The basic difference between a keyboard and an acoustic piano is that synthesizer keyboards are electronic (plugged in or battery-powered) and acoustic pianos are not, unless there are added features as midi capabilities. (I will not go into that here) I will distinguish between both here as “keyboards” and “acoustic pianos.” Although there are variations, a “synthesizer keyboard” is usually lighter in weight than a “professional keyboard” with “weighted keys.” As a result, synthesizer keys are much easier to press and play-almost like playing an organ. If you are mainly looking to learn notes, train your ear and play simple comp chords, a non-weighted synthesizer keyboard will work fine. Most are 61 or 76 keys instead of the full 88 keys. “Weighted professional keyboards” are usually 88 keys and are much heavier to transport. Each note is also harder to press down with more weight, and can be played with greater dynamic range than a non-weighted keyboard. (loud and soft) I have used both types of keyboards many times in performance. My preference is a weighted 88-key professional keyboard as I have a lot more control and dynamic range. Although my top preference is usually always an in-tune acoustic piano.

Acoustic pianos are just that-acoustic (not plugged in) and most have keys that have even more weight to them than an electronic keyboard. Joanna  actually requested we add weights to the keys of our grand piano to increase my finger strength, which we did. It definitely paid off. Even though acoustic pianos are getting more rare and in some cases not desired because of space limitations, I still strongly believe they are a good training ground for most any pianist who is serious about learning and studying. Finger strength, combined with relaxation, for a serious pianist will pay off in droves for a lifelong career.

Make a fist with one hand and put the other hand over it, keeping the arms level. That will give you a good “rounded” position of the fingers that are placed over the fist with a level wrist. Now match the fingers on the fisted hand to the other hand. Your hands should be relaxed and when you place your hands on the keyboard or piano, you should be able to play on the pads of your fingers. If your nails are too long, they will get in the way. I understand that may be an issue with some, but there is nothing more aggravating than trying to maneuver playing with nails that get caught between the keys and fingers than lose mobility because of cumbersome nails. Also, listening to nails click on the keys is just as annoying. For beginners, it may be difficult to play on the pad of the finger without the finger “caving in.” That is why piano finger exercises are important to develop good technique that will become natural when engrained in the muscle memory. If you practice the exercises correctly, you will build good technique that can be called upon for a lifetime because of that muscle memory. 

I recommend Hanon finger exercises, which are very repetitive, for working on finger velocity, strength and relaxation. Also Enro Dohnanyi Essential Finger Exercises are wonderful to add a bit later. You can learn many things on your own, but a private instructor is worth the investment if you are serious about learning.

How to sing better includes relaxation. The muscles in your face, tongue, jaw, chin, throat, and neck must be relaxed or your singing will be muscle-bound. If your outer muscles of your throat are relaxed, your inner muscles will take care of themselves. So let’s go step by step with some exercises.

How to sing better includes correct breathing. Normal inhaling occurs when your brain signals a need for oxygen. Exhaling occurs when your brain wants to get rid of carbon dioxide. We don’t even have to think about this process. But as soon as we open our mouth for singing, a different kind of breathing than the norm should begin.

When we breathe in before singing, we take in 3-4x as much air as for passive breathing. And it will no longer be rhythmic because we exhale slower than we inhale. We will be focusing on the diaphragm (the large dome-shaped muscle that separates your chest and stomach cavities), the lower belly and the ribcage.

The Diaphragm, though elastic, is very powerful. At rest, it looks like an inverted bowl and with a deep breath, it flattens. As we breathe in, our waist and lower belly should get larger. Put your hands on your shoulders and breathe in. Your shoulders should not go up at all, but your mid-waist area and lower belly should expand.

Your ribcage is flexible. There are 12 pairs of ribs (for most of us!) joined to the backbone and connected to the breastbone by cartilages, except for 2 at the bottom. As our diaphragm flattens out, our ribs should be lifted and kept in position while expending air.

1. For your abdomen and lower belly: Breathe in and out, standing erect, shoulders down. Put hands on shoulders and feel your mid-waist expand. Then lie flat on your back or lean back on some cushions and do the same thing. You should see your lower belly go out and in. The more relaxed your body is, the more relaxed the voice is. Let the belly expand and feel the wave of expansion all the way through your ribcage and lower back. Feel the connection of the air and the voice as you let out a sigh on “ahh”.
2. For ribcage: Bend at the waist and allow the lower belly, then ribcage to expand.

If you maintain good posture when you sing and are careful not to let your chest “collapse” as you exhale, your diaphragm is able to move freely and be regulated by your abdominal muscles automatically. There is no need for tension in these muscles. I find a good way to practice my deep breathing is on quickly paced walks or jogs. Concentrate on longer and freer breaths. If no one is listening, you can even exhale on a hum or tone!