How to read the notes on the pentagram

Introduction

The pentagram is used exactly like the Fundamental Scale: if we read one at a time lines and spaces upwards, we walk clockwise the same number of names on the Fundamental Scale; vice versa, we walk them counterclockwise. 

---

Pentagram: False Myths

Although it is popularly considered a sort of container in which to write notes, it is often an integral part of them in the process of musical reading . The pentagram defines how many names we must read, in which position of the Fundamental Scale we are, in which direction we must think about it.

But he could not do this alone: unlike the Fundamental Scale, where the names are clearly indicated and clearly distinguish all seven slices of the graph, on the pentagram we have anonymous rows and spaces. Looking at the figure at the top we could interpret any line or space as any name of note from which to start reading, but this would mean proceeding randomly. For this reason, the pentagram cannot be separated in the process of reading from the musical key. Wanting to make a metaphor, key and pentagram are the film set of the Fundamental Scale: since the latter has the potential to repeat itself circularly infinitely, they frame a portion of it to allow us to read within well-defined margins.

The Double Pentagram

Continuing the metaphor, this framing can expand to include many repetitions of the Fundamental Scale: this is the case of the double piano pentagram, which provides for the two keys respectively of violin and bass.

The Bass Key

Let's start with the least known: the bass key indicates that the fourth line starting from the bottom is an fa. Starting from there, and going upwards, we meet the C on the first additional cut:

The Violin Key

Conversely, starting from the line of the G indicated by the violin key, we obtain the same result:

The Central C

Since we can encounter at least one note name written in two different ways, we understand that the two pentagrams have a common point: that same point can be encountered respectively once starting from the bass key and once starting from the violin key.

---

This is evidenced by the fact that from that point forward, up or down, the names of all lines and all spaces are read equally in the two keys. This means that, being able to use an unlimited number of additional cuts, all the names placed in bass key can be written in violin key and vice versa. Fortunately, in the first piano exercises we rarely defeat the three additional cuts in the two keys. If encroachments beyond the three additional cuts are in a first phase rarer, we must know that within three additional cuts upwards or downwards we do not encounter more than three times the same note name. For example, the sol, remaining in the horizon of the three additional cuts upwards or downwards, meets in these three cases:

These are the three sols that can be encountered in a violin key, remaining within the extension of the three additional cuts. Here is another example with the name yes:

The Techniques of Piano Reading Method

In this regard, we observe the diagram below, which shows all three positions of the names of the notes within the three additional cuts:

After counting forty-two different positions in the diagram above it is easy to understand why many of us can take weeks, months or even years to learn to associate the names of the notes with the pentagram. The danger is that this difficulty will continue until the most advanced studies, where the limit of additional cuts extends well beyond the number of three. It is not difficult for this to happen in an adult student, since he is often a victim of the haste of wanting to start a piece of repertoire as soon as possible, perhaps feeling that he does not have time to dwell on the musical rudiments. In the Piano Reading Method we take care of this: you can buy it at the link below.

---

---

Time VS Method

The good news is that as far as note names are concerned, there is no real time for learning the forty-two basic positions: it depends on what method you adopt for memorization work. Unfortunately, it often happens that many teachers do not communicate a real method to their student, or use strategies that are based on the mechanical learning of repetition. Sometimes practical schemes are used, such as memorizing only the lines or spaces of the pentagram, in sequence, creating a great confusion in the head of the student who is led in this way to have a rigid vision of the pentagram and not to know how to orient himself when he is asked to read on several musical keys written simultaneously. The problem is that the latter case happens continuously in the piano literature, which is oriented on two keys: that of violin and that of bass. On the Piano Reading Method we will go against this trend and practice a relatively rapid study technique, which I have personally devised. Wanting to make an average taken from my teaching experience, this technique allows the memorization of the forty-two basic nominal positions in a period of time ranging from three to six days. Let's say you want to memorize the respective three positions of the B and G in a violin key. To do this, you just need to create in your mind a painting full of images, sensations, sounds. It will be quite fun and rewarding: click here to know how you will have to proceed. When this article is published, the Piano Reading Method manual will be discounted to allow the greatest number of students to access it: you can check if the offer is still active by clicking here or in the appropriate banner.

Conclusions

For this article on how to read the notes on the pentagram is everything, do not forget to subscribe to our blog through the email form or WP registration to not miss the next news on the subject. You can consult the Piano Technique category, which you find in the header above or here to read the pages of Piano Reading Method reserved for topics similar to that of the present article. See you in tomorrow's post!