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How to Play Piano: for Beginner’s Learning Skills
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1. Posture for Playing Piano
First, let’s sit in front of the piano. If you look at the piano keyboard, you’ll notice it consists of many black and white keys arranged in a specific pattern. The black keys appear in sets of two and three, creating a visual regularity. Each set corresponds to the musical scales from Do to Si, with the order from left to right being: Do, Do sharp, Re, Re sharp, Mi, Fa, Fa sharp, Sol, Sol sharp, La, La sharp, and Si. The keys on the left produce deeper sounds, while those on the right sound higher.
Now that you have a basic understanding of the keyboard, it’s time to place your hands on it!
To begin, position your right thumb on the middle Do, which is directly in front of you. The other fingers should follow in order, resting on the natural notes from Re to Sol. Remember, the natural notes from Do to Sol are all white keys. Next, place your left hand over the set of natural notes from Do to Sol to the left of the middle set. Your little finger should be on Do, your ring finger on Re, your middle finger on Mi, your index finger on Fa, and your thumb on Sol.
Make sure to keep your shoulders relaxed and your back straight. Check that your elbows are close to your body and that your wrists are elevated above the keyboard. You can now warm up by playing the notes from Do to Sol, using both hands one at a time. Play each note clearly and slowly. We will explore proper hand posture in more detail in the next chapter.
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12. Chord
A chord consists of three or more different musical notes played in a same bar of stave. Chords form the harmonic foundation of music, providing essential support and context for melodies. You can observe this when playing the piano; typically, the left hand plays the chords while the right hand focuses on the melody. For instance, the notes Do, Mi, and Sol create a major triad chord. If we lower the second note by a half step, transforming Mi into flat Mi, the chord becomes a minor triad.
In addition to the various combinations of notes that can form chords, there are also numerous ways to play them. You can simply press all the keys simultaneously, play them in an ascending pattern from low to high, or even adopt a waltz style. Moreover, feel free to experiment and create your own types of chords!
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11. Major and Minor
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11. Major and Minor
We have learned how to organize the basic major scale; now it’s time to explore how these scales change and combine to create complete, beautiful, and magnificent music. In addition to the major scale, the minor scale is another commonly used scale. Although there is only a subtle difference in the pitch sequence patterns between major and minor scales, their sounds can be strikingly dissimilar.
You can listen to various pieces of music that utilize both major and minor scales. You may notice that music in a major scale often sounds bright and uplifting, while music in a minor scale is typically described as somber and melancholic. Try to recognize these scales when listening to new music—it might surprise you that many Christmas songs are written in a minor key. Despite their cheerful lyrics, they often evoke a sense of sadness or longing, almost like a lament. This tradition reflects the story of Christmas, centered on the sacrifice of Christ, who died to purify humanity’s sins. Similarly, many contemporary pop songs express the feeling of loneliness during what is often perceived as a joyous season.
The pattern of the minor scale is Whole-Half-Whole-Whole-Half-Whole-Whole. To play a C minor scale on the keyboard, start from middle C. The notes will be C, D, ♯D F, G, ♯A, and returning to C.
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10. Music Scale
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10. Music Scale
A scale is an ordered sequence of musical pitches that typically range from low to high. The common names for these pitches are Do, Re, Mi, Fa, Sol, La, and Si. This sequence of notes repeats every octave, corresponding to the letter names C, D, E, F, G, A, and B. It’s important to note that "A" does not start on "Do"; instead, it begins with "La." Therefore, if you continue counting, you'll find that "Do" corresponds to C.
Do you remember the order of notes on a keyboard? Most pitches have sharp (♯) and flat (♭) variations, but there are no black keys between Mi and Fa or Si and Do. This is a unique characteristic of scales. For example, when moving from Do to Re, you advance by two steps on the keyboard which is one pitch on the stave (moving from Do to sharp Do before reaching Re on piano keyboard, while moving from C to D on the stave). In contrast, moving from Mi to Fa requires only one step but it is a whole. The specific pattern of whole and half pitch intervals is: whole, whole, half, whole, whole, whole, half. This pattern creates a harmonious sound.
Different scales can evoke various styles and emotions in music. For instance, the C major scale is one of the most common and foundational scales, known for its stable and bright sound. Many pieces of music, even those starting in different scales, often return to C major for a satisfying conclusion.
To change a scale to a different pitch, you simply follow the whole-whole-half-whole-whole-whole-half pattern. It might help to remember this pattern as 2-2-1-2-2-2-1 if you are doing it on the piano keyboard. For example, starting from E, the next note in the E scale is F♯ (sharp F), as it takes two steps to reach F♯ from E. The sequence continues with G♯, A, B, C♯, D♯, and then back to E.
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9. Dynamics
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9. Dynamics
Have you ever wondered what the letters "f," "mf," "mp," and "p" mean when you see them on sheet music? These notations are referred to as dynamics, which indicate the volume at which music should be played. They originate from the Italian terms "fortissimo" (very loud) and "pianissimo" (very soft). Understanding these dynamics can help you not only gauge the intensity of the music but also sense the emotions conveyed through varying levels of volume.
The letter "f" indicates a strong or loud sound, while "p" signifies a soft or quiet one. If you encounter "mf" or "mp," these represent moderately loud and moderately quiet, respectively. The loudest dynamic is denoted by three "p"s, "ppp," while the quietest is marked by three "f"s, "fff."
To illustrate, playing with "f" could be likened to typing on a keyboard with frustration—it's loud but still controlled. In contrast, playing "p" feels more discreet and subtle. However, it's important to remember that dynamics are not rigid rules; you can interpret the music according to your own understanding and feelings at the moment. Feel free to add your personal touch when playing!
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8. Rhythm - Practice
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8. Rhythm - Practice
To play beautiful music requires good sense of rhythm. Some born with strong sense of rhythm, some might need more practice to built up the skill. Fortunately, we can strengthen the sense by practice, and the good news is beat practice is fun!
We can start the practice from four meters set, like a 4/4 stave. Take out an empty stave and range the bars. The quarter notes are usually considered as one second long, so we can make the first bar full of four quarter notes as a warm-up to play. Then replace one of the quarter notes in the second bar by two eighth notes. Then gradually add the options like sixteenth note, rest, or even dotted note. Be aware to count the beats to match the time signature.
After the rhythm practice, we also need to practice to play two diffrence rhythm by both hands. Start from playing the basic four beats with left hand and varied rhythm with right hand. Then swich them. Eventually, youi will be able to hit the beat with your both hand individually.
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7. Rest Note
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7. Rest Note
Rest marks are used to indicate silence in the musical staff. Just like musical notes, the shapes of rests determine their duration.
Whole rests and half rests are quite similar, as both are rectangular. However, the whole rest is attached to the lower side of the fourth line, while the half rest is attached to the upper side of the third line. The quarter rest resembles a lightning bolt, and it is sometimes drawn like a stick with a fruit on its left side. In contrast, the eighth rest looks like a stick with a fruit on its right side.
The sixteenth, thirty-second, and sixty-fourth rests follow the same logic as notes: each subsequent rest is half as long as the previous one and is illustrated with one additional 'fruit'.
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6.Time Signature
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6.Time Signature
A set of time signature consists of two individual numbers, one occupy on the first line to the third line on the stave, ans the other occupy on the third to fifth line. You can find the time signature following the clef at the beginning of the staff. The upper number indicates how many beats are contained in each measure or bar, while the lower number signifies the note value that represents one beat.
For example, in a 3/4 time signature (referred to as "three-four time"), each measure contains three beats, with a quarter note representing one beat. In a 6/8 time signature (known as "six-eight time"), each measure accommodates six beats, with an eighth note representing one beat.
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5. Beat of Notes
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5. Beat of Notes
Look at a stave, you will see that there are many different types of notes on the staff, and each variation has its own reason for existence. As we discussed earlier, the shape of a note determines its duration.
The whole note, which is represented by a hollow circle without a stem, is considered the "big brother" of the notes. The next type, the half note, is also hollow but features a stem and lasts half the duration of a whole note. Following that is the quarter note, which has a solid black core and represents half the length of a half note. After the quarter note come the eighth note, sixteenth note, and thirty-second note. The eighth note resembles the quarter note but is distinguished by a small tail on its stem. As the notes continue to decrease in duration, each subsequent note gains an additional tail: two tails for the sixteenth note, and three for the thirty-second note. Occasionally, composers may create even smaller notes, and you can determine their duration by counting the number of tails.
You might also encounter notes with a dot placed after them; these are called dotted notes. Dotted notes extend their original duration by half. For instance, a dotted half note in a 4/4 time signature lasts three beats. How is this calculated? It consists of the two beats from the half note plus one additional beat contributed by the dot. Similarly, a dotted quarter note written in a 3/4 time signature lasts 1.5 beats, since the dot adds 0.5 beat to the one beat of the quarter note.
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4. The Keyboard and the Scale
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4. The Keyboard and the Scale
We previously discussed how to recognize the Do notes, and now it’s time to explore the entire keyboard. Although there are a total of eighty-eight keys, which may seem overwhelming, we only need to focus on a repeating set of twelve keys. This set includes seven white keys and five black keys that correspond to the sharp or flat versions of the main notes.
The complete set of keys ranges from Do to Si. You can easily locate these notes by observing the pattern of the black keys, which are arranged in groups of two and three. The note Do is located immediately to the left of the first black key in each group, while Si is found to the right of the last black key. Thus, the sequence from Do to Si—including the black keys in between—appears as follows: white, black, white, black, white, white, black, white, black, white, black, and white. The notes in this sequence are: Do, sharp Do, Re, sharp Re, Mi, sharp Mi, Fa, sharp Fa, Sol, sharp Sol, La, sharp La, and Si.
It’s important to note that each black key has two identities: it can represent either a sharp or a flat note. A sharp note is a half step higher, while a flat note is a half step lower. For example, sharp Do is also known as flat Re, and flat Mi can be referred to as sharp Re.
You may have noticed that there are no black keys between Mi and Fa, as well as between Si and Do. This is because Fa is already a half step higher than Mi, leaving no space for an additional key—similarly, Si is a half step higher than Do.
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3. How to Read the Staves - Practice
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3. How to Read the Staves - Practice
If you’re teaching your child to play the piano, you can make learning fun by practicing notes and finger numbers as a game!
Start by drawing some notes with numbers on a blank staff. Encourage your child to play the notes using the correct fingers. Begin with single notes, and once they feel comfortable, you can introduce simple rhythms.
You can even let your child create their own music! They can decide how they want to play it, turning practice into a playful game. When arranging finger numbers for a series of notes, think about what feels easiest for them and ensure it fits the rhythm.
Sometimes, players have their own unique ways to play music. For example, an easy way to play "La, La, La, La" is to use finger number 2 for each note (2, 2, 2, 2). However, it’s perfectly fine if they want to try a more challenging way, like using fingers 2, 3, 4, and then back to 3. There isn’t just one correct way to play!
So, let your child know it’s okay to explore different fingerings. The key is to encourage them and have fun making music together!
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