Things like this make one wonder how the Human race survived its own stupidity: A hundred years ago, some dunce decided that piano students should not be allow to touch a real piano until they had evolved the correct 'touch' playing fake keyboards like this, Some were just printed paper, this one has raised sharps, more advanced ones had real wooden keys - often with adjustable spring tension. IMHO, kinda like using a rubber sex doll to learn the correct 'technique'. (lol)
"A thing may seem impossible...until it's done." --Nelson Mandela
Well I wouldn't compare it to replacing sex with a sex doll really. Piano exercises are often very static and focus on finger placement, so being able to do those exercises without actually playing on a big piano is always nice. Can't lug your grand piano with you everywhere, but you can kind of practice anywhere there is a flat surface if you know the spacing of the keys. Thus, practice keyboards came about.
I remember when I was a kid and learning to play the organ, I'd practice chords on my lap sometimes or a table surface, since it mostly relies on muscle memory.
Back in high school a friend used to teach me basic piano. I made my own paper keyboard to reinforce what I learned because we couldn't afford a piano. It wasn't until 3 or 4 years later that I got my first synth and that paper keyboard was a tremendous help over the years.
meatballfulton wrote:I always though practice pianos were developed back when the instruments were so expensive that many musicians could not afford to own their own.
Unless my brain's implanting false memories (not unlikely), as a kid I attended a theory class that had a small roomful of these plastic keyboards as the teacher stood up at the front & taught. So, partly a budgetary deal, and partly so she didn't have a classful of kids all trying to fumble through Heart and Soul while she talked.
rhino wrote:I am un-moved. No feedback (audible or tactile) means seriously impeded learning curve., and much loss of enjoyment.
Yeah, aside from the issues of cost and convenience in the days before cheap keyboards and headphones, this kind of thing is pretty indicative of the 'learning as penance' ethos that's probably ruined the piano for as many as it has taught.
Both George and Ira Gershwin learned to play piano on pieces of paper with keys drawn on them because actual instruments were prohibitively expensive. It's like they say, "Where there's a will, there's a way"