A beginner-friendly piano trainer that turns practice into a game.

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Plug a digital piano into your browser and Plinky guides you through a score — you read the notation, play it over MIDI, and it grades how you do. No piano handy? Play along on your computer keyboard or the on-screen piano instead. Everything runs in the browser; nothing is uploaded, and your scores stay on your device. New versions install themselves — a fresh build takes over the next time you move between pages or come back to the tab, never mid-run, and never by asking you to click anything. And if that device's storage ever fills up or gets blocked, Plinky says so — a banner warns that progress isn't being saved, and saving a take tells you when it didn't land instead of pretending it did.

There are no version numbers to wait for — every change goes live as it lands. NEWS.md says what's changed recently, and what it means for you.

Practising a score

Open any score and Plinky renders it as real notation, led by a single action: Practice. Pressing it drops into full screen — the score and keyboard to themselves, the screen kept awake (and on a phone the browser's URL bar reclaimed for the music) — and starts a note-by-note guide: read the note, play it, and the cursor advances, sounding it back the way you played it — a quick tap sounds staccato, a held key sustains, and how hard you strike sets how loud it sings. That works on a MIDI piano, the on-screen keys, or your computer keyboard, no pedal required. On the on-screen piano, striking a key nearer its tip plays it louder, so even a tap has dynamics. Hold a key on the on-screen piano and slide across the keybed and the notes glide from one to the next, the way a thumb dragged across real keys does — and the whole keybed plays with a screen reader and arrow keys too, not only a mouse or finger. Full screen is where the rest of the play controls live, so it's the same generous surface on a phone or a wide desktop alike. There you'll also find Listen, which plays the piece back so you hear it first, lighting up each note as it sounds so your eye can follow along. Listen plays it the way it's written — staccato notes clipped short, slurs flowing legato, accents struck harder, and the dynamics (soft to loud) shaping each note — with tied notes held rather than re-struck. Listen and Practice hand off to each other — let the computer play a tricky passage then take over mid-phrase, or play a while and hand it back — and your place is kept, even if you step out of full screen and come back to it; the restart control (or finishing the run) returns you to the top. The notes keep their colour as you switch, so the score tells the story of how it was played — blue where the computer played, green where you read it cleanly, and amber where you found the note only after a wrong key, so a finished piece shows where the run actually hesitated instead of a uniform green that forgets. The staff scrolls to follow the cursor as you go, so a multi-line piece keeps up with you instead of making you scroll — and it stays in its own box so the keyboard below never hides the notes. On a phone — in either orientation — a compact focus strip sits right above the keys showing the bar you're playing, so the notes you need are never out of reach. An (X) leaves full screen, restart takes the run back to the top, and a Set up button slides in the same setup panel you get before a run, so every reading aid and layout choice is a tap away mid-piece without a row of icons crowding the music.

That setup panel — before a run and behind the full-screen Set up button alike — reads like the Settings page: each theme in its own titled card that explains itself. Skill level leads, one choice that sets the reading aids below to match you (tweak any and it reads Custom); then how you play (which hand, keep-up, the metronome), the reading aids (colour, the notes highway, hidden notes, finger numbers), the score layout, and an extra challenge group. In the layout group you can turn follow the note on or off (the score scrolls to keep the note you're on centred), force a set number of bars per row for bigger, more readable notation on a small screen, or switch to treadmill reading — the piece laid out as one continuous line that scrolls under a fixed gaze as you play, so your eyes rest in one place. Turn on the notes highway and the staff gives way to a tall lane of the upcoming notes, descending in each key's column toward the keys as you play (Synthesia-style, two hands coloured apart) — so a beginner can see which key comes next without decoding the staff; it advances by position, so it stays self-paced. Bar numbers on each row's first bar make a passage easy to find (and line up with the loop's from/to), or you can turn them off for a cleaner staff. Beams — the bars that join fast notes into beat groups — can be hidden so a beginner reads one note at a time, shown, or left on Auto, which draws them on harder pieces where the beat grouping helps and drops them on the easy grades. A note-size control magnifies the whole score — bigger, easier-to-read glyphs on a small screen or for a beginner, and it works in treadmill mode too. The notes are coloured by name out of the box — every C red, every D orange — so a beginner reads pitch by hue while the names sink in; turn it off once you don't need it. The played/heard feedback rides behind the notes as a soft highlight, so the colours stay clear as you play. A wrong key flashes red; whether the correct key then lights up is your call — by default it always shows the next note, or you can ask for a nudge only after a slip, or read the music unaided. When the next note is shown, playing it leaves a fading fill on the key for as long as the note is written to last, so you can see how long to keep holding — not just which key to press. A fresh device starts at New starter — every aid on, the notes highway included, because someone who has never read music cannot start at the staff — and finishing the keyboard tour puts you there explicitly. A single Skill level picks all these reading aids together — from a new starter with every help on to a sight-reader reading the bare staff — and you can still fine-tune any of them; it sits in both the run panel and Settings, which now hold the same reading preferences, so wherever you reach for them they're the same set. Your hand size, key mapping, and sound are personal and a level never touches them. Single notes, chords, and two-hand grand staffs all work the same. Turn on Loop and the piece repeats whole; to drill just a passage, tap two bars on the score — they fill red so the stretch you're repeating is clear, and the range (with a Whole song reset) sits right beside the score, so you can also set the first and last bar by number. With a loop set, Show only the looped bars re-engraves just that stretch on its own — key and time signature restated, drawn big, with nowhere else for the eye to go. On a phone it's the difference between practising four bars and hunting for them. Turn on Keep going and a missed note no longer freezes you — playing the next one moves the score along, so one hand's slip never stops the other. And for ear training, turn on Hidden notes: the noteheads start blank (the staff and rhythm stay), you Listen to the phrase first, and each note reveals itself as you find it — green when you get it, red once your tries run out (1 by default, up to 3), so the score you finish with is the story of what your ear caught.

Right in full screen, a finger-positions button swaps the keyboard for a fingering editor: every note arrives pre-fingered with the optimal choice for your measured hand span, and you tap a note then one of the ten fingers below to override it — saved per piece, with the green/amber/red flow feedback always on. While it's open the score washes its bars red by fingering difficulty, a heat-map that shows at a glance where the piece actually gets hard — spot the deep-red bars, tap them into a loop, and drill exactly there. A genuinely easy piece stays clear (nothing to flag), while a uniformly hard one glows throughout rather than washing out.

Practice is self-paced by default, but flip on Keep up and it becomes tempo-locked: after a one-bar count-in, the cursor advances on the beat whether or not you're ready, and any note you don't catch before it passes is a miss (Synthesia / Guitar-Hero style). The notes sound as a guide so you can follow along by ear — or turn that off to read them at tempo yourself. At the end it tells you how many you kept up with.

Practice is about repetition; sight-reading is the opposite discipline, so it has a mode of its own under Extra challenge. Turn on Sight-read this piece and every reading aid steps aside for the run — no note names on the keys, no next-note glow, no colours, no highway, no keep-going — leaving the bare staff. You get a moment to take the piece in first (5, 10 or 20 seconds: key, metre, shape), then it's one run, at your own pace or at the piece's tempo, whichever you pick. Turn on Bars disappear behind you and each bar vanishes once you've left it, so your eyes have nowhere to go but forward — the habit that keeps a reader ahead of their hands. Your first read of a piece is kept as your sight-read of it and never overwritten, because once you've read it, it isn't sight-reading any more; play it again and the panel reminds you what you got.

On a two-hand piece, pick one hand to practise and the run waits only on that hand, skipping the stretches where only the other sounds. Turn on Play the other hand and the app fills that hand in for you — on the beat during Keep up, and in self-paced practice note by note at your own pace: each note you play lays out the other hand up to your next one, so it plays a duet with you and never runs ahead.

When you finish, a short major flourish plays to mark the moment — landing a beat after your last note so it reads as a reward rather than a sound on top of your playing. A fuller arpeggio marks a stronger grade, a warm lift a gentler one, never a downer (it follows the sound setting, so muting silences it). The run is then graded S–F from three things:

• Accuracy — how many notes you found cleanly.
• Timing — how evenly you held the rhythm. Practice is self-paced, so timing is judged against your own tempo — a steady run at any speed reads as in time, and only a note that breaks your pace counts as off. Tapping on a phone or computer keyboard can't be as precise as real keys, so those get a wider window.
• Flow — whether you kept moving like a musician rather than stopping to hunt.

A per-note strip and a tempo graph then show where you rushed or dragged, and on a two-hand piece a line calls out which hand lagged (or that they kept pace). You can race a ghost of your previous best — or a friend's run, shared by link — with a marker tracking along the staff. Once you clear a score it enters spaced repetition, resurfacing for review on a widening schedule so it actually sticks — a one-tap review session walks you through everything that's fading, and you can shelve anything you're not working on right now.

Modes

• Library — the catalogue: bundled scales, arpeggios, and familiar tunes like Twinkle, Twinkle and Ode to Joy, plus anything you import, in two tabs. Search finds something to play: search, star, filter by kind, grade, or what's due now, and open one to practise. Manage grows and safeguards the library: add your own MusicXML score (drag-and-drop, with a staff preview and editable details), download a backup of your imports — or the whole local library including Plinky's built-in pieces — and restore from a bundle. Each piece credits its licence and source. Every piece is commercially usable — public-domain, CC0, CC-BY or CC-BY-SA (shipped unmodified, so the ShareAlike terms stay satisfied) — so the catalogue clears a paid tier. It is drawn from PDMX and the CC0 OpenScore Lieder corpus, solo-keyboard pieces from the Mutopia Project (public-domain, CC-BY and CC-BY-SA), and public-domain choral works from CPDL (Palestrina, Victoria, Byrd, Tallis…) reduced to a two-staff piano grand staff — each credited under its own licence, linked from the play page.
• Daily challenge — one freshly generated phrase, the same for everyone that day, graded and shareable as a "Plinky #N" grid; play it whenever you like, with no streak to keep up. An unplayed day arrives as a little present to open; once played, re-opening the day's challenge shows your result again. Like any piece, the day's phrase leaves through the title line's Export menu — print it, or download it as MIDI or MusicXML, each option explained in plain words. A Warm up tab drills unlimited fresh phrases to prepare for it — and those phrases are yours to shape: pick any of the fifteen key signatures (or read every note in the octave and take the accidentals as they come), set the range the notes are drawn from anywhere on the 88 keys, choose one hand or two, stack up to four notes at once into chords to read down, pick quarters, eighths or a mix, cap the biggest jump between notes, and ask the drill to stay close so the next note lands near the last. Nothing is memorisable — every setting makes fresh notation on the spot.
• Compose — improvise freely and Plinky captures every note, sketching it onto a staff to share or export (see below). Count in works like a play page's Practice: it drops into full screen, and only there do the on-screen keys appear — with the same quick controls as play to relabel or fold them away.
• Ear training — a page of its own at /ear, for the days you're nowhere near a piano. Intervals plays two notes and you name the distance between them on a ladder whose rungs sit at the distance they name, so the answer has a height as well as a word; the levels start on fifths and octaves and fill the ladder in as you go. Chords plays a chord and you name its quality; Scales plays a scale and you name which one it is — both from a grid of choices, climbing from the major/minor pair out to the sevenths, the modes and beyond. Chord progressions plays a run of chords in a key and you name each in order by its Roman numeral, building the sequence chord by chord. Three functional exercises play a short cadence to plant a key first, then ask you to hear against it: Scale degrees (name where one note sits in the key), Intervals in context (name an interval with the key to lean on), and Melodic dictation (write a little tune down degree by degree). Perfect pitch plays one note and you name it on a keyboard. Every round can be replayed as often as you like, and a miss shows what played rather than marking you down. A round is ten questions, and finishing one counts toward your grades the same way playing a piece does — each exercise sits on the grade ladder, so ear practice lifts the same standing and skill rating, and an exercise you've learned resurfaces in your review queue on the same widening schedule as a piece, running its drill in place of a score. Three collectible achievements come with it: opening your ear, a flawless round, and mastering every ear exercise.
• Two tabs per piece — Play holds the score and everything you do with it: reading, listening, practising, playing by ear (the Hidden notes toggle, which blanks the noteheads and reveals each one as you find it) and the fingering editor in full screen (see above), so the drills happen on the real music instead of in separate tabs. Runs keeps your saved performances.
• Your runs — every play page has a Runs tab (and a button beside Practice that jumps to it) giving your saved performances the whole page, so the feature is there to find before you've saved a thing: with nothing yet, it tells you how to make a run (play a piece through, then save it). Each piece keeps your last few, each showing the grade and the accuracy, timing and flow it earned so you can compare attempts at a glance: replay one and it plays back onto the staff in your own timing — on a MIDI piano, even how long you held each key and every press of the sustain pedal, so a note you pedalled rings on in the replay just as you played it — download it as MIDI or MusicXML, save it as a video (an MP4 of your take: the sheet music of what you played with each note tinting as it sounds, above the keyboard where each press lights its key in full and fades while held, so even fast repeats read clearly — with the piece's title, composer and licence burnt in, ready for any chat or feed — offered on browsers that can encode one, Chrome and friends today — pick 16:9 or 9:16 right beside Save, choose the style — the Staff sheet music or a notes-highway of blocks falling onto the keys (Synthesia-style, sized by how long each note is held) — and switch the title or the plinky.fun watermark off if you'd rather (the composer-and-licence credit always stays)), challenge a friend to race it by link, or delete it. From the top of the tab you can challenge a friend with your last run straight away, no save needed. Your fastest complete run is the ghost you race next time — racing is on by default and toggles off under the score's practice options.
• Assignments — a built-in First steps set (the demo tunes, then the easiest studies) is ready to play on day one; beyond it, build an ordered practice list for a student (or yourself): browse or search the whole catalogue page by page, add pieces, drag titles into the right order (or use the arrow buttons), and give each an optional target tempo and note, plus a free-form description for the whole set. The page splits into two tabs — your assignments, and the one you're creating or editing. Save it, edit it later, share it by link, or pass it around as a file; each piece checks off as it's learned. A step whose piece is no longer on the device (a deleted import, a link from elsewhere) is labelled as missing instead of leading to a dead end, and a one-tap action prunes those steps; importing a shared assignment says up front how many of its pieces resolve here, and deleting a score from the Library warns when saved assignments still use it.
• Find your level — a placement test, reached from the You page. Read a drill; if it goes well the next is harder, and three shaky runs stop it. It reports one number and the grade it lands near, so a newcomer starts where they actually read rather than where a dropdown guessed. Every drill is generated on the spot, so nothing in it can be a piece you already know — it measures reading, not memory.
• Handing an assignment back — the loop used to run one way: a teacher shares a list, and never learns what happened, because progress lives on the student's device. Now each assignment offers Hand your results back: type a name and the device turns how the list went into one code to paste into a message. The teacher drops however many arrive into Collect results, reads them as a class table — a piece nobody attempted shows blank rather than failed — and downloads a CSV for whatever they already keep marks in. Nothing is stored on either side; the collect page is a lens over the text in the box. It is not proof and the app says so: a code is written by the device it describes, so it replaces the transcription, not the trust. An assignment can also be handed out straight into Google Classroom (a plain link — no third-party script rides along).
• Your best of this piece — under a finished run: the best each of its six parts has ever been played, and their total. A grade describes one run, so playing the opening beautifully and fumbling the coda scores the same as the reverse and the improvement stays invisible. This can only go up, and it goes up whenever any part of the piece gets better. It counts whole, unlooped readings only — a takeover from Listen or a drilled bar range covers a different stretch of music, and filing that under the same part would corrupt the record it's compared against.
• Notes you take longest to find — on the You page, once you've read enough for it to mean anything. Every practice run already timed how long each note took; this adds it up per note and names the handful that consistently slow you down, against the time a note usually takes you. Reading trouble is rarely spread evenly — it sits on a few ledger lines — and a grade averages that away. The placement test sits this one out: it climbs past your level on purpose, so a long pause there says the drill was too hard, not that the note is hard for you.
• You — your one progress page: the grade you're at on the eight-grade ladder and what's left to reach the next, your skill rating, days practised and notes played, a slow-moving fingerprint of your Accuracy, Timing and Flow, and the pieces due for review — with a one-tap review session to refresh them. Each grade carries an optional About this grade note.

Meet the keyboard — the first item on that checklist, and the only one that needs no piano, no cable and no reading. Six steps for someone who has never touched a keyboard: the black keys come in twos and threes, middle C sits left of a group of two, the white keys are seven names that start over, a black key has two names — and then the leap beginners find hardest, that a dot printed on a staff is a key under your hand. Every step ends in a press, on a real piano or the on-screen keys or your computer keyboard, whichever you have. A key that isn't the one asked for still sounds and simply doesn't count: wandering along the keys is how a keyboard gets learned, and nothing here keeps score. It's entirely optional, and it never asks twice.

On the home page, a gentle, dismissible Getting started checklist explains how Plinky works and walks the first session in order — set yourself up (connect your MIDI piano in Settings, then hand size and key mapping, so everything after is tailored to you), then play your first piece (your first assignment when you have one), then find the level you read at — before pointing out the app's other corners. The steps that put your fingers on keys right away carry a small Jump right in marker, the shortcut for anyone who'd rather play first and configure later. Finding your level sits just after that first piece rather than before it: by then the cursor and the feedback colours are familiar, so the placement test measures your reading instead of a screen you've never seen — and anyone who already plays meets the shortcut past the beginner grades without going looking for it. The Today panel alongside it lists the day's practice as one-tap links — pieces due for review, the daily challenge, and your open assignment's next step ("Continue First steps — step 2 of 5"), which goes straight into that piece; while an assignment is open, its next step stands in for the generic something-new suggestion, so the path you (or your teacher) chose is always one tap from the front page. The first time you open a score a one-time tip explains the three modes and the listen-then-play-slowly loop — a guided tour where you land, never a gate on progress.

What the marks mean — a glossary of notation, linked from Help. Every symbol you meet in a score, grouped by what it controls: how long a note lasts, how you touch it, how loud it is, and where on the page you are. Each one gets a bar of real notation, drawn by the same engine that draws your pieces, and a Hear it button. Where the mark changes the sound there is a second button that plays the same music without it, so a staccato dot stops being a dot and becomes the short, detached sound it asks for. Where a mark instructs your hands rather than the sound — a slur, a clef — there is one reading and no pretence of a difference to hear.

In this piece — the setup panel before a run lists the marks the piece you're about to play actually uses, each one a link straight to its glossary entry. A reference nobody knows to open teaches nobody: if you meet a curve over two notes you can't look up "slur", because not knowing the word is the problem. So the piece names them for you, where you're about to read them. It's worked out from the music itself rather than from the grade — the grades measure how hard a piece is to play, and ties, rests and key signatures turn up as often in grade 1 as in grade 8 — so a piece with nothing unusual in it says nothing at all.

Composing

Play whatever you like — on a MIDI piano, your computer keys, or the on-screen keyboard — and Plinky records every note and sketches it onto a staff as you go. The playback is exactly what you played; the staff is an approximate sketch, snapped to a grid so it reads as notation, with simultaneous notes drawn as chords. Play along to the metronome with a one-bar count-in for a tidier rhythm, set a checkpoint to keep the good part and retry the tail, then share the take by link or download it as MIDI or MusicXML. Open a MIDI or MusicXML file back in to pick up where you left off on another device.

Sharing

Every graded run can become a Wordle-style grid — six moments in five colour bands, no numbers — to copy, post, or save as an image. Each cell folds Accuracy, Speed and Timing into one square, coloured by the weakest of the three, so a moment is only as good as its shakiest aspect. Unlike the practice grade, which stays gently self-paced, the card is an honest snapshot: Speed scores how close you played to the piece's own tempo, so a slow, careful run (a mouse plodding across the on-screen keys) shows red even with every note right. And it's one row per hand — a single row for a one-hand piece, a right row over a left row once both hands are in play, so a lagging hand shows as a redder line against the other. The daily challenge shares as Plinky N, so everyone compares the same run, and the You page shares your lifetime fingerprint of the practice grade (Accuracy, Timing and Flow).

Earned moments also surface their own milestone card on the run summary — your first S on a piece, reaching a new grade, or a flawless run — to share or save. Each appears at most once and never interrupts; it just waits beside your results. All of them land permanently on the You page's Achievements shelf: every grade you've ever reached, your first bronze/silver/gold star, the first S, the flawless run, and cumulative days-played and notes-played targets — unearned badges stay visible as goals, and taking a break never removes one.

Bring your own scores

Drag in a MusicXML file (.musicxml, .xml, or compressed .mxl) exported from MuseScore, Sibelius, Finale, or Dorico, and it joins your catalogue — playable and graded like any other, saved on your device. Preview the staff, set its grade and details, then add it. Export your whole library as a pack to back it up or hand it to a student.

Taking your progress with you

Everything Plinky remembers lives in this browser and nowhere else — which is what lets it work with no account and send nothing anywhere, and also means a new phone would otherwise start from zero. Settings → Your progress downloads the lot as a single file: grades and the review schedule, saved takes and ghosts, worked-out fingerings, preferences, achievements and your score library. Restore it on another device — or back onto this one if its storage is ever cleared — and Plinky picks up where you left off.

Restoring replaces what's on the device rather than merging into it, so a piece you deleted before backing up doesn't come back to life; it asks before it does that. If the device is out of room the restore stops rather than half-landing, and says so — nothing already there is touched.

Playing

• With a digital piano — connect it over USB or Bluetooth MIDI and click Connect MIDI; Plinky reconnects it automatically on your next visit. Web MIDI is available in Chrome, Edge, and Firefox on desktop and Android; Safari and iOS do not expose it — there, let Plinky listen instead (below) or use the keyboard fallback.
• With an acoustic piano (or any piano, no cable) — start listening in Settings and Plinky hears your playing through the microphone, one note at a time, feeding the same practice flow a MIDI keyboard does. Pitch heard from a room is wobblier than a wire, so mic runs are graded with the same generous, widened timing windows as the keyboard fallbacks — it should feel encouraging, never picky. Works everywhere a microphone does, including Safari and iOS. For the clearest hearing, run Tune to your piano once from Settings: a short guided wizard listens to your room, asks you to play middle C, then a soft and a firm note, and remembers a tuning for that device — its noise floor, octave and loudness — so soft notes aren't missed and a quiet or bright piano still reads true.
• With your computer keyboard — the bottom letter row plays the left hand (Z X C V B N M the white keys, S D G H J the black) and the top row the right hand an octave up (Q W E R T Y U white, 2 3 5 6 7 black), each a full C-to-B octave, with an octave shift to move around; remap any of these keys to your own layout in Settings — where you can also bind a spare key (one no note uses, Space included) to each of the three pedals (sustain, sostenuto, soft), so a computer-keyboard player can hold the sustain pedal just like a pianist. (Two-hand pieces span both staves, so a MIDI keyboard is the comfortable way to play those.)
• With the on-screen piano — tap the keys shown under each score. On a wide-ranging piece the keyboard shows a moving window that follows the notes you're playing, so the keys never shrink to slivers; set its width — 1, 2 or 3 octaves, or the whole piece fixed — in the Practice tools drawer. Handy on a phone or tablet with no MIDI or keyboard.

Still learning where the notes are? The keys can carry their note names — every key, or just the C keys as orientation landmarks (the white key left of each pair of black keys), or none once the map is second nature — set under Settings. They can also read as do re mi rather than letters: in French, Italian, Spanish, Portuguese, Romanian, Russian, Greek and much of Asia those are the note names, not a beginner's crutch, and the syllables follow the language you're reading Plinky in. Every key is labelled by default, so a first-timer can find any note straight away.

If your piano has lights, Settings → Light up my keyboard sends what Plinky plays back to it, so Listen shows the notes on the instrument as well as sounding them. It's off by default: a sound module on the other end would start playing along uninvited.

Every keyboard shows a small badge in its corner — a green tick the moment a MIDI piano is connected, a quiet plug otherwise — so you can see at a glance whether your instrument is hooked up.

Sound is synthesised in the browser, so the on-screen and computer keyboards make sound everywhere — MIDI is only for input from a real piano. iPhones normally mute browser audio under Silent Mode, so Plinky declares itself a playback audio session (iOS 16.4+) to play through it like a music app, and re-wakes sound after a call or app switch interrupts it. On an older iPhone, or if you still hear nothing, turn Silent Mode off (the side switch, or the Action button on iPhone 15 Pro and later) and turn the volume up — Plinky shows a one-time reminder on iOS. Opening Plinky from inside a social app (Instagram, TikTok, Facebook, …) runs it in an embedded browser that blocks sound outright; there the reminder points you to open the page in Safari instead.

Plinky installs from your browser like an app and works offline once loaded. When a new version ships it waits quietly rather than reloading mid-task: a banner offers it, and the app updates only when you choose to reload. Even when an update arrives from another tab, a reload never interrupts a run in progress — it waits for the run to finish. And if updates can't be installed on a device at all, Plinky says so in a dismissible notice instead of silently falling behind.

How it works

A single-page app built with React Router in SPA mode. Web MIDI delivers note input and Web Audio drives playback from one shared audio clock. OpenSheetMusicDisplay renders MusicXML, and Plinky walks its cursor to match the pitches under each position against what you play — the same engine behind every mode.

Translations

Plinky speaks 26 languages, and contributions are welcome — see TRANSLATING.md for how to add a translation. Untranslated strings fall back to English, so every language always works while it catches up.

Plinky talks like a piano teacher who is glad you showed up: it invites rather than instructs, and never nags about a missed day. VOICE.md is the contract every string keeps — worth a read before writing copy or translating it, since the register is part of the string.

News banner

The home page can show a small "what's new" picture that links somewhere — a new piece, an announcement, a seasonal note. It's optional and edited outside the code so anyone can change it live, with no redeploy: the running app fetches the current items from a Sanity project at load time. The document schemas live in studio/, and every change to them redeploys the hosted Studio from CI.

Publish more than one item (up to three, newest first) and the banner becomes a gentle carousel: it advances on its own every few seconds, and a reader can step through it with the chevrons, the position dots, or a swipe. The moment they navigate by hand it stops advancing on its own, so it never pulls a picture out from under someone who is reading it — and it doesn't auto-advance at all when the device asks for reduced motion.

To connect it, copy .env.example to .env.local and set VITE_SANITY_PROJECT_ID and VITE_SANITY_DATASET. In Sanity, add a news document type with an image (plus alt text), a link URL, an optional headline, and a show boolean, and a singleton siteSettings document with a newsEnabled boolean — the master switch for the whole board. The editor uploads a picture and publishes, and the banner appears; the most-recently-updated shown items rotate, newest first. Flipping newsEnabled off (or a single item's show off) hides them again, all without a redeploy. Only https image and link URLs are shown, and a missing or unreachable source simply shows nothing — the banner never blocks or breaks the page. Leave the variables unset and no banner appears and no network call is made.

Help page

The ? in the header opens a help page that explains Plinky area by area — one section per part of the app, and it drops you on the section for the page you came from. Like the news banner, the content is edited outside the code in the same Sanity project, so anyone can write and update it live with no redeploy, and it's translated: a reader downloads only their own language.

The app owns the sections (their titles are translated with the rest of the UI); Sanity holds the blocks inside them. The helpItem document type (see studio/) carries a pageKey (which section it belongs to — gettingStarted, home, play, library, daily, compose, assignments, you, review, or settings), an order, an optional image (shared across languages) with internationalized alt text, an internationalized text body, and an optional link. Publish a block and it appears under its section; a section with no blocks shows a short "on the way" note. Only https image and link URLs are shown, and an unreachable source falls back to the section skeleton — help never breaks the page. It reuses the news banner's VITE_SANITY_PROJECT_ID / VITE_SANITY_DATASET.

About page

A small heart in the footer opens /about — the two people behind Plinky. Marisol "La Jefa" heads the whole operation and gives Plinky its warmth and welcome; Sebastian writes the code. The page is a plain prerendered route (their portraits live in public/, the copy is translated with the rest of the UI), with a short note on why Plinky is a calm place to play rather than one more thing to keep a streak on.

The board

The board is Plinky's pin-board of artists worth following — pianists and composers the content team wants to put in front of players, each with a picture, a short blurb, and a follow link. Recognized social links (Instagram, TikTok, YouTube, X, Bluesky, Threads) get their platform's icon on the follow button; anything else becomes a plain visit link. Like the news banner and help page, the content lives in the same Sanity project and is edited live with no redeploy, and blurbs are translated: a reader downloads only their own language.

The boardArtist document type (see studio/) carries a name, an image (shared across languages) with internationalized alt text, an internationalized text blurb, a link URL, an order, and a show boolean. Publish an artist and the card appears; flip show off and it disappears, all without a redeploy. Only https image and link URLs are shown, and an unreachable source simply shows an empty board — the page never breaks. It reuses the news banner's VITE_SANITY_PROJECT_ID / VITE_SANITY_DATASET.

Composer pages

Every composer credited in the catalogue gets a page at /person/<name> — all of their pieces in one place, easiest first, each one tap from being practised. The composer's name on a play page links there. Spelling variants across the source corpora ("J.S. Bach", "Johann Sebastian Bach (1685 - 1750)") are canonicalized so one composer owns one page.

Follow Plinky

Every page ends with a slim footer linking to Plinky's own channels — Instagram, Facebook and the source itself on GitHub.

Development

The project builds with Node.js and npm:

npm install      # install dependencies
npm run dev      # start the dev server
npm run typecheck
npm test
npm run arch     # check the layered-architecture rules
npm run build    # emit the static site to build/client
npm run scores   # regenerate the bundled exercise scores
npm run mutation # measure test quality with Stryker (see below)

npm run mutation runs Stryker over the pure core/ layer: it rewrites the code with small faults and reruns the tests, so a surviving mutant marks an assertion the suite is missing — a gap that line coverage can't reveal. It is a slow, manual quality check, not part of the CI gate; the score is ratcheted in stryker.config.mjs.

The codebase is a stack of layers — a pure core/ domain under an app of ports, adapters, stores and components — described in ARCHITECTURE.md and enforced by npm run arch. A pull request runs typecheck, tests, the architecture check, and a production build; merging to main publishes the built site to https://plinky.fun.

License

0BSD, REUSE-compliant.