernah saya melihat keyboard yang memiliki deretan tuts 2 seperti pada organ. ·         Kebanyakan keyboard bersifat portabel, bisa dibawa hanya dengan satu orang saja.

Kesimpulan:

Alat MusikParameter	Piano	Organ Pipa	Organ Elektronik	Keyboard
Ukuran	·         Besar (stand-up dan baby grand) ·         Sangat besar (grand piano)	Raksaksa	Besar	Bervariasi,bergantung ukuran keyboard (kecil, sedang, agak besar)
Kemudahan untuk dipindahkan atau dibawa	Sukar	Permanen (tidak boleh dipindah)	Agak Sukar	Bervariasi bergantung berat. Tapi, semuanya boleh dibawa dengan satu orang saja.
Jumlah Tuts	Hampir semuanya 88 tuts (ada juga yang lebih pendek, tapi sangat jarang ada)	Bergantung jumlah deret tuts	Bergantung jumlah deret tuts	Bervariasi: ·         49 ·         61 (umumnya) ·         76 ·         88
Deretan Tuts	Selalu 1 deret	Bervariasi	Hampir semuanya 2 deret. Ada juga 1 deret tapi sudah langka.	Selalu 1 deret per unit
Pedal	Terintegrasi. Pada umumnya 3 pedal: ·         Sustain ·         Sostenuto ·         Soft (una corda)	Terintegrasi: ·         Pedal Nada (pedalboard), banyak jumlahnya ·         Pedal Volume	Terintegrasi: ·         Pedal Nada (pedalboard), banyak jumlahnya ·         Pedal volume	Tidak terintegrasi (eksternal). Sehingga, harus dibeli terpisah dari keyboard: ·         Sustain/damper (yang paling umum) ·         Soft (jarang) ·         Pedal volume bisa saja dibeli, tapi hanya berfungsi untuk mengontrol volume  ke speaker yang dicolok.
Suara	Akustik, dan hanya suara piano.	Akustik, suara pipa. Suaranya hanya organ, tapi bisa berbagai variasi.	Elektronik (MIDI sequencer) dan bisa bermacam-macam suara	Elektronik (MIDI sequencer) dan bisa bermacam-macam suara
Tombol	Tidak ada	Banyak, dan kuno	Banyak, digital	Bervariasi, digital

4.  JENIS-JENIS KEYBOARD.

Keyboard terbahagi kepada dua jenis. Antaranya ialah :

                      I.        Keyboard Arranger.

                    II.        Keyboard Synthesizer.

Untuk membezakan kedua-dua jenis keybord ini ialah dengan melihat papan-papan kekunci yang ada. Sekiranya tedapat papan kekunci Fill in, Variasi , Main , Intro , Ending , itu adalah keyboard Arranger. Sekiranya keyboard  tidak mempunyai papan kekunci tersebut bermakna keyboard itu adalah jenis Synthesizer.

Keyboard Arranger lebih kepada keyboard muzik tunggal. Tanpa peralatan yang lain untuk mengunakannya dan hanya perlu melibatkan beberapa track. Track yang perlu dikontrol telah di aplikasikan dalam bentuk STYLE sehinggalah track dalam style itu boleh menjadi fleksibel dan berfungsi sebagai alat muzik tunggal.

Bagi Senthesizer pula, keybord ini lebih menonjolkan Fitur Sound. keytbord ini sangat perlu teliti untuk membuat dan mengubahnya berbanding keyboard Arranger.

Di bawah ini adalah contoh untuk keyboard Arranger.

5.  PENJARIAN KEYBOARD.

Penjarian Piano/Keyboard

 

 

Keyboard dan Piano penjarian  langkah 1

Gunakan jari 1 dan 2 sebagai D danE dalam gambar rajah

•  

Keyboard dan Piano penjarian langkah 2

Gunakan jari ke2 dan ke 3 E dan F seprti dalam gambar

 

Keyboard dan Piano Penjarian langkah 3

Dengan mengunakan jari 3 dan 4F dan G dalam rajah  

Keyboard dan Piano penjarian langkah 4

Gunakan jari ke 4 dan ke 5G dan A dalam rajah  

C)   REFLEXI

Setelah membuat tugasan ini, saya telah mempelajari pelbagai benda yang baru. sebelum ini saya selalu bertanya kepada rakan –rakan saya tenatang perbezaan keyboard dengan piano. Setelah menyiapkan tugasan ini  sedikit sebanyak saya tahu akan perbezaan antara keyboard dengan piano.

Selain itu, saya juga mendapati terdapat satu lagi alat muzik yang menyerupai piano dan keyboard ,iaitu alat muzik Organ. Alat muzik ini adalah alat muzik yang terbesar setakat ini. Alat muzik ini biasanya terdapat di Gereja. Ianya seakan-akan piano kerana mempunyai pedal yang perlu di tekan ketika bermain. Perbezaan yang paling ketara ialah,alat muzik ini mempunyai dua tingkat papan kekunci.

model keyboard BRANDS YAMAHA

CellBazaar : Used Music Keyboard : yamaha psr 450 800 × 288 - 104k - jpg cellbazaar.com	Yamaha PSR-E403 Electronic Keyboard 1593 × 650 - 923k - jpg dolphinmusic.co.uk	YAMAHA PSR275 Portable Digital Music Keyboard Synthesizer 300 × 300 - 12k - jpg amazon.com	Russian. _____Spanish 607 × 673 - 63k - jpg tyrosmania.com
Yamaha YPT300 Full Size Enhanced Teaching System Music Keyboard ... 585 × 246 - 32k - jpg salestores.com	Yamaha 61 Key Digital Keyboard with USB Port 800 × 341 - 58k - jpg pulseonline.com	The new Yamaha NP-30 Portable Grand is an Ultra-Portable Digital Piano ... 900 × 437 - 187k - jpg charmainelimblog.com	Like other Arranger Workstation keyboards, there are dedicated Registration, ... 1200 × 512 - 119k - jpg musicspot-brownsplains...
YAMAHA PSR S550S CLAVIER ARRANGEUR 61 TOUCHES FINITION ARGENTEE - CLE USB ... 1200 × 512 - 145k - jpg free-scores.com	Yamaha PSR Series Keyboards are priced to suit users with dissimilar ... 400 × 500 - 44k - jpg synthesizerkeyboardss.com	Chris' Guitars Music Keyboards - New Used and Vintage Korg Roland Alesis 1247 × 487 - 126k - jpg chrisguitars.com	Yamaha MM6 Music Production Synthesizer Click to Initiate Zoom 1000 × 433 - 74k - jpg djkit.com
Adult Music Keyboard Lessons | Yamaha Music School of Boston 600 × 480 - 285k - jpg ymsboston.com	yamaha musical keyboards reviews - cheap offers, reviews & compare prices 250 × 300 - 6k - jpg comparestoreprices.co.uk	Note the box design is similar to the Yamaha CX5M. "Yamaha Music Keyboard ... 400 × 300 - 27k - jpg m.matrixsynth.com	Yamaha PSRE323. PSRE323 2000 × 2000 - 181k - jpg mveducation.com
Keyboards, Keyboard, Yamaha ... 600 × 541 - 31k - jpg adpost.com	Yamaha PSRS550 Black 2925 × 1593 - 339k - jpg achamilton.co.uk	Casio CTK700 Portable Music Keyboard ... 1200 × 459 - 437k - jpg music.productwiki.com	Yamaha DGX-640 Music Keyboard. Mouseover to zoom or click to enlarge 260 × 260 - 10k - jpg