The Beginner's Guide to Learning Piano
Chapter 8
Reading Piano Notes, Timing and Dynamics
The Beginner's Guide to Learning PianoWritten music shows you what to play (notes), when to play (timing) and how to play (dynamics). In this chapter we cover these three areas, building on the basics of reading music introduced inĀ Chapter 5. There, you will also find an introduction on what musical notation is and what advantages being able to read notes brings.Note that this chapter will overlap heavily with any lessons or tutorials you are taking. It cannot replace learning with a teacher, online tutorials or an app. Instead, we hope it can serve as an introduction and a memory aid to help you as you learn.
The notes (what to play)
Flats and sharps
Up to now, we only mentioned the white keys, for simplicity. The black keys areĀ flatĀ andĀ sharpĀ notes. They use the same series of letters (A to G) but add āflatā or āsharpā to identify if they are the black key below or above the white key. For clarity, we refer to the white keys, those that are not flat or sharp, asĀ naturalĀ notes.- Flats(ā) are the black keys below the named note: e.g. Bā āB flatā is the black key below B
- Sharps(āÆ) are the black keys above the named note: e.g. CāÆ āC sharpā is the black key above C
- Naturals(ā®) are the white keys, the named note: e.g. Dā® āD naturalā is simply D
Key Signatures
Starting at C and playing only the white keys, you are limited to the ākey signatureā of C major. This is only one of countless key signatures, one that uses no black keys. When playing in F major, for example, every B drops to Bā, while D major raises F to FāÆ and C to CāÆ. Other keys use far more black keys, and B major uses all five.Unless you want to go deep into music theory, donāt worry about learning which key signature uses which flats and sharps for now. It is always marked in the sheet music. To save space, notes that are consistently flat or sharp are marked with ā or āÆ after the clef symbol at the beginning of each staff.
Accidentals and Naturals
Most music will not stick entirely to a key signature, adding extra flats or sharps throughout. These are called āaccidentalsā. If an accidental is marked, we carry it forward to the next vertical line (this marks the end of a āmeasureā - more detail on this in the āTimingā section). A Bā marked at the start of a measure lowers all following B notes in that measure down to Bā. The next measure will revert to whatever is marked in the key signature at the beginning of the staff.TheĀ naturalĀ (ā®) symbol tells the reader to play the white key, ignoring the flats or sharps in the key signature, or earlier in the measure. This symbol is only valid for one measure.
The bass clef
So far we have concentrated on the top half of the grand staff, theĀ treble clef. This contains notes above middle C, and is usually played by the right hand. The bottom half is theĀ bassĀ clef, which contains notes below middle C and is usually played by the left hand.
Just like the treble clef, you donāt need to count down from middle C to work out the notes. You can use memory aids. Use any of these, or make up your own!
- The fourĀ spacesĀ of the bass clef from bottom to top areĀ ACEGĀ -Ā AllĀ CowsĀ EatĀ Grass, orĀ AllĀ CarsĀ EatĀ Gas.
- The fiveĀ linesĀ of the bass clef are GBDFA -Ā GoodĀ BoysĀ DoĀ FineĀ Always, orĀ GoodĀ BurritosĀ DonātĀ FallĀ Apart.
- TheĀ dotsĀ of the bass clef symbol surround theĀ FĀ (thus it is also called the āF clefā).
Timing (when to play)
Written music is split into āmeasuresā (or ābarsā), represented by thin vertical lines that cross the staff. Within each measure, different symbols represent different note lengths. AĀ whole noteĀ is the longest, with a certain duration depending on the speed of the song. The other note lengths are subdivisions of this whole note. Half notes are half this length, quarters a quarter, eighths an eighthā¦ and so on. You will use these later when we start counting.
Note that eighth notes have a "flagā, cutting the length of the quarter note in half. Sixteenth notes have a double flag, cutting it in half again. To clean up the stave, eighth or sixteenth notes played consecutively are grouped together by joining up the flags. This is called ābeamingā.
Rests
Gaps between notes, where you play nothing, are rests. This is different to holding a note, so a series of half notes will sound different to a series of quarter notes separated by quarter rests. Just like their note counterparts, whole, half, quarter and eighth rests have their own symbol. To mark shorter rests we add a flag. Each rest symbol has the same number of flags as the note symbol (eighth has one, sixteenth has two, thirty-second has three etc).
Time signatures (aka meter)
This tells us how each measure is divided. The most common is 4/4 or ācommon timeā, which has four quarter beats per measure. If you are mathematical, it may help to see it as a fraction. The top figure tells us how many beats are in a measure (in this case four). The bottom figure tells us what time value each beat has (in this case a quarter). By the same logic, 3/4 has three quarter beats to a measure, while 6/8 has six eighth beats to a measure.
This is easier to grasp if you listen to, learn, and play along with examples of different time signatures. Swan Lake (4/4) and FĆ¼r Elise (3/4) are a good place to start (both available in the beginner section onĀ flowkey).
Dotted and tied notes
Note lengths donāt always come in multiples of two, so we need to depict everything in between. We do this by adding a dot to the note, indicating it has the normal length of that note plus an extra half. So a dotted whole note is worth one-and-a-half, while a dotted half note is three quarters. We can also tie two notes together to show that you hold for the length of both notes, mostly used when the extended note crosses over two measures.
Counting
KnowingĀ whenĀ to play involves counting. If you have ever heard musicians calling out numbers before music begins, then you can get an idea. Counting out loud to yourself is fine at first, but over time you will develop the ability to count in your head. Eventually it will come naturally, allowing you to sight read music and stay in time without having to concentrate.Look at the time signature to work out how many counts are in a measure and how long each will be. In 4/4 this will be four quarters, so you count āone, two, three, fourā. You can split these counts in half by adding āandā between them, to make āone and two and three and four andā. This allows us to count measures with shorter subdivisions, dotted or tied notes.Tempo
To count properly, you need to know the speed intended for the piece, known asĀ tempo. Traditionally, this is written in Italian terms like Lento (āslowlyā), Moderato (āmoderatelyā) or Allegro (āfast and brightā). In modern pieces, this is often marked in beats per minute (bpm), referring to the number of quarter counts per minute e.g. ā©= 120 bpm.There is a long list of Italian terms, along with their respective bpm ranges that can easily be found onlin
