I’ve found the best way to learn piano – Rocket Piano!

I have gone through the process of learning to play the piano and I have also been teaching and playing for years, so I feel like I have a pretty good understanding of what it takes to learn how to play effectively.  Almost every day someone asks me what I think is the best and most cost-effective way to learn to play the piano (other than taking lessons from me, of course :) ), so I made it my goal to come up with a recommendation that works incredibly well and only costs a fraction of what private lessons require you to spend.

My thirty years of piano playing experience combined with interviews of a bunch of people who have tried this product and had success have led me to the conclusion that Rocket Piano is the easiest, most complete, and most affordable way to learn to play the piano.  Read on to see my Rocket Piano review and find out why I think this is an incredible program.


The Instructor – Ruth Searle

The first thing I was impressed with was the instructor.  Ruth Searle is a classically trained pianist from Australia with a BA in music who has won numerous awards playing a wide array of styles.  She is a very good teacher who is easy to follow.  She has a slight Australian accent, but is not hard to understand at all.  The first step in learning piano is finding a teacher that you like, and I found myself wanting to take private lessons from Ms. Searle.

Easy-to-Use Lesson Books


The course starts you out with the beginner’s book, which teaches you about the history of the instrument and helps you appreciate piano music in general by showing you how melody, harmony and rhythm work.  Next you’ll learn basic chords with each hand, and then some simple songs with both hands.  Throughout the book there are audio examples and short lessons from Ms. Searle that are incredibly helpful.  The intermediate and advanced books are equally well put together, with harder techniques, such as arpeggios and musical theory, taught with ease.  There are also over 190 audio files and 57 video lessons to help you understand what you’re learning.  One of the great things about this course is that unlike other similar products it spends a lot of time showing you how the piano works and how music has changed over the years, instead of only teaching you how to play.  It also teaches you how to read music and how to play by ear, which most courses skip.

After you have finished with the three main course books, there are two genre books based on jazz and gospel, which give you two different perspectives on music and help give you a broader understanding of piano.  Another cool learning feature is the 17 jam tracks which allow you to hear a song played on piano with a band and then you can play along with the jam track version that has the piano part removed.  This teaches you how to improvise and come up with piano parts on your own, without music.


To Visit Rocket Piano Official Website Please Click: www.RocketPiano.com

Bonus Materials

For the money you pay for Rocket Piano you definitely get way more than your money’s worth even without the bonuses, but I found that these are what set this product so far above the other piano packages available today.  Below some of these bonuses are explained in detail:

  • Advanced Learning Techniques – This eBook focuses on teaching you how to learn piano correctly through the use of memory.  It also contains much of the same advice I give my students about how to avoid developing bad habits.
  • Jayde Musica Pro – This is a game for beginners that helps you learn all the notes on the piano.
  • Perfect your Pitch Pro – This game makes developing your ear fun and actually helps you recognize different pitches.
  • Chordinator – This shows you how to recognize different chords by sight.
  • Rocket Piano Metronome – This is for people who don’t have a metronome to practice with.  It helps you work on your timing and tempo.  While this metronome is alright, I suggest you purchase one from a music store as soon as you can.

  • SongPond membership – Rocket Piano comes with a free one-month membership to this online music school that teaches you how to play popular songs with their innovative lessons.  This is a really cool service!



These are Rocket Piano Bonuses – Very Impressive!


Customer Service

Rocket Piano’s support is adequate, but is not one of their best features.  They have a fairly extensive FAQ and you can contact them via email, but it often takes a few days to get back to you.  A consultation is included where you can ask the instructors at Rock Star Recipes questions related to the piano.

Pricing Information

There are two options for purchasing Rocket Piano.  You can order online and get lifetime access to their member’s area for $39.95, or you can order the physical version of the software to be delivered to your home for $199.95, complete with CDs, DVDs and eBooks.  This second option is mostly for teachers who plan on using the materials with their students.  It is also completely risk-free and comes with a 60-day money back guarantee.


Rocket Piano is by far the most comprehensive and effective piano course I have ever seen.  If you want to learn piano the right way without spending thousands of dollars on private lessons from a teacher you might not even like, then this course is just what you’re looking for.  It also comes with a free Beginner Piano Course so you can try it out before you purchase the complete product.  You also get their LaunchPad weekly newsletter that updates you on all the latest piano news from around the world.  Very impressive and very affordable!

So click this link if you want to check it yourself: www.RocketPiano.com

Different Ways Of Learning Piano

Learning to play the piano can be a rewarding experience for students of all ages, but it can also be difficult to know how to go about it. Should you take lessons at home, with a private instructor at their studio, or should you just buy some books and try to teach yourself? All of these methods can work, but there are some ways to determine what might work best for your learning style.

In Home Lessons

For many students, having me come to their home for a lesson is the best way to learn piano. Being at home can make you feel comfortable when learning something new, which can be intimidating for many people, especially young children and adults learning to play later in life. By hosting the lesson at your house, you may feel more at ease than at a rehearsal studio. Of course, you’ll need a working piano or keyboard with weighted keys and proper pedals. If possible, have your piano tuned before you start lessons. In-home lessons also cut down on your travel time if you have a busy schedule full of school, work or family responsibilities.

Studio Lessons

Starting studio lessons with a qualified teacher like me is often the best way to learn piano. Students of all ages can benefit from studio teaching sessions, and many find that working in a studio environment instead of in their home is more productive since the phone won’t be ringing and there won’t be any distractions to take away from your lesson. Studio lessons also ensure that you’re playing on a well-tuned, properly maintained piano, which will help with your ear training and feel for the keyboard and foot pedals.

Proper Instruction Manuals

Adults and teens with no musical training may find that the best way to learn piano is by starting with basic instruction manuals that will teach you things like the note names, where they fall on the keyboard and how to play a basic scale. Once you feel comfortable sitting at the piano and doing those basic things it might be best to hire a teacher that can help you progress. Hiring a teacher can make learning much faster. After all, there are some things you just can’t learn out of a book!

Online Lessons

Another great way to learn piano is online. As I mentioned in my previous post I will try to go through couple of different online piano programs. So far I have had time for Rocket Piano and I have to say it seems great if the time and also finances are an issue. I know it’s not the cheapest to hire me or any other qualified piano teachers so paying for an online course might be the best way to go. I will report back in my next post with findings about Rocket Piano and whether it is worth the time.

See you soon,


Musical Term Glossary!

This is a pretty extensive Musical Term Glossary here for you guys. Use  “ctrl + f” to bring up the FIND command and type in the term you need to look up.  This can be VERY helpful in saving time.

I included this musical term glossary so that when you are learning a piece and you come accross a term you don’t know, you can understand the meaning of it. It’s very importaint to understand the meanings of the terms in your pieces. How else are you supposed to know what the composer was trying to communicate?

The Musical Term Glossary.


  • aà (Fr) – at, to, by, for, in, in the style of
  • a 2 – see a due in this list
  • aber (Ger) – but
  • a bene placido – up to the performer
  • a cappella – in the manner of singing in a chapel; i.e., without instrumental accompaniment
  • accelerando – accelerating; gradually increasing the tempo
  • accentato – accented; with emphasis
  • acciaccatura – crushing; i.e., a very fast grace note that is “crushed” against the note that follows and takes up no value in the measure
  • accompagnato – accompanied; i.e., with the accompaniment following the soloist, who may speed up or slow down at will
  • adagietto – rather slow
  • adagio – at ease; i.e., slow
  • adagissimo – very slow
  • ad libitum (commonly ad lib; Latin) – at liberty; i.e., the speed and manner of execution are left to the performer
  • a due – Intended as a duet; for two voices or instruments; together; two instruments are to play in unison, after divisi or a solo passage for one of the instruments
  • affettuosoaffettuosamente, or affectueusement (Fr) – with affect (that is, with emotion); see also con affetto
  • affrettando – hurrying, pressing onwards
  • agile – swiftly
  • agitato – agitated
  • alalla – to the, in the manner of (al before masculine nouns, alla before feminine)
  • alla breve – two minim (half-note) beats to a bar, rather than four crotchet (quarter-note) beats
  • alla marcia – in the style of a march
  • allargando – broadening, becoming a little slower
  • allegretto – a little lively, moderately fast
  • allegro – cheerful or brisk; but commonly interpreted as lively, fast
  • als (Ger) – than
  • altissimo – very high
  • alto – high; often refers to a particular range of voice, higher than a tenor but lower than a soprano
  • am Steg (Ger) – at the bridge; i.e., playing a bowed string instrument near its bridge (see sul ponticello in this list)
  • amabile – amiable, pleasant
  • amoroso – loving
  • andante – at a walking pace; i.e., at a moderate tempo
  • andantino – slightly faster than andante (but earlier it sometimes used to mean slightly slower than andante)
  • a niente – to nothing; an indication to make a diminuendo to pppp
  • animato – animated, lively
  • antiphon – a liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition
  • apaisé (Fr) – calmed
  • a piacere – at pleasure; i.e., the performer need not follow the rhythm strictly
  • appassionato – passionately
  • appoggiatura – a grace note that “leans” on the following note, taking up some of its value in the measure
  • a prima vista – at first sight; i.e., playing or singing something at first sight of the music sheet
  • arco – the bow used for playing some string instrument; i.e., played with the bow, as opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction
  • arietta – a short aria
  • arioso – airy, or like an air (a melody); i.e., in the manner of an aria; melodious
  • arpeggio – like a harp; i.e., the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Music generated by the limited hardware of video game computers uses a similar technique to create a chord from one tone generator. Arpeggios (or arpeggi) are also accompaniment patterns. See also broken chord in this list.
  • arpeggiato – a way of playing a chord: starting with the lowest note, and with successively higher notes rapidly joining in. Sometimes the effect is reversed, so that the highest note is played first.
  • assai – very
  • assez (Fr) – enough, sufficiently; sometimes used in the same sense as assai
  • a tempo – in time; i.e., the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc.); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet)
  • attacca – attack, or go on; i.e., at the end of a movement, a direction to begin (attack) the next movement immediately, without a gap or pause
  • Ausdruck (Ger) – expression
  • ausdrucksvoll (Ger) – expressively
  • avec (Fr) – with or with another


  • B (Ger) – B flat in German (and Icelandic); B natural is called H
  • barbaro – barbarous (notably used in Allegro barbaro by Béla Bartók)
  • bass – the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony
  • basso continuo – continuous bass; i.e., a bass part played continuously throughout a piece to give harmonic structure, used especially in the Baroque period
  • beat – (1) the pronounced rhythm of music; (2) one single stroke of a rhythmicaccent
  • bellicoso – warlike, aggressive
  • ben or bene – well, as in, for example, ben marcato (meaning “well-marked”)
  • bewegt (Ger) – moved, speeded
  • bis (Lat) – twice; i.e., repeat the relevant action or passage
  • bisbigliando – whispering; i.e., a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume
  • bocca chiusa – with closed mouth
  • bravura – boldness; as in con bravura, boldly
  • breit (Ger) – broad
  • bridge – Transitional passage connecting two sections of a composition, also transition. Also the part of a string instrument that holds the strings in place.
  • brillante – brilliantly, with sparkle
  • brio – vigour; usually in con brio
  • brioso – vigorously (same as con brio)
  • broken chord – a chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass.
  • bruscamente – brusquely


  • cadenza – a solo section, usually in a concerto or similar work, that is used to display the performer’s technique, sometimes at considerable length
  • calando – falling away, or lowering; i.e., getting slower and quieter; ritardando along with diminuendo
  • calore – warmth; so con calore, warmly
  • cambiare – to change; i.e., any change, such as to a new instrument
  • cantabile or cantando – in a singing style
  • capo – head; i.e., the beginning (of a movement, normally)
  • capriccioso – capriciously, unpredictable, volatile
  • cédez (Fr) – yield, give way
  • cesura or caesura (Latin form) – break, stop; i.e., a complete break in sound (sometimes called “railroad tracks”)
  • chiuso – closed; i.e., muted by hand (for a horn, or similar instrument; but see alsobocca chiusa, which uses the feminine form, in this list)
  • coda – a tail; i.e., a closing section appended to a movement
  • codetta – a small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement
  • colcolla – with the (col before a masculine noun, colla before a feminine noun); (see next for example)
  • colla parte – with the soloist
  • colla voce – with the voice
  • col legno – with the wood; i.e., the strings (for example, of a violin) are to be struck with the wood of the bow; also battuta col legno: beaten with the wood
  • coloratura – coloration; i.e., elaborate ornamentation of a vocal line, or (especially) a soprano voice suited to such elaboration
  • colossale – tremendously
  • col pugno – with the fist; i.e., bang the piano with the fist
  • come prima – like the first (time); i.e., as before, typically referring to an earlier tempo
  • come sopra – as above; i.e., like the previous tempo (usually)
  • common time – the time signature 4/4: four beats per measure, each beat a quarter note (a crotchet) in length. 4/4 is often written on the musical staff as ‘C’. The symbol is not a C as an abbreviation for common time, but a broken circle. The full circle at one time stood for triple time, 3/4.
  • comodo (or, commonly but less correctly, commodo) – comfortable; i.e., at moderate speed; also, allegro comodotempo comodo, etc.
  • con – with; used in very many musical directions, for example con allegrezza (with liveliness), con amore (with tenderness); (see also colcolla, above)
  • con amore, or (in Spanish and sometimes in Italian) con amor – with love, tenderly
  • con affetto – with affect (that is, with emotion)
  • con brio – with spirit, with vigour
  • con dolore – with sadness
  • con (gran, molto) espressione – with (great, much) expression
  • con fuoco – with fire, in a fiery manner
  • con larghezza – with broadness; broadly
  • con moto – with motion
  • con slancio – with enthusiasm
  • con sordina, or con sordine (plural) – with a mute; or with mutes; compare senza sordina in this list; see also SordinaNote: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music.
  • con sordino, or con sordini (plural) (incorrect Italian) – see con sordina, above
  • coperti (plural of coperto, which may also be seen) – covered; i.e., on a drum, muted with a cloth
  • crescendo – growing; i.e., progressively louder (contrast diminuendo)
  • cut time – same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by three quarters of a circle with a vertical line through it, which resembles the cent symbol ‘¢’. This comes from a literal cut of the ‘C’ symbol of common time. Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve.


  • da capo – from the head; i.e., from the beginning (see capo in this list)
  • D.S. al coda or dal segno al coda (or, strictly but rarely seen, …alla coda) – from the sign to the coda; i.e., return to a place in the music designated by the sign and continue until directed to move to the coda, a separate ending section. (See Coda in this list.)
  • D.S. al fine or dal segno al fine – from the sign to the end; i.e., return to a place in the music designated by the sign (see preceding entry) and continue to the end of the piece
  • D.S.S. al coda or dal segno al coda – same as D.S. al coda, but with a double segno
  • D.S.S. al fine or dal segno al fine – from the double sign to the end; i.e., return to place in the music designated by the double sign (see D.S. al coda) and continue to the end of the piece
  • deciso – decisively
  • decrescendo or decresc. – same as diminuendo or dim. (see below)
  • delicatamente or delicato – delicately
  • devoto – religiously
  • diminuendodim. – dwindling; i.e., with gradually decreasing volume (same asdecrescendo)
  • dissonante – dissonant
  • divisi or div. – divided; i.e., in a part in which several musicians normally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves. It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is markedunisono: see in this list.)
  • dolce – sweetly
  • dolcissimo – very sweetly
  • dolente – sorrowfully, plaintively
  • doloroso – sorrowfully, plaintively
  • double stop – the act of playing two notes simultaneously on a melodic percussion instrument or stringed instrument
  • D.S. – Dal Segno (see above)
  • Dur (Ger) – major; used in key signatures as, for example, A-Dur (A major), B-Dur (B♭ major), or H-Dur (B major). (See also moll (minor) in this list.)
  • dynamics – refers to the relative volumes in the execution of a piece of music


  • eco – the Italian word for “echo”; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect
  • ein wenig (Ger) – a little
  • Empfindung (Ger) – feeling
  • encore (Fr) – again; i.e., perform the relevant passage once more
  • en dehors (Fr) – prominently
  • energico – energetic, strong
  • enfatico – emphatically
  • en pressant (Fr) – hurrying forward
  • en retenant (Fr) – slowing
  • eroico – heroically
  • espirando – expiring; i.e., dying away
  • espressivo or espr. – expressively
  • estinto – extinct, extinguished; i.e., as soft as possible, lifeless
  • etwas (Ger) – somewhat


  • facile – easily, without fuss
  • fermata – finished, closed; i.e., a rest or note is to be held for a duration that is at the discretion of the performer or conductor (sometimes called bird’s eye)
  • feroce – ferociously
  • feurig (Ger) – fiery
  • festivamente – cheerfully, celebratory
  • fieramente – proudly
  • fill (English) – a sound (or combination of sounds) which “fills” the brief time between lyrical phrases and lines of melody
  • fine – the end, often in phrases like al fine (to the end)
  • flebile – mournfully
  • focoso or fuocoso – fiery; i.e., passionately
  • forte or f (usually) – strong; i.e., to be played or sung loudly
  • fortepiano or fp (usually) – strong-gentle; i.e., 1. loud, then immediately soft (seedynamics), or 2. an early pianoforte
  • fortissimo – as loudly as possible (see note at pianissimo, in this list)
  • forzando or fz – see sforzando in this list
  • freddo – cold(ly); hence depressive, unemotional
  • fresco – freshly
  • fugue (Fr), fuga (Latin and Italian) – literally “flight”; hance a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses.
  • fuoco – fire; con fuoco means with fire
  • furioso – furiously


  • gaudioso – with joy
  • gentile – gently
  • geschwind (Ger) – quickly
  • getragen (Ger) – sustainedly
  • giocoso or gioioso – gaily
  • giusto – strictly, exactly, e.g. tempo giusto in strict time
  • glissando (simulated Italian) – a continuous sliding from one pitch to another (a true glissando), or an incidental scale executed while moving from one melodic note to another (an effective glissando). See glissando for further information; and compareportamento in this list.
  • grandioso – grandly
  • grave – slowly and seriously
  • grazioso – gracefully
  • gustoso – with gusto


  • H (Ger) – B natural in GermanB means B flat
  • Hauptstimme (Ger) – “head” voice, chief part; i.e., the contrapuntal line of primary importance, in opposition to Nebenstimme
  • hemiola (English, from Greek) – the imposition of a pattern of rhythm or articulationother than that implied by the time signature; specifically, in triple time (for example in 3/4) the imposition of a duple pattern (as if the time signature were, for example, 2/4). See Syncopation.


  • immer (Ger) – always
  • imperioso – imperiously
  • impetuoso – impetuously
  • improvisando – with improvisation
  • improvisato – improvised, or as if improvised
  • in altissimo – in the highest; i.e., play or sing an octave higher
  • incalzando – getting faster and louder
  • insistendo – insistently, deliberate
  • in modo di – in the art of, in the style of
  • intimo – intimately
  • irato – angrily


  • kräftig (Ger) – strongly


  • lacrimoso – tearfully; i.e., sadly
  • lamentando – lamenting, mournfully
  • lamentoso – lamenting, mournfully
  • langsam (Ger) – slowly
  • largamente – broadly; i.e., slowly (same as largo)
  • larghetto – somewhat slowly; not as slow as largo
  • Larghissimo – very slowly; slower than largo
  • largo – broadly; i.e., slowly
  • lebhaft (Ger) – briskly, lively
  • legato – joined; i.e., smoothly, in a connected manner (see also articulation)
  • leggiero – lightly, delicately
  • lent (Fr) – slowly
  • lento – slowly
  • liberamente – freely
  • libero – free, freely
  • l’istesso – see lo stesso, below
  • loco – [in] place; i.e., perform the notes at the pitch written (generally used to cancel an 8va direction)
  • lontano – from a distance; distantly
  • lo stesso (or commonly, but ungrammatically, l’istesso) – the same; applied to the manner of articulation, tempo, etc.
  • lugubre – lugubrious, mournful
  • luminoso – luminously
  • lusingando – coaxingly


  • ma – but
  • ma non troppo – but not too much
  • maestoso – majestically, in a stately fashion
  • magico – magically
  • magnifico – magnificent
  • main droite (Fr) – [played with the] right hand (abbreviation: MD or m.d.)
  • main gauche (Fr) – [played with the] left hand (abbreviation: MG or m.g.)
  • malinconico – melancholy
  • mano destra – [played with the] right hand (abbreviation: MD or m.d.)
  • mano sinistra – [played with the] left hand (abbreviation: MS or m.s.)
  • marcatissimo – very accentuatedly
  • marcato – marked; i.e., accentuatedly, execute every note as if it were to be accented
  • marcia – a march; alla marcia means in the manner of a march
  • martellato – hammered out
  • marziale – in the march style
  • mässig (Ger) – moderately
  • MD – see mano destra and main droite
  • melancolico – melancholic
  • melisma – the technique of changing the note (pitch) of a syllable of text while it is being sung
  • measure – the period of a musical piece that encompasses a complete cycle of the time signature, e.g., in 4/4 time, a measure has four quarter-note beats
  • meno – less; see meno mosso, for example, under mosso
  • mesto – mournful, sad
  • meter (or metre) – the pattern of a music piece’s rhythm of strong and weak beats
  • mezza voce – half voice; i.e., with subdued or moderated volume
  • mezzo – half; used in combinations like mezzo forte (mf), meaning moderately loud
  • mezzo forte – half loudly; i.e., moderately loudly. See dynamics.
  • mezzo piano – half softly; i.e., moderately softly. See dynamics.
  • mezzo-soprano – a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a sopranoand that of an alto.
  • MG – see main gauche
  • misterioso – mysteriously
  • mobile – flexible, changeable
  • moderato – moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato
  • modesto – modest
  • moll (Ger) – minor; used in key signatures as, for example, a-moll (A minor), b-moll (B♭ minor), or h-moll (B minor) (see also dur (major) in this list)
  • molto – very
  • morendo – dying; i.e., dying away in dynamics, and perhaps also in tempo
  • mosso – moved, moving; used with a preceding più or meno (see in this list), for faster or slower respectively
  • MS – see mano sinistra
  • moto – motion; usually seen as con moto, meaning with motion or quickly
  • munter (Ger) – lively


  • narrante – narratingly
  • naturale or nat. – natural; i.e., discontinue a special effect, such as col legnosul tastosul ponticello, or playing in harmonics
  • N.C. – No chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony.
  • Nebenstimme (Ger) – under part; i.e., a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme
  • nicht (Ger) – not
  • nobile or nobilmente – in a noble fashion
  • notes inégales (Fr) – unequal notes; i.e., a principally Baroque performance practice of applying long-short rhythms to pairs of notes written as equal


  • omaggio – homage, celebration
  • one-voice-per-part, or OVPP – the practice of using solo voices on each musical line or part in choral music.
  • ossia – or instead; i.e., according to some specified alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff
  • ostinato – obstinate, persistent; i.e., a short musical pattern that is repeated throughout an entire composition or portion of a composition
  • ottava – octave; e.g. ottava bassa: an octave lower


  • parlando or parlante – like speech, enunciated
  • Partitur (Ger) – full orchestral score
  • passionato – passionately
  • pastorale – in a pastoral style, peaceful and simple
  • pausa – rest
  • pedale – pedal
  • perdendosi – dying away
  • pesante – heavy, ponderous
  • peu à peu (Fr) – little by little
  • pianissimo or pp (usually) – very gently; i.e., perform very softly, even softer thanpiano. This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Note: any dynamics in a piece should always be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder thanppp. Likewise, ff should be executed as loudly as possible, but if fff is found later in the piece, ff should be noticeably quieter. More than three ps (ppp) or three fs (fff) are uncommon.
  • piano or p (usually) – gently; i.e., played or sung softly (see dynamics)
  • piano-vocal score – the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar
  • piacevole – pleasant
  • piangevole – plaintive
  • più – more; see mosso for an example
  • pizzicato – pinched, plucked; i.e., in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco (in this list), which is inserted to cancel a pizzicato instruction
  • pochettino or poch. – very little
  • poco – a little, as in poco più allegro (a little faster)
  • poco a poco – little by little
  • poi – then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud
  • portamento – carrying; i.e., 1. generally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, anarticulation between legato and staccato, like portato, in this list
  • portato – carried; i.e., non-legato, but not as detached as staccato (same asportamento [2], in this list)
  • posato – settled
  • potpourri or pot-pourri (Fr) – potpourri (as used in other senses in English); i.e., a kind of musical form structured as ABCDEF… etc.; the same as medley or, sometimes,fantasia
  • precipitato – precipitately
  • prestissimo – extremely quickly, as fast as possible
  • presto – very quickly
  • prima volta – the first time; for example prima volta senza accompagnamento (the first time without accompaniment)
  • primo or prima (the feminine form) – first


  • quasi (Latin and Italian) – as if, almost, e.g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia

[edit] R

  • rallentando or rall. – Broadening of the tempo (often not discernable from ritardando); progressively slower
  • rapido – fast
  • rasch (Ger) – fast
  • religioso – religiously
  • repente – suddenly
  • restez (Fr) – stay; i.e., remain on a note or string
  • rinforzando (rf) – reinforced; i.e., emphasized; sometimes like a sudden crescendo, but often applied to a single note
  • risoluto – resolutely
  • rit. – an abbreviation for ritardando;[1][2][3][4] also less frequently considered an abbreviation for ritenuto[5][6][7]
  • ritardandoritard.rit. – slowing down; decelerating; opposite of accelerando (see in this list)
  • ritenutoriten.rit. – held back; i.e., slower (usually more so but more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note)
  • rolled chord – see arpeggiato in this list
  • roulade (Fr) – a rolling; i.e., a florid vocal phrase
  • rubato – robbed; i.e., flexible in tempo, applied to notes within a musical phrase for expressive effect
  • ruvido – roughly


  • saltando – bouncing the bow as in a staccato arpeggio, literally means “jumping”
  • sanft (Ger) – gently
  • scherzandoscherzoso – playfully
  • scherzo – a joke; i.e., a musical form, originally and usually in fast triple time, often replacing the minuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc.
  • schleppen (Ger) – to drag; usually nicht schleppen (”don’t drag”), paired with nicht eilen (”don’t hurry”) in Gustav Mahler’s scores
  • schnell (Ger) – fast
  • schneller (Ger) – faster
  • scordatura – out of tune; i.e., an alternative tuning used for the strings of a string instrument
  • secco, or sec (Fr) – dry
  • segno – sign, usually Dal Segno (see above) “from the sign”, indicating a return to the point marked by
  • segue – carry on to the next section without a pause
  • sehr (Ger) – very
  • semitone – The smallest pitch difference between notes (in most Western music), (e.g., F–F#).
  • semplice – simply
  • sempre – always
  • senza – without
  • senza misura – without measure
  • senza sordina, or senza sordine (plural) – without the mute; compare con sordina in this list; see also SordinaNote: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. In piano music (notably in Beethoven’s Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep thesustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely.
  • serioso – seriously
  • sforzando or sfz – made loud; i.e., a sudden strong accent
  • silenzio – silence; i.e., without reverberations
  • simile – similarly; i.e., continue applying the preceding directive, whatever it was, to the following passage
  • slargando or slentando – becoming broader or slower (that is, becoming more largoor more lento)
  • smorzando or smorz. – dying away, extinguishing or dampening; usually interpreted as a drop in dynamics, and very often in tempo as well
  • soave – smoothly, gently
  • solenne – solemn
  • solo, plural soli – alone; i.e., executed by a single instrument or voice. The instructionsoli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony.
  • sonatina – a little sonata
  • sonatine – a little sonata, used in some countries instead of sonatina
  • sonore – sonorous
  • sordinasordine (plural) – a mute, or a damper in the case of the pianoNote:sordina, with plural sordine, is strictly correct Italian, but the forms sordino andsordini are much more commonly used as terms in music. See also con sordinasenza sordina, in this list.
  • soprano – the highest of the standard four voice ranges (bass, tenor, alto, soprano)
  • sordino – see sordina, above
  • sospirando – sighing
  • sostenuto – sustained, lengthened
  • sotto voce – under voice; i.e., softly and subdued, as if speaking under one’s breath
  • spiccato – distinct, separated; i.e., a way of playing the violin and other bowed instruments by bouncing the bow on the string, giving a characteristic staccato effect
  • spinto
  • spiritoso – spiritedly
  • staccato – making each note brief and detached; the opposite of legato. In music notation, a small dot under or over the head of the note indicates that it is to be articulated as staccato.
  • stanza – a verse of a song
  • strepitoso – noisy
  • stretto – tight, narrow; i.e., faster or hastening ahead; also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative passages in other compositions
  • stringendo – tightening, narrowing; i.e., with a pressing forward or acceleration of the tempo (that is, becoming stretto, see preceding entry)
  • subito – suddenly
  • sul ponticello – on the bridge; i.e., in string playing, an indication to bow (or sometimes to pluck) very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental; the opposite of sul tasto
  • sul tasto – on the fingerboard; i.e., in string playing, an indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello


  • tacet – silent; do not play
  • tempo – time; i.e., the overall speed of a piece of music
  • tempo di marcia – march tempo
  • tempo di sturb de neighbors – occasionally seen on jazz charts
  • tempo di valse – waltz tempo
  • tempo giusto – in strict time
  • tempo primotempo uno, or tempo I (sometimes also written as tempo I°) – resume the original speed
  • teneramente – tenderly
  • tenerezza – tenderness
  • tenor – the second lowest of the standard four voice ranges (bass, tenor, alto, soprano)
  • tenuto – held; i.e., touch on a note slightly longer than usual, but without generally altering the note’s value
  • tessitura
  • tranquillo – calmly, peacefully
  • tremolo – shaking; i.e., a rapid repetition of the same note, or an alternation between two or more notes. It can also be intended (inaccurately) to mean a rapid and repetitive variation in pitch for the duration of a note (see vibrato). It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes).
  • tre corde or tc (or sometimes inaccurately tre corda) – three strings; i.e., release the soft pedal of the piano (see una corda)
  • troppo – too much; usually seen as non troppo, meaning moderately or, when combined with other terms, not too much, such as allegro [ma] non troppo (fast but not too fast)
  • tutti – all; i.e., all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti. See also: ripieno.


  • ununo, or una – one, as for example in the following entries
  • una corda – one string; i.e., in piano music, depress the soft pedal, altering, and reducing the volume of, the sound. In some pianos, this literally results in the hammer striking one string rather than two or three. (For most notes on modern instruments, in fact it results in striking two rather than three strings.) Its counterpart, tre corde(three strings; see in this list), is the opposite: the soft pedal is to be released.
  • un poco – a little
  • unisono or unis (Fr) – in unison; i.e., several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves. Often used to mark the return from divisi (see in this list).


  • veloce – with velocity
  • velocissimo – as quickly as possible; usually applied to a cadenza-like passage or run
  • vibrato – vibrating; i.e., a more or less rapidly repeated slight alteration in the pitchof a note, used to give a richer sound and as a means of expression. Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note.
  • vittorioso – victoriously
  • virtuoso – (noun or adjective) performing with exceptional ability, technique, or artistry
  • vivo – lively
  • vivace – very lively, up-tempo
  • vivacissimo – very lively
  • vocal score or piano-vocal score – a music score of an opera, or a vocal or choralcomposition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano
  • voce – voice
  • volante – flying
  • V.S. (volti subito) – turn suddenly; i.e., turn the page quickly



  • Zählzeit (Ger) – beat
  • zart (Ger) – tender
  • Zartheit (Ger) – tenderness
  • zärtlich (Ger) – tenderly
  • Zeichen (Ger) – sign
  • Zeitmaß, also spelled Zeitmass (Ger) – time-measure, i.e., tempo
  • zelozelosozelosamente – zeal, zealous, zealously
  • ziehen (Ger) – to draw out
  • zitternd (Ger) – trembling; i.e., tremolando
  • zögernd (Ger) – doubtful, delaying; i.e., rallentando


  1. ^ http://www.music.vt.edu/musicdictionary/textr/Rit.html
  2. ^ http://www.m-w.com/dictionary/rit.
  3. ^ American Heritage Dictionary, 4th edition
  4. ^ Gardner Read, Music Notation, 2nd edition, p. 282
  5. ^ http://www.dolmetsch.com/musictheory5.htm
  6. ^ Oxford American Dictionary
  7. ^ Collins English Dictionary

Piano Learning Tips

Some Piano Learning and Playing Tips

  • It’s never too late to learn. This is so important. Doesn’t matter if you are 7 or 67, you can still enjoy learning to play piano.
  • The only way to get really good is to practice every day.
  • Learning to play an instrument takes patience, attention to detail, and above all, perseverance.
  • Learn to play keyboard in a style that suits you best, so choose musical genres you enjoy.
  • To learn the piano, you should also understand the parts of a piano.
  • The chords every beginner should learn first are the basicMajor, minor, Augmented, and diminished chords, and seventh chords. These are the most common chords and are relatively easy to play. Learning them first will make the whole experience a lot easier.
  • Having ample video and audio content in hand will make learning the piano or keyboard a lot easier as seeing and hearing helps greatly when learning any musical instrument.
  • Play passionately – without passion, no matter how beautifully you think you can play the piano, pretty much everything will sound dull and boring.
  • Once you have learn some of the piano playing techniques every social occasion, every night with the family or with friends will take on a whole new meaning.
  • Some musical genres are more difficult to learn and master than others.
  • If your fingers are rigid and stiff then trying to get the right notes at the right time will be much more difficult so to get it right try to touch the keys lightly and gently.

How Scales And Chords Connect Together

Jermaien Griggs, Founder of Hearandplay.com shares some very useful information in this video on how to play any song pattern you ever want. But, you need to understand how scales and chords connect to each other and this is what he is teaching in this video.

He has also put together a 12-pg report that goes along with it… download it now.

If you like gospel music, GospelKeys 202 breaks down the idea of “patterns.” Almost three quarters of gospel songs have the same common movements in them. This course is revolutionary in that it breaks down all these patterns and covers the “how,” “what,” and “why.”

Welcome to Best Way To Learn Piano

Hello and welcome to my site. More information will follow in the next few days. Stay tuned!