Notation Markings in Flute Sheet Music: Dynamics, Articulation, and Tempo Words

How to Read Notation Markings While You Play

Once you can decode pitch and rhythm, the next layer of reading is notation markings: symbols and words that tell you how to play the notes. In flute music, these markings usually fall into three “how” categories: volume (dynamics), note shape (articulation and slurs), and speed (tempo). A good habit is to scan a line quickly and spot these markings before you play, so your first attempt already has the right character.

1) Dynamics: pp–ff, cresc., dim., and Clear Contrast

What dynamics mean

Dynamics are volume instructions. They are usually written as italic letters under (or sometimes above) the staff. Dynamics are not just “loud/soft”; they are about contrast—making differences obvious enough that a listener can hear them.

Where dynamics apply

A dynamic marking applies from where it appears until a new dynamic replaces it. Hairpins (< and >) usually show the direction of change; the target is often indicated by the next dynamic marking (for example, a crescendo hairpin leading into f).

Step-by-step: making dynamics clearly different

• Step 1: Circle the dynamic marks in your part (pencil). Include hairpins and sudden accents (sfz).
• Step 2: Decide the “dynamic map”: identify the softest point and loudest point in the line.
• Step 3: Practice two levels only first (for example, play everything marked p and softer as “soft,” and everything mf and louder as “loud”). Make the contrast obvious.
• Step 4: Add the in-between levels (mp, mf) and shape the hairpins gradually.
• Step 5: Check that rhythm stays steady while volume changes. If the tempo wobbles during crescendos, simplify the dynamic change and rebuild.

Common beginner reading mistakes (and fixes)

• Mistake: treating pp and p the same. Fix: exaggerate the difference in practice; then reduce slightly for performance.
• Mistake: starting a crescendo too late. Fix: begin changing volume immediately after the hairpin starts, even if the change is small at first.
• Mistake: playing louder by forcing. Fix: aim for “bigger” sound with steady support and open tone; avoid harshness.

2) Articulation Symbols: Staccato, Accents, Tenuto, and Matching Note Length

Articulation as “note shape”

Articulation markings tell you how each note begins and how long it lasts compared to its written value. They do not change the counted rhythm value on the page; they change the sound length and attack style within that value.

How to match note length without breaking rhythm

A useful mental model: the beat grid stays constant, and articulation changes how much of each grid space is filled with sound.

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• Staccato: think “sound then space.” You still place the next note exactly on time.
• Tenuto: think “fill the beat.” The note lasts nearly the full value.
• Accent: think “strong front edge.” The note can still be normal length unless combined with other markings.

Step-by-step: articulation accuracy drill

• Step 1: Speak the rhythm (count or syllables) while tapping the beat.
• Step 2: Add only the tongue pattern on one pitch (for example, all notes on a comfortable middle note). Make staccatos clearly separated; make tenutos full.
• Step 3: Keep the same tempo and switch articulations without changing the beat spacing.
• Step 4: Put back the written pitches and keep the articulation feel identical.

Combination markings

Sometimes symbols stack (for example, an accent with a staccato dot). When combined, read them as a blend: strong start + short length. If you see tenuto with an accent, it often suggests emphasis + full value.

3) Slurs and Phrase Marks: Reading Cues for Breath and Smoothness

Slur vs. phrase mark (what you see)

Both slurs and phrase marks look like curved lines over or under notes. In many beginner parts, the curve mainly functions as a slur: it tells you to play the notes smoothly connected as a group. Longer curves may act like phrase marks, showing a musical idea that should feel connected and shaped.

What a slur changes in reading

• Inside a slur: the notes are connected smoothly; you avoid re-attacking each note the same way you would when separated.
• At the end of a slur: you often hear a tiny separation before the next group (unless another slur begins immediately).
• Slurs help you group notes while reading: instead of “note-by-note,” you read “group-by-group.”

Step-by-step: using slurs as reading groups

• Step 1: Draw light brackets (in pencil) under each slur group to remind your eyes to read in chunks.
• Step 2: Clap or tap the rhythm while your eyes jump from slur to slur (group reading).
• Step 3: Play the first note of each slur group only (a “skeleton” version) to feel where groups begin.
• Step 4: Fill in the remaining notes while keeping the group smooth and connected.

Common confusion: slur vs. tie

A slur connects different notes smoothly; a tie connects the same note into one longer sound. When you see a curve, check whether the noteheads are on the same line/space (tie) or different (slur).

4) Tempo Markings: Common Terms, Metronome Numbers, and What They Control

Tempo words (Italian terms you’ll meet often)

Tempo markings are usually written above the staff at the beginning, and sometimes change later. They tell you the general speed and sometimes the character.

Metronome markings (numbers)

A metronome marking looks like a note symbol equals a number, such as ♩ = 88. This means: the beat unit shown (here, the quarter note) should happen 88 times per minute.

• What it controls: the spacing of beats. If the marking is ♩ = 60, each beat is one second apart.
• How to use it: set a metronome to the number, then practice until you can keep the beat steady without it.
• If you see a range: sometimes music gives ♩ = 80–96. Start at the slow end and increase only when you can keep rhythm and expression together.

Tempo changes inside the piece

When you see rit., rall., or accel., treat them like “tempo hairpins”: the change should be gradual across the marked notes. If there is no end point written, look for the next tempo instruction (like a tempo or a new metronome marking).

5) Reading Labs: Identify First, Then Play with Rhythm + Expression

In each lab, do two passes: (A) Identify markings without playing, then (B) Play with correct rhythm and the requested expression. Use a slow, steady tempo at first.

Lab 1: Dynamics scan + contrast

Excerpt (text-only):

4/4 | p  ♩ ♩ ♩ ♩  | <  ♩ ♩ ♩ ♩  | f  ♩ ♩ ♩ ♩  | >  ♩ ♩ ♩ ♩  | pp ♩ ♩ ♩ ♩ |

• A) Identify: Where does it start soft? Where does it reach loud? Where does it return to very soft?
• B) Play: Keep the beat identical in every bar; make the crescendo and diminuendo gradual across each full measure.
• Checkpoint: Record yourself and listen: can you clearly hear p vs. f vs. pp?

Lab 2: Articulation length control

Excerpt (text-only):

2/4 | ♩.  ♩. | ♩—  ♩— | ♩>  ♩ | ♩.  ♩— |

• A) Identify: Which measures are short/separated? Which are full-length? Where are accents?
• B) Play: Use the same tempo for all measures. Staccato notes should be clearly shorter but still land exactly on the beat.
• Checkpoint: Tap the beat with your foot; make sure staccato does not cause rushing.

Lab 3: Slur groups as reading chunks

Excerpt (text-only):

4/4 | (♩ ♩ ♩ ♩) | ♩  (♩ ♩)  ♩ | (♩ ♩ ♩)  ♩ |

Parentheses show slur groups.

• A) Identify: How many slur groups per measure? Where do groups start?
• B) Play: Make each parenthesized group smooth and connected; allow a tiny separation between groups if the notation shows separate groups.
• Checkpoint: Can you “feel” the groups without changing the rhythm?

Lab 4: Tempo words + metronome number

Excerpt (text-only):

Andante  ♩ = 76 | ♩ ♩ ♩ ♩ | rit. (over next bar) | ♩ ♩ ♩ ♩ | a tempo | ♩ ♩ ♩ ♩ |

• A) Identify: What is the starting beat speed? Where does it slow down? Where does it return?
• B) Play: Start with a metronome at 76. For rit., slow gradually across the bar (not all at once). At a tempo, return immediately to the original steady beat.
• Checkpoint: After you remove the metronome, can you still return to the same original tempo at a tempo?

Lab 5: Mixed markings (realistic beginner situation)

Excerpt (text-only):

4/4 | p  (♩ ♩ ♩ ♩) | <  ♩.  ♩>  ♩.  ♩> | f  ♩—  ♩—  ♩.  ♩. | dim. (♩ ♩)  ♩  ♩ |

• A) Identify (say it out loud): starting dynamic, any slur groups, where the crescendo leads, which notes are staccato/tenuto/accented, and where it gets softer.
• B) Play in layers:
  • Layer 1: rhythm only (one pitch), steady tempo.
  • Layer 2: add articulations (still one pitch).
  • Layer 3: add dynamics and hairpins.
  • Layer 4: add written pitches.
• Checkpoint: If something falls apart, keep the rhythm steady and simplify expression, then rebuild one layer at a time.