Método PRINCE Leitura e Percepcio - Ritmo THE PRINCE METHOD ¢ READING AND EAR-TRAINING ¢ RHYTHMO Método Prince é, sem divida, a obra mais The Prince Method is, without a doubt, the completa jé escrita sobre a matéria Leiturae most complete work as yet written about the Percepcao do Ritmo. the reading and ear-training of Rhythm. Adamo Prince é um didata por exceléncia, Adamo Prince is the instructor, par excel- com longa experi- lence, with long éncia na rea do ensino de musica. Seus trabalhos, mes- mo antes de serem editados, j4 vinham sendo usados, em forma de manus- critos, por um gran- de niimero de esco- las € professores de misica, experience in the art of teaching music. His proceedings, even before their edition, were passed around, xerox copies of ma- nuscripts used by a large number of schools as well as professors giving private music ins- truction. Espero que todos os interessados em iniciar ou aprimorar seus conhecimentos musicais fagam um bom proveito desta magnifica obra. T hope that all those interested in initia- ting or perfecting their knowledge of music will make good use of this magnifi- cent treatise. Almir Chediak Almir Chediak BMo2 Tombo: 36423 OO $ret ——Le Som ¢ siléncio sto a matéria-prima da misica, Assim como um pintor ou um escultor exploram as possibilidades de espago, um compositor explora as propriedades do tempo. Do compositor John Cage me lombro desta frase: "Silencio € 0 eterno background onde meteoros de som explodem em pontos definidos do tempo." Por toda a nossa vida, ritmos naturais nos acompanham. As batidas do coracio e a respirago 0 0 nosso ritiio interior ¢ definem a expresso de cada um de nds ‘quando falamos, dangamos, cantamos o¥ tocamos um instrumento. O estudo do ritmo, Sua leitura e plena ‘compreensio, deve merecer aten¢ao especial do aluno de misica. No entanto, tenho observado que a leitura rftmica assunto temido entre os iniciantes. Acho que ‘Adamo Brince conseguiu colocar 0 assunto em dia ena ordem certa (o que ¢ fundamental). Nestes trés volumes, 0s ritmos se sucedem de maneira clara, objetiva e bastante musical, quase melédica, pois os exemplos apresentados possuem métrica ¢ forma, criando sempre um sentido, em vez de divisoes ‘meramente mateméticas. Os ritmnos praticamente falam por si. Sound and silence are the prime materials of music. In the same way a painter or a sculptor explores the possibilities of space, a composer explores the attributes of time, I remember this phrase by composer John Cage: “Silence is the eternal background where meteors of sound explode at definite points in time”. ‘Natural riythms accompany us for al! of our lives, The beats of the heart and our respiration are our inierior rhythms and they define the way we express ourselves when we speak, dance, sing or play an instrument. The study of rhythm, tts reading and full comprehension, Should deserve special aitention from the music student, However, | have observed that sight-reading of rhythm is a subject feared by beginners. 1 think that Adamo Prince has managed to bring the subject up to date and in the exact order (which ts fundamental). In these three volumes, rhythms follow each other in an objective, clear manner which is quite musical, almost melodic, since the examples presented possess metric and form, creating in each case a sense of direction instéad of merely mathematical divisions. The rhythms practically speak for themselves Célia Vaz A Biblia diz que “no infeio havia a palavra". Mas eu prefiro acreditar, uma ver. que o riumo 6 a base de todas as coisas, especialmente da miisica, que no comeco havia 0 ritmo. F que no comego havis Paul Hindemith, Agora temos Adamo Prince, porém com muito mais uno. The Bible says that “in the beginning was the Word". But I would like 10 believe, since rhythm is the Foundation for all things, especially for music, that in ~ the beginning was the rhythm. And that in the beginning was Paul Hindemith. Now it's Adamo Prince, but with much more rhythm. , cntPRINCE, o METODO ©) Suits Leitura e Percepcao — Ritmo sf. 7 PIS4 mw THE PRINCE METHOD « READING AND EAR-TRAINING * RHYTHM oem Qlgxanaria iii imag {enn ae cas eb 2 SICA music! é ° we Boon ~ Adamo Prince % Lumiar Editora 2 edicdov.2 es ake Be. 2s Direitos de Edi¢ao para o Brasil: Lumiar Editora: Rua Bardo do Bananal, 243 - Cascadura / RJ, Brasil CEP 21380-330 Fone: (21) 597-2323 / 2596-7104 /2596-6732 FAX: (21) 3899-3165 www.lumiar.com.br lumiarbr@uol.com.br / lumiarvendas@uol.combr / lumiardireitos @ uol.com.br B5-B542EI44 1993 85-85426128 ¢ Editor responsavel / Editer-in-chiof: + Rovisao do toxto (inglés) / Almir Chediak Proofereading for text in English: Raquel Zampil * Capa/ Cover design: Bruno Liberati * Acompanhamento ediitorial / Editorial Supervision: ‘¢ Produgdo grafica / supervisor for Print Fatima Pereira dos Santos Production: Tonico Fernandes * Fotografia / Photographer: Marluce Balbino * Revisao de texto (portugués) / Proofreading for text in Portuguese: + Revisdio musical / Proofreading for Music: Nerval Mendes Gongalves. lan Guest * Versao (texto) / Transtation of text: Eliana Avita * Edigao de arte /art Ecitor: Mussuline Alves + Editoragao eletrénica © copydesk / Desktop Puplisner and Copydesk: * Versdo (comentarios) / Translation of commentaries: Jacob Lopes Kate Lyra Contatos com o autor: Caixa Postal 11830 - Copacabana 22022-970 - Riio de Janeiro - RU Tel: (021) 237-4813 - Fax: (021) 275-6295 For Further Information Contact the Author: P.O. Box 11830 - Copacabana 22022-970 - Rio de Janeiro - RJ - Brazil Phone.: (5521) 237-4813 - Fax: (6521) 275-6295Método Prince « Leitura e Percepgio Ritmo / The Prince Methox « Reading and Earstraining - Rhyims Volume 1 Prefiicio .. Conceitos e elementos do ritmo .. InstrugSes para a realizagio dos exercicios Volume 1 Preface . Rhythm's concepts and elements .. Directions to the realization of the exercises Primeira parte Part one Leitura auma voz... Leitura a duas vozes simultaneas ... Percepeao auma voz... Percepciio a duas vores simultaneas .. Reading inone voice ... Reading in two simultaneous voices .. Ear-training in one voice .. Ear-training in two simultaneous voices‘Adamo Prince Segunda parte Part two. em/in Leitura a uma voz Leitura a duas vozes alternadas Leitura a duas vozes simultineas .. 0,60 Fao Percepgio a uma voz Pervepeao a duas vozes alternadas Percepeiio a duas vozes simultaneas .. Q o Reading in one voice .. Reacling in nwo alternated voices . Reading in two simultaneous voice: O21) Oo Ear-training in one voice .. Ear-training in two alternated voices Ear-training Terceira parte ~~ Partigice em /in Leitura a uma voz, Leitura a duas vozes alternadas..... Leitura a duas vozes simultineas .. O- fb 8 & Percepgdo a uma voz... Percepgiio a duas vozes alternadas .... Percepcao a duas vozes simultaneas in two simultaneous voices 0 Reading in one voice Qo Reading in wo alternated voices .. i Reading in two simultaneous voices... -O Ear-training in one voice a Ear-training in two aliernated voices ... Ear-training in two simultaneous voices ..Método Prince + Leitura e Percepgio - Ritmo / The Prince Method « Reading and Harsraining ~ Rhythn Volume 2 Prefécio .. Conceitos ¢ elementos do ritmo Instrugdes para a realizagio dos exercicios em faa duas vozes alternadas 4 ra a duas vozes simultineas .. so a uma voz 40 -vozes alternadas ... +5. Volume 2 Preface Riythm's concepts and elements ..... oe Directions to the realization of the exercises .. 16 Primeira parte Part one Jin Reading in one voice... Reading in pwo alternated voices Reading in two simultaneous voices .. Ear-training in one voice . Ear-iraining in two alternated voices Ear-training in two simultaneous voices... 73‘Adamo Prince Segunda parte Part two Leitura a uma voz... 82 Reading in one voice .. Leitura a duas vozes alternadas .. » 100 Reading in two alternated voices .... Leitura a duas vozes simultineas ... - 105 Reading in two simultaneous voice: . 105 Percepeao a uma voz. - 109 Ear-training in one voic Percepgiio Ear-training a duas vozes alternadas .. 117 in two alternated voices ... . 7 Percepgao Ear-training a duas vozes simultaneas 9 in two simultaneous voices .. “ig Terceira parte —— Part three __ Leitura a uma vor 122 Reading in one voice ... 122 Leitura a duas vozes alternadas . 149 Reading in two alternated voices .. 149 Leitura a duas vozes simultineas » 160 Reading in two simultaneous VOICES -.occc0ee 160 Percepcao a uma voz ~ AT Ear-training in one voice ... W771 Percepgaio Ear-training a duas vozes alternadas ... 181 in two alternated voices ... 181 Percepgiio a duas vozes simultaneas .. . 188 oe a. ee Ear-training in bwo simultaneous voices ..Método Prince » Leitura e Percepeto = Ritme / The Prince Method Reading and Farsaining « Rhyibim Volume 3 ‘Conceitos e elementos ritmo istrugGes para a ago dos exercicios .. itura a uma voz... itura a duas vozes alternadas ‘aa duas vores simultineas NGO a uma vor 0 a duas vozes alternadas 2) eo Soc a) a 10 a duas vozes simultdneas ... Leitura a uma voz i =i Percepeao a uma voz... Com /With wb Volume 3 Preface Rhythm's concepts and elemenis Directions to the realization Of the eXEPCISES eserves Primeira parte Part one oO § Reading in one voice ... PE Reading in two alternated voices Reading in two simultaneous voices Ear-training in one voice Ear-training in two alternated voices Ear-training in two simultaneous voices j Reading in one voice .. @ a oe CF oS (Bb Ear-training in one voice ..Adamo Prince Segunda parte Rant iw = Compassos Alternados / Alternated Measures A Leitura a uma voz * Compassos Altemados .. Reading in one voice © Alternated Measures * Outras Unidades .. wx OF * Other Time Units {a Percepeao a uma voz Ear-training in one voice © Compassos Alternad0$ wu. -0 eAlternated Measures fl © Outras Unidades .. Oo © Other Time Units .... Terceira parte — Part three pecs Mudancas de Compassos, Unidades © Ausé de Compasso Changing Measures, Time Units and & i Leiwra a uma voz ‘© Mudangas de Compassos ... * Mudangas de Unidades * Auséncia de Compasso .... Percepefio a uma voz © Mudangas de Compassos * Mudangas de Unidades ... + Auséncia de Compasso Reading in one voice © Changing Measures ..... * Changing Time Units * Measureless Environments Ear-training in one voice © Changing Measures .. * Changing Time Units © Measureless EnvironmentsPrefacio Preface ‘A misica , basicamente, feita de dois elementos: ritmo e som. Esses também so os dois principais componentes de sua notagao. Ler e escrever misica para um mtisico tem 0 mesmo significado que ler e escrever o alfabeto para alguém que fala. O processo do aprendizado da leitura ¢ escrita musical pode ser facilitado pela separacio temporaria de seus dois elementos, 0 ftmo e 0 som, por serem dois reflexos ieiramente diferentes. Depois do devido treino dos dois elementos em separado, junté-los é surpreendentemente facil. O presente livro é destinado ao ensino da leitura sftmica através de um vasto material de exercicios que abrange, sistematicamente, as miltiplas situacdes rfimicas que se apresentam no decorrer da leitura musical. Seu objetivo é ensinar 0 uso consciente do primeiro & mais intuitivo elemento da miisica que € 0 ritmo. Ritmo € constitufdo, basicamente, por fulsagies. PulsagSes siio medidas de tempo. Qualquer ritmo, por mais complexo que seja, possui uma pulsagdo bésica, batidas imagindrias ou implicitas de duracdo igual. Isso revela uma particularidade: a arte da miisica decorre no fempo (ao passo que as artes visuais decorem no espago). Ao aprender a leitura rfimica, 0 estudante aprende a respeitar e lidar com 0 elemento tempo. A continuidade e fluéncia do tempo é condi¢Zo da interpretagio musical, sem a qual a Music is made up basically of two elements - rhythm and sound - which are also the two main components of musical notation. To read and write music bears the same significance to a musician as does to read and write the alphabet to a native speaker of a given language. The process of learning to read and write music can be facilitated through the temporary separation of those two elements (rhythm and sound), once they are two entirely different reflexes. Following due training in those two elements separately, it is surprisingly easy to re-unite them. This book is aimed at facilitating the teaching of rhythmic reading through a wide range of exercises encompassing, systematically, the multiple rhythmic situations encountered in musical reading. The primary aim of this book is to develop the student's awareness of the first and ‘most intuitive element of music: rhythin, Rhythm consists, basically, of pulsations. Pulsations are measures of time. Any rhythm, however complex it may be, contains a basic pulsation, that is, imaginary or implicit beats of equal length. This reveals a particular feature: the art of music takes place in a time environment (whereas the visual arts take place in a spatial environment). As the student learns rhythmic reading, s/he is also learning to respect and deal with the element of time. The continuity and fluency of time is the pre-requisite for the very existence of musical interpretation, and without it musicmusica se torna incompreenstvel. Por essa raziio todo treino de leitura ritmica deve respeitar essa continuidade e desde 0 comego o estudante deve adquirir 0 habito de nao errar nem fazer imerrupgdes. As dificuldades surgidas devem ser contornadas mediante a escolha da velocidade adequada. A experiéncia mostra que a leitura ritmica em baixa velocidade é bastante dificil, pois estamos acostumados a fazer miisica em sua velocidade habitual, isto é, em seu impulso natural. Aprender a reduzir a velocidade, porém, traz a grande vantagem de nos permitir pensar (antes de cada grupo de notas) no que vamos executar. O Método Prince de leitura ¢ percepgzo do ritmo, além de abranger sistematicamente todas as Combinagdes rftmicas dentro de uma rigorosa escala de dificuldades, apresenta a grande vantagem de um vasto niimero de exercicios em cada nivel. A abundancia de exereicios niio Permite a ultra-repetigao e conseqtiente memorizacdo dos mesmos, oferecendo a experiéncia da "leitura a primeira vista" - indispensével no weino da leitura. Outro aspecto a presente obra é a leitura simultainea de duas linhas de ritmo, executadas pela boca e mio, Fespectivamente. Dividir a atenedo entre duas atitudes simmultaneas é, além da leitura Polirrftmica em muitos instramentos, imposicao fundamental a todo misico que toca em grupo. (A propria leitura musical, com a simultaneidade do ritmo e do som, exige atencao dividida.) Ao encarar o estudo da leitura ritmica, deve-se ter em mente que 0 mesmo é um condicionamento de reflexo e, como tal, requer um hébito continuo a médio e longo prazos, Apesar do aprendizado se processar muito aos Poucos, de grau em grau, 0 estudante $6 perceberd 0 proprio progresso em momentos Separados por longas semanas, momentos em que Quantidade se transforma em qualidade, -10- becomes incomprehensible. That is why all training in rhythmic reading must respect such continuity: and the student must, from the very beginning, develop the habit of not making mistakes or interrupting the exercises. The dificulties which will arise must be handled by choosing the adequate velocity for each exercise. Experience shows that it is exiremely difficult to read rhythm at low velocities, because we are used 10 conceiving music at its habitual velocity, that is, at its own natural impulse. To learn to slow down, on the other hand, brings forth the great advantage of allowing us to think over (immediately before each set of notes) what we are about to play. Apart from systematically encompassing all rhythmic combinations within a rigorous order of increased difficulty, "Prince Method" presents the great advantage of providing a large variety of exercises in each level. Such a wealth of exercises does not allow for ultra-repetition, and thus avoids consequent memorization. It therefore provides opportunities for "firsesight reading" - which is indispensable for training the Skill of reading music. Another feature of this book is the simultaneous reading of two rhythmic staves, to be perfomed with mouth and hand, respectively. The ability to pay attention to two simultaneous attitudes translates into not only polyrhythmic reading of several instruments, but also a fundamental imposition on every musician Playing with others. (Musical reading itself Which involves the simultaneity of rhythm and sound, requires the sparing of simultaneous attention.) Upon tackling the study of rhythinic reading, she student should keep in mind that what s/he will be dealing with is the conditioning of reflex, which, as such, requires a continuous habit - in both the medium and long term. Though the learning process is a gradual one, which develops slowly, step by step, the student will only perceive hishher own progress at intermittent moments in between long weeks - moments when Quantity is transformed into quality. Jan Guest iMétodo Prince « Leliurae Percepyio = Ritmo / The Prince Method » Reading amd arira.ning - Rist Conceitos e elementos do ritmo Trataremos neste volume dos Compassos ‘Compostos e das Quidlteras. Os Compassos Compostos so aqueles em que os tempos tém sua primeira subdivisdo natural em és partes iguais, Cada terca parte se subdivide em duas, resultando em seis. Cada sexta parte em ‘mais duas, resultando em doze, e assim secessivamente. Por este motivo as unidades de tempo dos Compassos Compostos sao pontuadas. Rhythm's concepts and elements In this volume, we will deal with Compound Measures and Tuplets. Compound Measures are those in which the beats are subdivided naturally into three equal parts. Each third is in turn subdivided into two parts, thus totalling six. Each sixth is subdivided into another two, totalling twelve, and so on. This is why the time units of Compound Measures are dotted. Compassos Simples Simple Measures Compassos Compostos ‘Compound Measures AN Cot NAA Corer ikeAdamo Prince A fraco do Compasso Composto indica, na parte superior, o ntimero de tergas partes do tempo que © compasso contém e, na parte inferior, o mémero ou a figura que representa a terga parte do tempo. The time signature displayed for Compound ‘Measures indicates, in the numerator, how many thirds of a beat the measure contains, and, in the denominator, the number or figure which represents the third of a beat. Compassos Compostos Compassos Simples Compound Measures ‘Simple Measures nimero de tergas partes do tempo suber o iris of abet ndmero de tempos number of Beate mimero ou figura corespondente & terga parte do tempo niimero ou figura correspondente a0 tempo number ove coresponding the ied partof te durin ofa bect number er Sigure corresponding tothe duration ofthe Deat Diagramacao dos Compassos Compostos Layout for Compound Measures jo (feito de seis tergas partes do tempo) Twortime (made up of six thirds of a beat) 1 2 Legit 2 ‘Lernirio (feito de nove tercas partes do tempo) Three-time (made up of nine thirds of a beat) 1 2 3 1 123 Quaternfrio (feito de doze tergas partes do tempo) Four-time (made up of twelve thirds of a beat) 2 eo ee as 1234 212 -Método Prince « Leltura Percepeio + Ritmo / The Prince Method » Reailing and Karsiraining = Riyihin Fragées de Compassos Compostos mais usadas The most commonly-used time signatures for Compound Measures Binério ‘Ternario Quaternario Two-time Three-time ‘Four-time 9 2 A A 3 g 8 ib i marca¢iio dos Compassos Compostos s6 When marking Compound Measures, the accent amos Os tempos e no as tercas partes, pois __is taken only by the beats, not by the thirds, implicaria a alteracao da métrica. O sentido otherwise the metrics woud be altered: a two- Compasso Binario Composto (6/8) time Compound Measure (6/8) would sound like ria ao de dois terndrios simples (3/8). two three-time Simple Measures (3/8). Certo Right 1 a Etrado Wrong hoo “13.‘Adame Prince Quanto As Quidlteras, sao todas as subdivisdes ou Tuplets are made up of subdivisions of beat desdobramentos do tempo que nao se enquadram which do not fit into the natural pulsation of the na subdivisio natural do compasso em que se encontram. Exemplos: 3 m4 gL a olan Como se vé nos exempios acima, as Quidlteras esto indicadas por um colchete com 0 nGmero correspondente & sua subdivisio. Convém observar que esse niimero niio Corresponde obrigatoriamente 4 quantidade de Notas escritas ¢ sim A métrica imposta no momento, Exemplos: ot Shererere Lael hoot ort Steerer , 1a a) ‘measure which they originally belong to. Examples: As can be seen in the examples above, Tuplets re represented by a bracket along with the number corresponding to their subdivision. Tr should be pointed out that the number does not necessarily correspond to the amount of written notes, but rather to the metrics imposed on that particular moment. Examples:Método Prince « Leltura e Pereepgio = Ritmo / The Prince Method « Reading and Bar-iraining - Rhyihie -: Alguns autores substituem os colchetes por juras (a); outros usam somente os ndmeros -Em trechos com ligaduras, usa-se também 0 de Quidltera ao lado das hastes (©). aN portante ressaltar a possibilidade de um 10 ritmo ser escrito de formas diferentes, que isso modifique a sua execugio. -mplos: Note: Some authors use slurs (a) to substitute for brackets; others use no more than numbers (b). Slurred passages take the Tuplets sign, placed beside the stems (c). "Cesena tet In should be pointed out that one single rhythmic pattern may be written in several different ways, without changing its actual performance at all. Examples: ou Qed), oro ror ie! opgiio da notagao que deve ser adotada nesses 908 fica a critério do compositor, Um critério sual de escolha € considerar a pulsago edominante nos elementos (base harmOnica, rquestragHo etc...) que sustentam esse ritmo. berctrortertttr The choice for the written representation to be used is up fo each composer. One usual parameter is the pulsation predominating in the elements (chord changes, orchestration, etc.) supporting the rhythmic patiern in question. +15.Adamo Prince Instrucées para a realizacaio dos exercicios Leitura a uma voz 1) Bata 0 tempo com o pé ¢ execute o ritmo com a boca (falando), A Principio, na leitura dos Compassos Compostos, pode ser de grande ajuda a marcaco constante das tercas partes do tempo na mao direita, com os dedos Polegar, indicador e médio. Assim que os clichés visuais estiverem assimilados ea Pulsagdo interiorizada, este recurso deve ser abandonado. Directions to the realization of the exercises Reading in one voice 1) Mark the beat with your foot and speak out the rhythm, In the beginning, when reading the Compound Measures, it may be very useful 10 constantly mark the thirds of the beat with your right hand, using your thumb, index and middle fingers. But let go of this resource once you have assimilated the visual clichés and internalized the beat. en m 2 o-paee rept ee. zs aMétodo Prince + Leitura ¢ Percepsio = Ritmo / The Prince Method « Reading ane Carcoaining ~ Rhythun ata 0 tempo com o pée execute o ritmo 2) Mark the beat with your foot and play the “utindo com a mao direita. rhythm by tapping your right hand. a mio direita pape thant fot MD = MD MD MD MDMD MD ra a duas yozes e percepcao Reading in two voices and ear-training execucto dos exercicios de leitura a duas (alternadas ¢ simultineas) e a realizagio cercicios de percepgio, siga as instrugdes no Volume I, The following reading exercises in two voices, both alternated and simultaneous, and ear- training exercises are to be done according to the directions in Volume I. o17.Primeira parte Part one a em/inAdamo Privee Leitura a uma voz Reading in one voiceMétodo Prince + Leitura ¢ Percepgio = Ritmo / The Prince Mathad » Reading and Bar-raiiing - Rhythm. “rt aero moter too tot tt cor oo oro ocr ort tt Rococo tt ttt maleate -m- PTTforts tea fafaian (tata men tatal Soot torte ctor tore Shore crt ae ee r St Saree an carr 222.Método Prince + Leiturn ¢ Pereepgio - Ritmo I The Prince Method + Reading and Barsraining - Riythi a ee ae oa8Método Prince » Leitura e Percepsio = Ritmo / The Prince Medhod Reading and Earsiraining ~ Riyihinoro pert er a a Pot hectare WeAdamo PrinceMétodo Prince + Leitura « Pe ie Prince Method « Reauing and Earsaining = Rhythm Stoo attThe Prince Method « Reading and Ear.training - Rhythns aMétodo Prince « Leiturn e Percepoio - Ritmo / The Prince Method + Reading and Ear.sraining - RhythmAdamo Prince Leitura a duas vozes alternadas Reading in two alternated voicesES Tt pe es 25 Wes eet fs] SU IST tT TS caw TST cbrmy a 7 eT ae po oe ete pies z Boot ero Pet[aa we Jr “tert ay Tae Fas Seco TH [ular ore a aMétodo Prince » Leitura e Percepgio ~ Ritmo / The Prince Method » Reading and Ear-training - Rhy: pe ems oe) x 4 4 pat tr 7 onan ae oe PSF DAMM AGD eR. aa 2a§5 7 DE I h al I WI jal ti yi [bea] (eT Te id P27 vee may = = TW ETT aie s TO pap fr (PryMétodo Prince « Leitura e Percepsio ~ Ritmo / The Prince Method » Reaning an Barsraining « Riythm Com ligaduras With slurs ae eee ee —— osOe st Y See "ts Ro TPPme oi aa evan) eratPor (ene asails wT ia SII] TOE Da eo (shia omeMétodo Prince « Leitura e Pereepgio ~ Ritmo / The Prince Method # Reading and Earsaining = Rithin Pas 7] baa PPT poy yy pr pes Toe 77) Ee pases ue Pe Dv a [lier 77 fp] ipa i) 1 wh mr 1a hsae e vi) —2 a1 ify fox Ee purae v7 Ppa TB) PvE pry vip fy r ice y [va] Deae pura p pra Me — = a TTDBY baa TOT tr SannaMétodo Prince « Lelturae Porcepgtio = Ritano / The Prince Method « Reading an Bar-raining - Rts Leitura a duas yozes simultaneas Reading in two simultaneous voicesJ . Wot. AL SS. ae ee oa at Leet Sa.4 rT mi. ror ary J ee TO ¢ PME. r % rh? ia ratent, (weer x 49 ene : Pcorr rT Tu - oTonio OF fa) ea =—itr Tote Ih dh iNg (jae es! jae) ait » an UP ibs qo jah! era fi ip py y py ppy se Joe on Ab ae a De “tte 2s 2 it De, ort ae‘Adamo Prince Com ligaduras With slurseal. malay TF fet — | by aE ie. mare og teal = nee HFG EEE) RE Le: "alan oo Oe ae -58-Jee) ei +Método Prince « Leitura e Percepgio - Ritmo / The Prince Method @ Reading and Ear-raining - Rhy se aa t re bJ oa t Co cs J Bp) J bp) IT ES) J gh Ta me Te cae es 4a 1 b)] jj pp) STI... (Til acim eelatohain TTAdamo Prines p oO 2-1 dl), J f + EEE Se eeiae ee) GE (a i} "PF ft a)Adamo Prince Percepeao a uma yoz Ear-training in one voice Professor: executa Teacher: plays Aluno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats and then writesMétodo Prince « Leltura e Percepsio + Ritmo / The Prince Method « Rewing and Karsraining ~ Rhythm Sooo tert at roa Proper tot ro Rhee peer HT Bipot ttre oor hee Po Phere arte be Peppa Sq FeMétodo Prince « Leitura e Percepgio - Ritmo / The Prince Meth! « Reading an Ear-raining - Rhythm 1p? hoor error arte Bheprprety pitty tpt fepetro tere, Com ligaduras With slursMétodo Prince + Leltura e Percepsio ~ Ritmo / The Prince Meiko! » Reading and Barctrining » RhythnsAdamo Prince Setororterertterciry Bee te Percepgao a duas vozes alternadas Ear-training in two alternated voices Professor: executa Teacher: plays Aluno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats and then writes Oo eee Peo eeMétodo Princo « Leitura ¢ Pereepedo - Ritmo / The Prince Method « Reading and Ear-aining - Rhyihin ee rae (rite iam Fees | See coor eo no we Rees eho FhAdamo Prince re nae has KA coctresrrieirn = ee Po Pre {ate eer air mone Pee (CT SOO et sot {ember cela Prevaraate to otaMétodo Prince » Leitura e Percept - Rito / The Prince Method « Resting and Earring - Ryan v7 ay eo eas 77): “D Po pL pps Sib De ar DO] [Ire wp eee tae an feats tay apa PT rrp Cia pil prt nae api [ae i es for 7 a err thay ae a ST ahaaAdamo Prince Com ligaduras With slursMétodo Prince Leitura e Percepsio ~ Ritmo /-The Prince Method « Reading and Bar-raining - Rhythm (ho rs Des lipaam ] goth pry wT 1p1 peo } ema eye rfp: —— hon [relssened oo] ee oo ireaE ibaa tits {ha ) man pave (bars wa} pry foe on 19 Geet ul hiya x a apy appa — Shab tty Tir iho sa] x i eb babi pay pr moe Shs oS eae co wpipritMétodo Prince « Leitura ¢ Percepgio - Ritmo / The Prince Method « Reading and Earsruining - Rhee Percep¢io a duas vozes simultaneas Ear-training in two simultaneous voices fessor: executa (sempre simultaneamente) Teacher: plays (always simultaneously) No: Ouve, memoriza, repete e escreve ‘Student: listens, memorizes, repeats and then iramente a voz. de cima e posteriormente a writes the first voice, followed by the second voice de baixoMétode Prince + Leitura e Pereepgio ~ Ritmo / The Prince Methol « Reating and Ear-raining - RhytinnMétodo Prince » Leitura ¢ Percepedo - Ritmo / The Prince Meth « Rearing ami Eartraining ~ Rion 1 9 ttt ost ror ft. ty I Ny I hy ee oe ae Cala fag Pala‘Adamo PrinceCy Aaa he i asnnes:Segunda parte Part two em /in‘Adamo Prince Leitura a uma voz Reading in one voicehore tt peer op tooertrerr ie aeMétodo Prince + Leitura ¢ Pereepgie - Ritmo / The Prince Method « Reading and Har trating - Rythme Com pausas de semicolcheia With pauses of sixteenth note -o1-Método Prince » Leitura e Percepgio - Rito / The Prince Method « Reading and Ear-training - Ritu Pausa de semicolcheia nos clichés pontuados e sincopados Pause of sixteenth note on the syncopated and dotted clichés oye Ae tee 4Adamo Prinee Com ligaduras With slurs x.Método Prince » Leitura e Percepgio - Ritmo / The Prince Method » Reading and Har-taining - Rhythm: a samapcien erates —- DSAdamo Prince Com ligaduras e pausas de semicolcheia With slurs and pauses of sixteenth notea ie hegtocthesheo cestoo‘Adamo Prince itura a duas vozes alternadas Reading in two alternated voices OPP oe 1 Pe PP aa ERD Smee to PL Part Tar oly ea me Pape r oe eee re Piste SLAG |3.224 ammalime / Te Prince Method » Reading and Ear raining - Risin fo ee Toppan Be ih Be aaa ae meme Dc. (sem rep.) tei) 4 ne = 7 5 a ety ae {Ee 7 SER 1 4 errr ia‘Adamo Prince Com pausas de semicolcheia With pauses of sixteenth note al t= eeeMétodo Prince « Leitura e Percepsio ~ Ritmo / The Prince Method » Reading and Eartraining ~ Rhytine yay ay jay? x 77 7a Talat v4 iy FRE yfyty (a a eee Ieee rae D ESOS EE Com ligaduras With slurs Pe ie PhAdamo Prince orn A oe EE ~ a ~ a — § ort Seis Tee ie eet ie tee psi ion 7 aa ts a D.C. al F. on Pe Tapers ge a = rep.) (without - 104.Método Prince « Leltura e Percepei = Ritmo / Tite Privee Method o Reauling and Bararaiing ~ Reine Leitura a duas vozes simultaneas + + Reading in two simultaneous voices EEE. ane ere eet or ee eeMétodo Prince + Leitura e Percepgio ~ Ritmo / The Prince Method « Reading ane Earrcning - Rhytlan Com pausas de semicolcheia With pauses of sixteenth noteAdan Prince Com ligaduras With slurs gee Een ee ar rr ee y Com ligaduras ¢ pausas de semicolcheia With slurs and pauses of sixteenth noteMétodo Prince + Leitura e Percepgio ~ Ritmo ! The Prince Method » Rewlng and Earcraining ~ Rhythm Percepcio a uma voz Ear-training in one voice rrofessor: executa Teacher: plays uno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats writes MeroeMétodo Prince + Leitura ¢ Percepgio ~ Ritmo / The Prince Method « Reading and Ear-iraining - Rhyths 1.Poot tee Com pausas de semicolcheia With pauses of sixteenth note rere SHeeterteemrteteserp ed Sheer ere tree Shae eer eee eee ee SMpeareeecertecteur pH thegeereeerertepeaes +1B-Método Prince + Leitura ¢ Percepgio ~ Ritmo / The Prince Melhon » Reating ant Barraning ~ Ryton Pausa de semicolcheia nos clichés pontuados ¢ sincopados Pause of sixteenth note on the syncopated and dotted clichés Pe ea a Sh pete‘Adan Prince Com ligaduras With sturs terre Shore tse Serfer-teeooyp Hepp : . Com ligaduras e pausas de semicolcheia ith slurs and pauses of sixteenth note Soe hte ep Sheceertere tees pe Sheropet ‘foo hoes + aMétodo Prince + Leitura ¢ Pereepso - Ritmo / The Prince Method « Reading and Bararaining - Rhythm Percepgao a duas vozes alternadas Ear-training in two alternated voices fessor: executa Juno: ouve, memoriza, repete e escreve Teacher: plays Student: listens, memorizes, repeats and then writes Py aes TMecae Taeaning J Sop J Lon peal CO CopeAdamo Prince ‘Com pausas de semicolcheia With pauses of sixteenth note diafiePim Pd y yb fa a ee Com ligaduras Rego eel aoe Tes ee ee Com ligaduras e pausas de semicolcheia With slurs and pauses of sixteenth note cl Tp weiter asi Rial foe te es Dory Srfessor: executa (sempre simultaneamente) nO: OUVE, Memoriza, repete ¢ escreve meiramente a voz de cima e posteriormente a z de baixo Método Prince « Leitura e Percepgaio + Ritmo / The Prince Mothad « Reading an Ear-training - Rid Percepgao a duas vozes simultaneas Ear-training in two simultaneous voices Teacher: plays (always simultaneously) Student: listens, memorizes, repeats and then ‘writes the first voice, followed by the second voice on oy pase Torr err RF Ld m5 emer ccs pen +2. H ee ea eae a. » Com pausas de semicolcheia With pauses of sixteenth note ae +119.Adamo Prince mn Tea i Te Fy 2 Com ligaduras With slurs a Ce Hy pT aT fs tee oo Com ligaduras e pausas de semicolcheia With slurs and pauses of sixteenth note ETT he 5 eed ele seege cee‘Terceira parte Part three____ OJUb EA cera ay Arp Cans em /inAdame Prince Leitura a uma voz Reading in one voice‘Método Prince + Leitura e Percepgi ~ Ritmo / The Prince Method » Reading and Bar-training - Rlytha: Com pausas de colcheia With pauses of eight note met toto = ce m2 a4 m4 Pt coo tee tt aMétodo Prince » Lelturae Percepgiio = Rite / The Prince Meth » Reading an Bartraining - Rit Com ligaduras With slurs rT m5 m4 tootAdamo Prince“Mitode Prince « Lalturae Bercepsie = Rito ! The Prince Methed « Reading ant Bar-training - Rhythm Com pausas e ligaduras With pauses and slurs 4 7, == loth otto sr im) he 4-4 4 TooToo aMétodo Prince + Leitura e Percepgo + Ritmo / The Prince Method « Reading and Rarsraining = Rylan3 aRett Rt tot HoH Rt p —— stot oetodo Prince « Leitura e Percepeio = Ritmo / The Prince Method « Reading and Eariraining - Ryne Com pausas e ligaduras With pauses and slurs SS—3— 3 — oa a oct ——>- —S_———1—_|Método Prince + Lelturae Pereepgie = Ritmo / The Prince Method « Reading and Bartrining - Rhythm Observe que a primeira Quidltera surge da Nose that the first Tuplet arises from the subdivisio do tempo em duas partes; € a segunda subdivision of ihe beat in two parts; and the da subdivisio do tempo em trés partes. second from the subdivision of the beat in three parts. 1 = 3 Trig eples) eon a eee, igs a1a7 =Método Prince « Lelturae Pereepsio = Ritmo / The Prince Method « Reading and Ear-iraining » RlsAdamo Prince = 1 7 7: 3 a 3 \ Poorer 7 —— ea p7 a —s—, 3s ¥ ——+__, mo 3 Deal ji Gem rp) (rthent rep) hore Ter ee ete ey Horry = 140.Método Prince « Leltura e Percepgte = Ritmo / The Prince Method « Reading and Bar Com ligaduras With slurs oaMétodo Prince + Leitura Percepgio - Ritmo / The Prince Mehod © Reading an Bar-rainin ng ~ Rhython Variacdes VariationsPontuados e sincopados Dotted and syncopated hetero et teeter ooo BS eto te etMétodo Prince » Leitura ¢ Percepsio - Ritmo / The Prince Method « Reading and Earsraining = Rhythie 2 m4 —— a4 37 -——5— 35 . r34 4 Tome eter te te SS 5 —— ——— a i. Secor Hp Goer ppl—s—4-—6 1, 1Método P rinee + Leitura Pereepgio - Ritmo / The Prince Melhad « Reding ond Barseining » Rhythm Com pausas e ligaduras With pauses and slurs ‘ Te —— 35 opllas —s— —— oe cl et — — —~ « a — a p - 147.4 ieee et oe ee & ns Choo aMétodo Prince « Leiturae Percepsio - Ritmo / The Prince Method » Reading and Earstraining - Rhyme Leitura a duas vozes alternadas Reading in two alternated voices : eo Pre] aa [2 as a Jin Eee +149ee oo oP f =F (ae Sh tet at pa as ep we oe fe eo i “y)y bah ah -155-+ Leitura-e Percepgto = Ritmo / The Prince Method » Reading and Eartraining = Rlythn See eat 6 7 Toca 11]imetata eee The Prince Methat » Reailing and Ear-taining - Prince © Lelturae Percepgie = Ritmo / coh —— Conor — +159.‘Adamo Prince Leitura a duas yozes simultaneas Reading in two simultaneous voices ime oy Se i See iFal foo oe te(4) ReiThe Prince Method « Reading and Farsruining + Rhythns itura e Pereepsan = Ritmo / ince + Lat Método P De. ir oo oo a a a 2 % CeerrT b ~ is (Jed) A (imlenl =163-me tt = a ae a _— yo ‘al +164aol == SE asa se Says) ane r — : % f ies! a] asAdan no Prince aaeer a ae ea ag lan ie ee - a (- - i nl — tort 34 oor fin Bima ct a tos Tr ir ee gs ta)Método Prince « Leiterac Pereepsie = Ritmo | The Prince Method « Reading and Ear-aining - Rin, m4 34 Cer ee too er? ata) oa 4 ee ee Ge fes ee Jo) eo peor co arr Laem Loot ww &ll‘Método Prince » Leiturae Pereepede ~ Ritmo / The Prince Meth « Reading and Har-raining ~ Rhine Percepcao a uma voz Ear-training in one voice fessor: executa Teacher: plays uno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats and then writes —— a toes tee este tagh htt tate 3 oe 17oS Shoo oe ter td Com pausas de colcheia With pauses of eight note hoe he 35 a TEE coor Shoo a tt “172.+! Método Prince « Leiterae Pereepeae ~ Ritmo / The Prince Method « Reading and Barsraining ~ Rlethws Com ligaduras With slurs. 3 2 — — eo tet toe oo oo Peo a tt ot ott See oe | Gpesenl ete cp Ua Com ligaduras e pausas de colcheia With slurs and pauses of eight noteAdamo Prince mS ott ea ane a oo Ss ans an = a +174-Método Prince + Lelturs e Percepgio = Ritino J The Prince Method » Reading ani Bariraining - Rhyhin i a fafa eet alae ee -175-‘Adamo Prince Com pausas de colcheias e ligaduras With pauses of eight notes and slurs as tht = i (= 1 4 [Serer rt‘Método Prince « Leitura e Percepgio - Ritmo / The Prince Metivod » Reading and Barraining ~ Rite Herter Hee corte er eer haere gp SS at “177.‘Adamo Prince Com ligaduras With slurs mo Feet etePontuados e sincopados Dotted and syncopated ed eto tr ——, Reena gl Al eafepetataye oat tet 4 feeeroote ma —— ran tere coer teeter eee oe Pheeeceer tema reece tA +179-‘Adamo Prince Com pausas e ligaduras With pauses and slurs tote ere Hee SS ep hereto heer pO Hee BtMétodo Prince « Leltara e Percepeio ~ Ritmo / The Prince Method « Reading aml Bar-raining - Rleythars Percepcdo a duas yozes alternadas Ear-training in two alternated voices rofessor: executa Teacher: plays Jluno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats and then writes See ae 3 -181-mrs La bore i eter eoMétodo Prince » Leitura Pereepgie « Ritmo f The Prince Method e Reading cue Eartraining ~ R) tye eh ea i A Hf IFoOo yea sel val See =]Método Prince « Leitura ¢ Pereepgio = Ritmo / The Prince Mathed « Reading ard Eartraning - RhythmsAdamo Prince eee eV Chins fh eee BaeSse Bo oh fae z]als ices alert Con aoe‘Adamo Prince Percep¢do a duas vozes simultaneas Ear-training in two simultaneous voices Professor: executa (sempre simultaneamente) Teacher: plays (always simuitaneously) Aluno: ouve, memoriza, repete e escreve Student: listens, memorizes, repeats and then primeiramente a voz. de cima e posteriormente a writes the first voice, followed by the second voice vor de baixo a a 7 = aoe Vest re rt gaa, ss. tor torr (ae CL) iB re th (dd) (ld) abe ate C=) of = 188--Método Prince « Leituree Percepeio + Ritine ) The Prince Metiod » Reading and Kar-oraining ~ Rit, pee ea a =) eee 5 es Poe) Tce ter Pome 2. [a et 1. a A; 5 E tot a eas‘Adamo Prince fo Bm CMCeMory” Tee feat noo a, ye "7 ae! f ler Oe at: eer) 94 Berean. o, eo eeMétodo Prince » Leiture e Percepsiio - Ritmo / The Prince Methad « Reading ant Bar-treining - Rhrtina Moo 1 & fen i ahi: 3 mo U yw T ome