In a compact case design not dissimilar to the Privia PX-830, features include a four-layer dynamic stereo piano sample, 128 note polyphony, 88-note Tri-Sensor scaled hammer keyboard, plus a resonance effect that mimics the sound of the dampers being released from the strings.

Available from the spring with prices ranging from $899.99 to $1,399.99.

Casio has certainly pulled out all the stops with this one, which offers four-layer dynamic stereo piano samples with seamless transitions and a wide dynamic range — in other words, more realism.

In-built is the simulated sound of open strings when the dampers are raised, thanks to the Acoustic Resonance DSP.

128 notes of polyphony should ensure complex performances, pedal use, and layered sounds don’t result in dropped notes.

How an instrument feels to play is critically important, and Casio’s “Ivory Touch” Tri-Sensor scaled hammer action keys should satisfy in that department.

There are 16 tones built in, a duet mode that allows simultaneous playing by two people in the same range, plus a two-track recorder.

Available from April, with a price tag of $1799.99 for the black polished cabinet edition or $1399.99 for the black matte version.

Casio

As you’d expect, Yamaha has once again upgraded its PSR series — the PSR-E set in fact — with the PSR-E423.

This 61 key (5 octave) touch sensitive keyboard offers a range of functions that make it ideal for both beginners and improvers, whatever style of music they’d like to get into.

So, while it can’t rival a full-size digital piano, it will give a pretty good introduction to anyone seeking to learn.

It may not match the most advanced synths around, but it does include features such as an arpeggiator, tonal filtering, and pitch bend.

For music composition and inspiration, the Arpeggio feature has 150 patterns that change dynamically based on what notes and chords are played, while there are 700 dynamic voices to whet your appetite.

Yamaha’s keyboards have always had advanced rhythm and accompaniment sections, and the PSR-E423 expands things yet again with the inclusion of Arabic, Indian and Chinese content. And with 16MB memory, 64 note polyphony plus organ flutes function, It’s definitely no pushover.

Full specifications below. Exact pricing and availability to be confirmed.

The three models, including the full-size (9 foot) CFX concert grand, the CF4 (6′3″) and CF6 (7′), are based on extensive research and development including play testing with some of the world’s top classical performers.

The new CF Series is unique in that many artists got involved with the design,” said Mark Anderson, marketing director for Yamaha’s Keyboard Division. “Most excelled in all music genres, but the focus was on classical performance. The result is an instrument that will appeal to the world.”

“We compared prototypes on stage in large concert halls against the best our competition had to offer in order to evaluate their positive qualities, as well as their limitations. Using this knowledge, we can now offer players incredible artistic possibilities.”

The CFX replaces Yamaha’s acclaimed CFIIIS concert grand piano.

Full specifications and exact launch date are to be confirmed.

The top-of-line CP1 features the new NW-STAGE weighted wooden keys plus Yamaha’s new Spectral Component Modelling process which is touted to reproduce the sound and expressiveness of acoustic and vintage electronic pianos better than any previous audio technology.

It replicates the instrument’s physical components, including the hardness of the hammers, resonance of the sound board and the striking position of the hammers, for an ultra-realistic tone generation.

If that weren’t enough, there’s also Virtual Circuit Modelling which replicates the effect units, amplifiers, compressors, EQ and other equipment that were so essential in creating many of those legendary vintage sounds.

Finally, there’s a huge range of effects including VCM emulations of a number of historic pedals.

With all that on board, it’s good to know there’s 128-note polyphony to play with.

The CP5 and CP50 offer a slightly cut down range of features.

The CP1 is available now, while the CP5 and CP50 are expected in April.

Check out the full specifications of the keyboards below:

It attempts to bridge the gap between a high-quality digital piano and the versatility of other keyboards, by including a wide range of high-quality sounds and accompaniment styles as well as cutting edge digital piano touch and sound.

As you’d expect from Yamaha, you get a great 88-key Graded Hammer Standard action and AWM sounds. You also get some of the best from Yamaha’s other keyboard instruments, such as 131 voices that include Sweet, Cool and Live voices, 191 interactive auto-accompaniment styles, plus XGlite song file compatibility that allows professionally-produced MIDI files to be loaded on to the instrument.

Full specifications should be available nearer to launch date, expected March 2010. As well as the spinet style cabinet, the set up comes with a padded bench.

If you’re after a simple keyboard where attention has been paid more to the feel and sound than additional features, the SP170 could be for you.

The ten sounds — two acoustic pianos, two electric pianos, harpsichord, clavichord, vibraphone, pipe organ, electric organ and strings — are selectable via the keys themselves, eliminating the need for buttons and leaving more room for the two 10cm x 5cm oval speakers, driven by 9W x 2 amplifier. There’s a reasonable 120 note polyphony (60 notes per stereo channel).

Korg has implemented its Natural Weighted Hammer Action system which promises a realistic feel — keys in the lower range are more heavily weighted than those in the upper range. Then again, every digital piano manufacturer offers something like this now, so you’ll need to play one to see if the feel is right for you.

Other functions include transposition, pitch control, MIDI output and damper pedal jack (just one pedal, it seems). Also two headphone/line out jacks.

It’s available in either black or white finish, weighs in at just under 27lbs and measures 51.65″ (W) × 12.8″ (D) × 5.24″ (H).

It has a RRP of $499.99.

Product page

But what exactly is polyphony?

In pure musical terms, polyphony is used to describe two or more independent melodic voices. This is in contrast to monophony (a single voice) or homophony (a single melody with chords).

However, when it comes to electronic musical instruments, we’re simply concerned with how many tones can be sounded at any one time.

These sounds don’t have to be melodic — in fact they don’t even necessarily have to be audible to the human ear!

Polyphony is the number of sounds an instrument can generate simultaneously.

That’s the theory, and in principle it’s pretty simple. In practice, however, things get a bit more complicated.

Let’s take a look at a digital piano. It may say that it has 64 note polyphony. That sounds rather a lot, right? After all, you only have ten fingers so you can’t play more than ten notes at any one time.

Correct — in part.

However, consider how most pianists play the piano, with judicious use of the sustain (damper) pedal.

Now consider that, in a digital piano (as opposed to an acoustic one, which effectively has unlimited polyphony) every single note counts towards the total polyphony from the moment it is first played, when a key is struck, to the moment its sound finally decays.

Long passages of music with heavy use of sustain could have tens or even hundreds of notes sounding at any one time, which is why a high polyphony count is generally considered a good thing.

If any instrument “runs out of sounds”, then generally new sounds take priority and currently playing sounds are abruptly cut off. This can produce an unnatural, clipped sound.

Now let’s look at a synthesiser instrument.

You may assume that every note you play is a single sound, but your selected sound might be a composite of several sounds. That eats into polyphony.

As a further complication, some manufacturers “bank” polyphony into two or more groups. So, an instrument that claims 128 notes of polyphony may in fact offer two distinct groups of 64 notes. Some sounds may be available in one group but not the other, so, depending on which sounds you select, you may not always get full polyphony.

Now consider the use of rhythm and other accompaniments on home keyboards.

Every auto-accompaniment you play could be using multiple sounds at any one time, reducing the amount of polyphony remaining for the sounds you wish to play over the top.

And finally, it’s fairly obvious that if you are using either an on-board sequencer, or one on your computer that uses the keyboard’s own sounds, then you’ll need more polyphony in order to play two or more tracks of sounds simultaneously.

So, when purchasing a keyboard instrument or synth unit, consider its polyphony and whether it will be sufficient for your needs.

Generally, the higher polyphony the better, though you will pay more for the privilege.

Image by Horla Varlen

Then the other day I decided to play around with the three electric piano voices, and in fact found that I loved them.

Not only did I love them, but it forced me to play in a different style.

Things that sound great on an acoustic piano don’t always work on an electric piano.

Similarly, things that a normal piano sound can’t give you (ringing echoes or shiny vibrato, for example) are natural on some electric piano sounds.

Of course, if you’ve got a synth you can choose pretty much any sound imaginable, but the beauty of picking other keyboard sounds is that the method of playing them is still natural.

That being said, there’s a big technique and performance difference between playing a piano, an EP, a harpsichord, or any other keyed instrument.

That’s not to say you can’t extend the concept and play a whole range of different sounds, but if you’ve got a digital piano with a few additional sounds, why not crack them open a bit more often than you usually do?

This is an especially good technique if you improvise a lot but have got stuck in a rut. Even if you end up playing the same chord structures, I bet you’ll find new ways of playing to suit the sound.

Experiment and have fun!

View a range of Christmas Carols Music Books at Amazon.

Moving along on our series on mastering Christmas Carols on Piano and Keyboard, we come to “We Wish You a Merry Christmas”. Purists might say this isn’t a carol, but we won’t worry too much about that at the moment.

Introduction

Like Silent Night, We Wish You A Merry Christmas is in 3/4 (waltz time).

The version presented here is played in G Major. This is a fairly easy key to play in (one sharp – F# – though there are some occasional accidentals along the way) and, importantly, to sing in.

Main Melody

You’ll notice that the main “We Wish You a Merry Christmas” line is repeated three times, rising in pitch but with the same basic melodic shape.

For each phrase, the first and second notes are a perfect fourth apart (find out more about songs to help you learn note intervals).

The run of notes are fairly easy to play, but it’s worth noting that, in this key, the third phrase begins on the black note of F#.

Here’s the complete melody written out:

Those notes are:

D : G G A G F# : E C E : A A B A G :

F# D F# : B B C B A : G E D D : E A F# :

G D : G G G : F# F# : G F# E : D A :

B A A G G : D(high) D D D : E A F# : G

And here’s what it sounds like:

Single Note Bass Line

Below is a simple bass line for the carol using just one note. Most of the time, you only need to play one note (a dotted minim (half note)) per bar, except in four bars that have a minim (half note) followed by a crotchet (quarter note).

And here’s what it sounds like:

Adding harmony and fullness with additional notes

In the third version of We Wish You a Merry Christmas,, I’ve created some depth by adding some extra notes for the right hand to play, always with the melody note as the highest note. The bass line remains the same, and you never have to play more than three notes in total — one or two with the right hand and one with the bass — at any one time.

And here’s what is sounds like:

Alternative version: walking bass

This final version of We Wish You A Merry Christmas uses a walking bass style for the left hand, adding a little more movement.

Here’s how it sounds:

Chord Sheet

Finally, here’s a chord sheet and lyrics for those who prefer it.

That’s it for now. Happy playing!

View a range of Christmas Carols Music Books at Amazon.

Series Index: Mastering Christmas Carols on the Piano and Keyboard