Adamo —— 224O Método Prince é, sem duivida, a obra mais completa j4 escrita sobre a matéria Leitura Percepgio do Ritmo. Adamo Prince é um didata por exceléncia, com longa experi- @ncia na frea do ensino de misica. Sens trabalhos, mes- mo antes de serem editados, ja vinham sendo usados, em forma de manus- critos, por um gran- de nimero de esco- las e professores de misica, Espero que todos os interessados em iniciar ou aprimorar seus conhecimentos musicais fagam um bom proveito desta magnifica obra, Almir Chediak The Prince Method is, without a doubt, the most complete work as yet written about the the reading and ear-training of Rhythin, Adamo Prince is the instructor, par excel- lence, with long experience in the art of teaching music. His proceedings, even hefore 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- muction. 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 ‘Aden PriceSom ¢ sil8ncio so @ matéria-prima da misica. Assim como um pintor ou um escultor exploram as ossibilidades de espago, um compositor explora as ropriedades do tempo. Do compositor John Cage me Jembro desta frase: "Silencio € 0 etemo background onde meteoros de som explodem em pontos definidos do tempo.” Por toda a nossa vida, rtmos naturais nos acompanham. As batidas do coragio ¢ a respiraco s80 0 nosso ritmo interior e definem a expressto de cada um de nds ‘quando falamos. dancamos. cantamos ou tocamos um instrumento. O'estudo do ritmo, sua leitura e plena compreensiio, deve merecer atencio especial do aluno de misica. No entanto, tenho observado que a leitura riumica ¢ assunto temido entre os iniciantes. Acho que ‘Adamo Prince conseguin colocar o assunto em dia e na ordem certa (0 que € fundamental). Nestes tr@s volumes, 05 ritmos se sucedem de maneira clara, objetiva ¢ bastante musical, quase melédica, pois os exemplos apresentados possuem métrica ¢ forma, criando sempre um sentido, em ver. de divisdes ‘merumente matemsticss. Os ritinos praticamente falam porsi. 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 ‘antribues of time. I remember this phrase by composer John Cage: "Silence is the eternat background where ‘meteors of sound explode at definite points in time” ‘Natural rhythms accompany us for all of our lives, The beats of the heart and our respiration are our interior rhythms and they define the way we express ourselves: ‘when we speak, dance, sing or play an instrument. The study of rhythm, its reading and full comprehension, ‘should deserve special attention from the music student. However, I have observed that sight-reading of rhythm is a subject feared by beginners. | think that Adamo Prince has rianaged to bring the subject upto 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 Var A Biblia diz. que “no infcio havia a palavra". Mas eu prefio acreditar, uma vez que o ritmo é a base de todas 48 coisas, especialmente da musica, que no comego havia o ritmo. E que no comeco havia Paul Hindemith, ‘Agora tems Adamo Prine, porém com smuito ais imo, The Bible says that "in the beginning was the Word”. But T would like to believe, since rhytm is the foundation jor all things, especially for music, that ia the beginning was the rhythm. And that in the beginning was Paul Hindemith. Now it's Adamo Prince, but with much more rhythm. Carlos Lyra7A METODO Jh2, 26426 PRINCE Leitura e Percepcéo — Ritmo THE PRINCE METHOD * READING AND EAR-TRAINING * RHYTHM PATRIM BIBLIOT! CASSIANO Ri Adamo Prince ‘a, MATICA MUSICA & ZiBSEEESS Ve aancouneome shy (COMPRA/2005 + Editor responsavel / Editorin-chiet: Almir Chediak * Capa Cover design: Brune Liberati + Producao grafica / Supervisor for Print Production; Tonico Fernandes * Revisao de texto (portugués) / Proofreading for text in Portuguese: Nerval Mendes Goncalves + Versao (texto) / Transtation of text: Eliana Avila *Versao (comentdrios) / Translation of commentaries: Kate Lyra SSIS 1999 8585426126 ‘+ Revisdo de texto (inglés) / Proofereading for text in Englieh: Raquel Zampil * Acompanhamento editor Ecitorial Supervivion; Fatima Pereira dos Santos + Fotografia / Photographer: Marluee Balbino + Revisao musical / Proofreading for Musi: lan Guest + Edigdo de arte /an Editor: Mussuline Alves * Editoragao eletrénica e copyciesk / Desktop Pubichor and Copylesk: Jacob Lopes Contatos com o autor: Caixa Postal 11830 - Copacabana 22022-970 - Rio de Janeiro - Tel.: (021) 297-4818 - Fax: (021) 275-6295 For Further Information Contact the Author: P.0. Box 11830 - Copacabana 22022-970 - Rio de Janeiro - RJ - Brazil Phone. (5521) 237-4813 - Fax: (5521) 275-6295Método Prince » Leiturae Percepgio = Ritmo J The Prince Method « Reading and Ear-iraining - Rhythm Volume 1 Preface . tos e elementos Rhythm’s concepts and ALEMENES ssesrnsssnn Directions to the realization fo dos exercicios ... of the exercises wu ~O Primeira parte Part one Reading in one voice... ene are Reading in two simultaneous voices ... = a Ear-training in one voice Ear-training simultineas in two simultaneous voicesAdam Prince Segunda parte Part two rn e em/in 2 3 © Reading in one voice .. Leitura a uma vou Leitura a duas vozes altemadas ..... Reading in two alternated voices ... Pie Leitura a duas vozes simultineas Reading in two simultaneous voices Percepetio a uma vo2 wn. co Ear-training in one voice Percepetio Ear-training a duas vozes alternadas .. in two alternated VOICES sees oe i o Pereepeaio Ear-training a duas vozes simultdneas .. - OD inne simuttaneous voices .. Terceira parte Part three em/in a 2 ¢ Reading in one voice ‘Leitura a uma voz aq Leitura a duas vozes alternadas Reading in pvo alternated voices Leitura a duas vozes simultinea: Reading in two simultaneous voices .. Percepedo a uma vou, Oo Ear-training in one voice Percepeao Ear-training a duas vozes alternadas . in two alternated voices Percepgio Ear-taining a duas vozes simultaneas in nwo simultaneous voices OoMétodo Prince « Liturae Percepgdo - Ritmo / The Prince Method » Reading and Ear-training - Rhythm auma voz... aduas vozes alternadas... aduas vozes simultineas .. auma voz ..... zn & FF 8 & ‘yozes simultneas Volume 2 Preface Rhythm's concepts and elements Directions to the realization of the exercises . Primeira parte Part one OGG Reading in one voice . Reading in two alternated voices... Reading in two simultaneous voices i oO. & 8 Ear-training in one voice ... Ear-training in two alternated voices . Ear-training in two simultaneous voices ..Adamo Prince Segunda parte em/in Leitura a uma voz Leitura a duas vozes alternadas . Leitura a duas vozes simultineas ... Percepedo a uma voz Peroepgio 4 duas vozes alternadas Percepeaio a duas vozes simulténeas Part two Reading in one voice Reading in two alternated voices . Reading in v0 simultaneous voices Ear-training in one voice . Ear-training in two alternated voices Ear-training in two simultaneous voices ... Terceira Parte Part three Leitura a uma voz Leitura a duas vozes aliemadas .. Leitura a duas vores sinultaneas Percepcio a uma vox Percepeao a duas vozes alternadas Percepeao a duas vozes simultaneas .., Reading in two simultaneous voices... Ear-training in one voice ... Ear-training in two alternated voices Ear-training in two simultaneous voicesitos e elementos wo 18 itura a uma voz... itura a duas vozes alternadas .. a duas vozes simultineas..... epcdo a uma Vor... 42 epetio a duas vores alternadas svinnnne 48 epeilo a duas vozes simultneas a iiura a uma voz rcepeilo a uma voz... Método Prince + Leiturae Peeepeto ~ Ritmo / The Prince Method « Realng and Ear-aining - Rhythne Volume 3 Preface .. ee Pe Rhythm’s concepts and elements evnacedl Directions to the realization of the exercises ... 18 Primeira parte Part one. B Reading in one vOICe wn 24 Reading in vo alternated voice. 2 Reading in two simultaneous voices 35 Ear-training in one voice snes 2 Ear-training in two alternated voices Ear-training in pvo simultaneous voices Reading in one voice Ear-training in one voice Ji 7Adama Prince Segunda parte Part two Compassos Alternados / Alternated Measures Leitura a uma vor * Compassos Alternados ... © Outras Unidades ., Percepefio a uma voz * Compassos Alternads ... © Outras Unidades ... ot Te, Reading in one voice * Alternated Measures... © Other Time Units Ear-training in one voice * Alternated Measures ..., © Other Time Units Terceira parte Leitura a uma voz * Mudangas de Compassos .. * Mudangas de Unidades * Auséncia de Compasso .. Percepedo a uma vor * Mudangas de Compassos * Mudancas de Unidades =F * Auséncia de Compasso » 126 132 Part three Unidades Tu ne Units and Measurelesse environmenis. uséncia de Caipasse 2 Reading in one voice * Changing Measures . © Changing Time Units... 98 * Measureless Environments ..... uz Ear-training in one voice * Changing Measures 124 * Changing Time Units. 126 * Measureless Environments... wiseefacio Preface Gsica 6, basicamente, feita de dois elementos oe som. Esses também sio os dois pais componentes de sua notagio. Ler e Srever musica para um mésico tem 0 mesmo nificado que ler e escrever 0 alfabeto para sé que fala, O processo do aprendizado da e escrita musical pode ser facilitado pela aracao temporaria de seus dois elementos, 0 NO € 0 Som, por serem dois reflexos s dois elementos em separado, junté-los 6 epreendentemente fécil sente livro € destinado ao ensino da leitura “a através de um vasto material de cios que abrange, sistematicamente, as tiplas situagdes rftmicas que se apresentam decorrer da leitura musical. Seu objetivo é sinar 0 uso consciente do primeiro € mais, uitivo elemento da mtisica que € o ritmo. imo € constitufdo, basicamente, por pulsagbes. agdes sio medidas de tempo. Qualquer mo, por mais complexo que seja, possui uma. cio basica, batidas imagindrias ou plicitas de duragdo igual. Isso revela uma ticularidade: a arte da misica decorre no APO (ao passo que as artes visuais decorrem no p aprender a leitura ritmica, o estudante: ende a respeitar ¢ lidar com o elemento npo. A continuidade e fluéncia do tempo é ndigdo da interpretagdo musical, sem a qual a Music is made up basically of two elements - rhythm and sound - which are also the two main componenis of musical notation. To read and write music bears the same significance to a musician as does to read and write the alphabet to anative 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: rhythm. Rhythm consists, basically, of pulsations. Pulsations ave 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 incompreensfvel. Por essa ra: todo treino de leitura ritmica deve respeitar essa continuidade € desde o comego o estudante deve adquirir 0 habito de nao errar nem fazer interrupedes. As dificuldades surgidas devem ser Contornadas mediante a escolha da velocidade adequada. A experiéncia mostra que a leitura riimica em baixa velocidade & bastante dificil, Pois estamos acostumados a fazer miisica em sua Velocidade habitual, isto é, em seu impulso natural. Aprender a reduzir a velocidade, porém, ttaz a grande vantagem de nos permitir pensar (antes de cada grupo de nots) no que vamos executar. © Método Prince de leitura e percep¢ito do ritmo, além de abranger sistematicamente todas as Combinagdes ritmicas dentro de uma rigorosa escala de dificuldades, apresenta a grande vantagem de um vasto niimero de exercicios em Cada nfvel. A abundancia de exercicios naa permite a ultra-repeticao e conseqiente memorizagdo dos Mesmos, oferecendo a experiencia da "leitura 4 primeira vista" - indispensével no tino da leitura. Outto aspecto da presente obra ¢ a leitura simultinea de duns linhas de ritmo, executadas pela boca e mio, Tespectivamente. Dividir a ateneao entre dues atitudes simultdneas &, além da leitura Polirrfimica em muitos instrumentos, imposigao fundamental a todo misico que toca em grupo, A propria leitura musical, com a simultaneidade do ritmo ¢ do som, exige ateneao dividida) Ao encatar 0 estudo da leitura ritmica, ter em mente que o mesmo é um Condicionamento de reflexo e, como tal, requer um hébito continuo a médio e longo prazos Apesar do aprendizado se processar muito sos Poucos, de grau em grau, o estudante 56 Perceberd 0 proprio progresso em momentos S*parados por longas semanas, momenios em que Quantidade se transforma em qualidade. deve-se. 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 ari ve must be handled by choosing the adequate velocity for each exercise Experience shows that it is extremely difficult to read rhythm at low velocities, because we are Used to 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 ser of notes) what we are about to play, Apart from systematically encompassing all rhythmic combinations within a vigorous 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 "first-sight reading" - which is indispensable for training the Skill of reading music. Another feature of this ook is the simultaneous reading of two rhythmic staves, to be perfomed with mouth and hand respectively. The ability to pay attention to nvo 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 saidy of rhythmic reading, the 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 his/her own progress at intermittent ‘moments in between long weeks - moments when quantity is transformed into quality, Jan GuestMétode Prince « Leitura Percepsio = 101 The Prince Bethel « Reinga Earstraining - Rhythos ceitos e elementos itmo parte deste volume trata das em fusa ¢ semifusa nos compassos m_U.T. = semfnima) ¢ compostos = scminima pontuada). Na sua Cliches visuais da fusa e semifusa sa0 aos da semicolcheia, com a um ou dois colchetes a mais. Isto wilas visuais j4 conhecidas. E claro er 0 tempo, a velocidade dobra iplica (semifusa) em relagdo & Para a execuciio dos exercicios de -se a pulsago do tempo a partir uais formados pelas figuras de x, determinando assim o andamento jado para 0 exercicio inteiro. junda parte trata dos compassos altemados ¢ ira em Outras unidades de tempo nfo mencionadas. Compassos alternados jueles que combinam grupos de tempos. tes entre si, Os mais usados so os de e-sete tempos. O de cinco tempos alterna compasso binério com um ternério e o de sete alterna um temério com um quaternério. alternncia pode ser feita em qualquer aE Rhythm's concepts and elements Part One of this volume deals with thirty-second and sixty-fourth note subdivisions in simple measures (TU. = quarter note) and compound measures (TU. = doted quarter note). Most thirty-second and sixty-fourth note visual clichés resemble those of the sixteenth note, but for one or two additional brackets. That leads up to visual formulas which are already known to you. Obviously, if the beat is maintained, velocity is doubled (thirty-second note) and then quadrupled (sixty-fourth note) as compared to the sixteenth note. For the reading exercises below, the pulsation should be calculated based on the visual clichés formad by the smallest- value figures, which will determine the adequate time for the entire exercise. Part Two of this volume deals with alternated ‘measures, and with the reading of other time units which have not yet been mentioned, Alternated measures are those which match different bear groups together. The most common alternated measures are those which count five and seven beats. The five-beat alternated ‘measure alternates two-time and three-time ‘measures one by one, whereas the seven-beat alternated measure alternates three-time und four-time measures one by one. Theve is no pre- set order for which that alternation to take place:‘Adamo Prince i-7 + 3 ou 2, 3 rade ks 4 Tad | oul i rl {+d o f+ 4 Para maior clareza da notagdo, alguns autores For more precise notation, several composers Costumam usar uma barra pontilhada have chosen to draw a dotted barline bermac, demarcando os grupos de tempo, different beat groups, Exemplos: Examples: Terre ® te | otitis 3 Outros costumam usar duas fragdes lado alado na formula do compasso, Onhers usually display the two time signanures side by side in the measure formula, Exemplos: Examples: 2.3 o—e ou RG or LE Seay 4.3 eee clear a 4 o Pag! ea 4 ciao F,.tinda, um Gnico denominador para duas ‘Still another system is often used: the display of fraddes ¢ também um sistema ndotado errs one single denominator for both time signatures. freqiiéncia, Exemplos: Examples: 2+3 3+2 4+3 B44 A POUR A aay 40 4 “2.Método Prince + Leura ePercepeto - Ritmo / The Prince Methrl « Reating ant Earsiraning - Rhythm de alternfincia também pode ser tocada The oniler of the alternation may also be changed r de um trecho, throughout the course of a musical passage. Examples: lie Proune ane 3 dine Sere ln 1 2 304 L 2 5 es 3 1 2 3 4 vezes, a simples programagiio visual Often, simple score notations are sufficient as com clareza o intercimbio dos clear indicators of the interchange between aSs0s. measures. plo: Example: 243 42 ompassos alternados também podem ser Alternated measures may also be compound posts. ones. plos: Exanples Tro oo oot 1 2 3 4 5 1 2 3 4 5 6 i missAdame Prince Outras combinagdes de compassos também podem formar um compasso alternado, incluindo a possibilidade da troca de Unidade de ‘Tempo. Essas combinaghes so menos intuitivas, porém de excelentes resultados, Exemplos: Alternated measures may also be formed by Surther measure combinations. These include the Possibility of changing the Time Unit. Such combinations are less intuitive, but they show excellent results. Examples: 3,6) 1 2 ‘i 2 Quanto 2 notacio em Unidades de Tempo diferentes, escrever nesta ou riaquela unidade depende, principalmente, da conicepgtio do autor Uma mesma musica pode ser escrita em qualquer Unidade de Tempo sem que isso altere a sua execucio, Exemplos: =60 dao Poor Portanto, ¢ necessério treinar a leitura em diferentes unidades para que se possa desenvolver 0 reflexo, ee Regarding 10 the notation in different Time Units, the choice will mainly depend upon the composers conception, A musical piece may he written in any chosen Time Unit, without any changes in the way it will sound. Examples: Therefore, itis important to practice reading in different time units in order to develop reflex and coordinationMétodo Prince + Leltura e Perespsdo - Ritmo f The Prince Methat « Reaing and Eartraining « Rhythin irae Gltima parte trata das trocas de 808, das trocas de unidades ¢ da auséncia asso. ‘trocas de unidades, a indicagio de igualdade figuras diferentes (semfnima = semfnima ada) € freqiientemente usada, informando duragdo atribufda as duas figuras (sejam uais forem) serd igual, Se nio houver essa io, as verdadeiras proporgdes serio idas. dad exemplo, a duragdo do tempo ndo muda, as figuras igualadas comespondem & U:T. dois compassos. Se nao houvesse a icacdo, na passagem de 2/4 para 6/8, 0 tempo ia. uma colcheia mais lento e, na passagem {6/8 para 2/4, uma colcheia mais rapido, nando ao tempo inicial. -se também a indicaco de igualdade para as iguais (minima pontuada = minima tuada), que nos aponta para o aparentemente io. Menos freqitente, ela é usada como formagio adicional para situacGes ritmicas que am gerar algum tipo de confusio. mplo: Part Three, which is also the last of all, deals with changing measures, changing time units, and measureless environments, When changing measures, the equal sign between different figures (quarter note = dotted quarter note) is often used, indicating that the duration of each one of the two figures (whichever they are) should be the same. When this sign is ‘missing, that means the respective proportions are to be kept. Examples: ded oto rte rte etc. Inthis example, the duration of the beat is unchanged, once the equaled figures correspond 0 the TU. in both measures. If that indication were not present, the beat would be slowed down by one eighth note when passing from 2/4 to 6/8, and faster by one eighth note when passing from 618 to 2/4, recovering the original beat. The equal sign is also used for equal figures (doted half note = doted half note), which leads us to what is apparently obvious. It is also used, though less frequently, as additional information in clarifying rhythmic situations which may otherwise be misleading, Examples: etc,as Trés tempos de 3/4 tém a mesma dura dois tempos de 9/8. Veja: mo Prince Three bears 3/4 correspond w the same duratios of two beats 98. Just look: Por via das dtividas, a indicagio esta confirmando isto, caso nao tivesse sido percebido. Outro aspecto interessante na notacdo ritmica & ue, em composigdes modernas, podemos encontrar programagies visuais que fogem aos padrdes tradicionais, Exemplo: Eevidente que 0 compasso bindrio nos seis Primeiros tempos € uma simples alusio. A idéia foi concebida em um perfodo de tempo ‘no qual caberiam trés compassos bindrios; porém, nesse perfodo, essa métrica s6 existe como referencia, A quebra do papel tradicional estende- para a fragdo de compasso. ie também Exemplo: 8 That is what the indication was meant to confirm, dustin case the noration wasn't clear enough without it Another interesting aspect regarding rhythmic notation is that, in modern compositions, score notations which escape traditional standards are easily found, Examples: ete. Evidently, the two-time measure within the six First beats is just an allusion. The idea was conceived for a period of time hhich could take three two-time measures: however: in that period, the metrics conceived exists as a reference only. The breakaway from the waditional parameters also applies 10 the time signatures, Examples: 1. ieee ore:Método Prince + Leitura e Pereepsio ~ Ritmo / The Prince Meth « Reading and Barstining « Rigi: ‘vemos, a fragio no simboliza mais um go composto, ¢ sim um agrupamento de 0.9/8 nos informa sobre um grupo de “colcheias, sem necessariamente estabelecer -gularidade métrica entre elas. Nesses qualquer numerador ¢ vélido (10, 11, 12 {sso nos leva, paulatinamente, para a ia de compasso, onde o ritmo base 1e em pulsagdes basicas, que podem ive sofrer variagbes. As proporedes entre as no deixam de existir, mus as nagdes visuals nao se detém sivamente aos clichés tradicionais, valendo- imagens que melhor correspondam io do momento. plo: Wsitores de vanguarda, por vezes, felatividade dos valores, formando 0 10s chamar de uma concep¢Zo mpo ¢ do ritmo, e estipulam yometradas aly As we can see, the fraction no longer represems a three-time compound measure, but rather a grouping of pulsations. The 9/8 provides information on a set of nine eighth notes, without necessarily establishing metric regularity among them, In those cases, any numerator is workable (10, 11, 12, etc.). Allihis leads gradually to a measureless environment, one where rhythm is based on basic pulsations alone - and those pulsations, furthermore, can vary. Proportions among the figures do not cease to exist, but their score notations are not restricted exclusively to the traditional clichés: they include images which better correspond to the intentions of each given moment. Examples: etc Some avant-garde composers ofien neglect the relativity of the musical figures or durations, thus forming what could be called an absolute conception of time and rhythm, as they determine durations through precise timing. Example: Aotas tém seus valores thinutos, segundos ¢ fragdes de linha nao seré abordada aqui, ficando a io somente a titulo de referéncia. “17 etc. In this example, the notes durations are stipulated in minutes, seconds and fractions of a second. This line will not be examined here - the coniment serves as a reference only.‘Adame Prines Instrugées para a Directions to the realizacao dos realization of the exercicios exercises Na primeira parte, In part one, on leitura e Percepcao reading and ear-training Siga as mesmas instrugGes dadas nos volumes Follow the same directions given in the previot anteriores, volumes, Na segunda parte, In part two, leitura em compassos alternados reading in alternated measures 1) Bater 0 tempo com o pé ¢ executar ritmo 1) Mark the beat with your foot as you speak o1 com a boca (falando). the rhythm. oe ei fj seeueanlelea momen cies leita ye cones 2) Batero tempo com 0 pé e executar 0 titmo 2) Mark the beat with foot and play the thythm Percutindo com a mao direita. by tapping your right hand. ae ne Gee ee wo ow eS Ogee ron a8. Le(Método Prince » Leitura¢ Rercepgio - Ritme J The Prince Methad « Reading and Ear-irining - Riytn sscente aos itens 1 e 2. a marcagio dos 3) Add to items I and 2 the exercise of marking passos na mio esquerda, que recaird no 1° the first beat of each measure with left hand. mpo de cada grupo. aes) a “=e (a ee ee Po = mio direita 6 = mio esquerda MD = Tit hand Peet ME = “ena it MD MD MD MD MD ia segunda parte, In part two, itura em outras unidades rene in other time units ritmo deve ser executado com a boca The rhythm should be spoken out or tapped by {falando) ou com a mio direita (percutindo). your right hand. The beat should be marked tempo, marcando com 0 pé, ¢ 0 compasso by your foot, and the first beat of each ym a MAO esquerda. ‘measure should be marked by your left hand. exemplos: Examples: UT. TU. r reps ve = geen r P > P Me ME -19-Adame Prince ur = Tw. e = Mio exquerda Ee ME = noe P P e : Me Me Ur p Tw. = ilo esquerda Te ae ed ae Ea 8 Me ME UT p Tu. ea = Mio exquerda ee a i Totoro po Be Me Me Na segunda Parte, dn part two, Percepeaio ear-training Siga as mesmas instrugses dadas nos volumes Follow the same directions given in the Drevious anteriores, volumes. Na terceira Parte, In part three, k, Jeitura em mudanicas de com Passos reading in changing measures € unidades and units Adui a atengao vai se dirigir mais Para a Here, attention will be concentrated on marking caquciSHo dos tempos (pé) e compassos (mao the beat (foot) and the measure (left hand), which fabetdla), que sero variveis, A Cntase esté em Should vary. Stress lies in the skill 1p change fazermos as mudangas com Diba ces euracea in Pane pes and time units with maximurs afim de adquiricmos maior versatilidade nas Precision and reliance, s0 as to achieve Sreater trocas. versatility and flexibility in making those shifts, -20. eeince « Leltura e Percepiso = Ritmo / The Pree Methad » Reding and Bartrining ~ Rhyl mudangas de unidades, além da marcagao do e do compasso, podemos nos orientur pulsagGes menores, como a meia ou a parte do tempo, por exemplo. A principio, las com um dedo pode ser de grande Com troca de U.’ When shifting time units, besides marking the beat and the measure, we can also guide ourselves by the shorter pulsations, such as those of a quarter or half-beat, for instance. In the beginning, it is usually very handy to use fingers for marking them, Examples: Sem troca de U.T. - Tempo fixo e compasso varidvel Without changing the T.U. - Unchanged beat, variable measure - Tempo e compasso varidveis Changing the T.U. - Variable beat and measure eS Sy tron —e STITT Me J J PoP M ia terceira parte, leitura em auséncia de compasso fa Ieitura ritmica sem compasso, todos os lementos podem acontecer a qualquer momento: tempos mantidos ou nao, pulsacoes varidveis, clichés tradicionais ¢ programages visuais inusitadas. Todas as instrugdes jé foram dadas, e cabe a cada um utilizar da melhor forma os recursos adquiridos. Na terceira parte, percepciio Siga as mesmas instrugdes dadas nos volumes anteriores In part three, reading in measureless environments In measureless rhythmic reading, all elements may take place at any moment: regular or irregular beats; variable pulsations; traditional clichés or unheard-of score notations. All the instructions have been provided - itis now time for each one 10 make the best of the resources at hand. In part three, ear-training Follow the same instructions given in the previous volumes.Primeira parte Part one Com / WithAdame Prince Leitura a uma voz Reading in one voice ew yg -24-Métode Prince » Leitura « Percepeto - Ritmo / The Prince Method « Reading and Far-traning - Rhythnsears a ow ie eee igi Pp r { T Te dyesMétodo Prince « Letura e Percepedo - Ritmo / The Prince Methrd « Reaing and Eareaining - Rhythin nt yw wmAdamo Prince Com ligaduras With stursMétodo Prince » Letra e Pereapeio - Ritmo / The Prince Method « Realng and Earinaining - RhythanAdamo Prince Leitura a du Reading in p las vozes alternadas wo alternated voicesfaa a a nera la oho i Wyn ys hyMétodo Prince + Leiturae Percepgie = Ritmo | The Prince Method » Reading and Bar-aining - Rhythne Leitura a duas yozes simultaneas Reading in two simultaneous voices ML. A St eeMétodo Prince » Lelturae Perepedo ~ Ritmo / The Prince Method « Reading and Kar-training - Rhythms srwanegs tiara loa wre toAdame Prince Leitura a uma voz Reading in one voice Variacdes VariationsMétodo Prince + Leitura Pereepsio - Ritmo / The Prince Methad + Reading and Har-iaining » Rhythne -39-‘Adamo PrinceMétodo Prince » Leiturae Percepyio + Ritmo / The Prince Method » Reading and Kartraining - Rhythm 41.Adame Prince Percepc4o a uma voz Ear-training in one voice Professor: executa Teacher: plays Aluno: ouve, memoriza, repete ee Student: listens, memorizes, repeats and then writes Hwy Wem erect hoe ee foo arto hp yt 42.Sy 99 wy ape ape rete epi pig? eye tee per epee eects E 45PW Wop Mego ee ee[Método Prince « Leitura« Percept - Ritmo / The Prince Method + Reading amt Ear-training » Rin, ce‘Adame Prince Percepcao 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 Ae nas UO ssaMétodo Prince « sra.ePercepsio = Ritmo / The Priner Methat » Reading and Ear-raining - Rhythm opsProfessor: executa (sempre simultaneamente) ‘Aluno: ouve, memoriza, repete e escreve primeiramente a voz de cima e posteriormente a Adame Prince Percepc4o a duas vozes simultaneas Ear-trai voz de baixo GC ing in two simultaneous voices Teacher: plays (always simultaneously) Student: listens, memorizes, repeats and then writes the first voice, followed by the second voi fa es eyo 5 ; teMétodo Prince » Leltura¢ Percept Ritmo / The Prince Method « Relig an Ear-iraining - Rhythm Percepgio a uma voz Ear-training in one voice or: executa Teacher: plays 2 uve, Memoriza, repete e escreve Student: listens, memorizes, repeats and then writes Variacées Variations eeSegunda parte —_—. Part two Compassos Alternados/Alternated Measures po i eis at ‘ . 4. 38 8 Outras Unidades/Other Time Units mob ad‘Adame Prince Leitura a uma voz Reading in one voice oS oa Toot tttMétodo Prince + Laitura ¢ Percepeio = Ritmo / The Prince Method « Realing ct piece Te aiAdamo Princeroot ort retto otmer rrteetttMétodo Prince « Leitura e Perespgio = Ritmo / The Prince Method « Reading and Bar-tnaning - Rhyn:Método Prince + Lelturae Pereepyto ~ Ritmo / The Prince Method » Reading and Earning » Rlydhie rrr toraPeta (i iaeroer ae od het ot ot ee tee‘Método Prince « Leiturne Percepsio » Ritmo / The Prince Method « Reading ami Bar-rining - Rhythm er a8let Colts tat beet 4Método Prince + Leitura ¢Pereepeto - Ritmo / The Prinee Method » Reaing and Earning » Rhythms athe eae eo tot ttt ttco Po Ori = OT ott pteMétodo Prince « Leitura e Pereepgto ~ Ritmo J The Prince Method « Recng and Eer-iraining - Rhythm aera oafesta0 tifa eet ror rT Tt ret cot a a A aEe ~, mee = LD [aa] r + of ‘ii TE Pel, ae p For p p DD Opt tt a Te O Ty [ane I] ge p OU (eal Leann TeMétodo Prince « Leiturae Pereepaio = Ritmo / The Prince Method © Reading and Ear-traiaing - Rhythm oh TO tet ey Papeete ent et 4 eed Snneee iae oini me tf f : Bf tutta ae a a r A rtp te pepe et et ttStottMétodo Prince © Leiturae Perepgio + Ritmo The Prince Method « Recding and Bar-raining - Ry ror tat ttt PoppHort rot tt Pot rtrotr tieMétodo Prince « Laltura-ePercepeio - Ritmo ! The Prince Meth’ » Reoding and Farsuining » RhythosMétodo Prince + Leitura sPoreepgtc - Ritmo / The Prince Methad « Realing end Bar-aining » Rhyihinreepeio ~ Ritmo / The Prince Method « Reading and Bartraining - Ryton Métade Prince » Letra e PeLalas ‘Adamo Princefessor: executa ino: OUVe, Memoriza, repete ¢ escreve Métado Prince « Laltura e Percepgio = Ritme / The Prince Method » Reading and Barsatning ~ Rkytrt Percepgao a uma voz Ear-training in one voice Teacher: plays Student: listens, memorizes, repeats and ther. writes “3 oe fae eterna — hag aan eeneaeim (ata att amt ibrororet oe tortor tt Tames enc hoot tt a tortor ter or Rar ttt aro ott hr tttee LLMétodo Prinee « Leitara e Pereepete - Ritmo / The Prince Methed » Reading and Borsraining - Rhytm Ay eee eee! tert tS tort thoes rer Css eatean apc 1aaqencc see Shooreaaret peer peer cere tooo tort tor epee es pitast tt Ky : tt serrorttr q 3 4 ne Prince Adan © 1 Tnce » Leltura« Pereepato - Ritmo / The Prince Method » Reang and Bar-training - Rhytim or TASS a eet fag aaa ene Pateterta distetatetatatat ae Tain oleae ema aT 4 Repertory So tipo tt pr tritet Método Prince » Laitura ePercepgto ~ Rlumo J The Prince Meihal « Reding and Par-rining - Riythas = oor eee thea art tee eet Repetto I at ere -91-Terceira parte —__ Part three -Mudangas de Changing Compassos, Measures, _ Unidades Time Units e : and Auséncia de — Measureless _ Compasso EnvironmentsAdam Prince Leitura a uma voz Reading in one voice Sem trocas de U.T. _ Without changing TU. rT Te { T roo oe oa Rate tet RR torte hte | ott et ther ter | er re eo re 8 freer er SE ett tr 1 E featet platter fate | Tt Hotrit porto port coo te et tet ot Cota aie oreAdame Prince Com trocas de U.T. Changintg T.U.Método Prince « Leitura ePereepaio ~ Ritmo ! The Prince Method Reuling ane Earring - Rhyihm: 2 Berta ere oot tot fo rt ert} toto tH Botte orto Recerca ero CesT egal) lee Eo 99.Adam Prince CIPAL BIBLIOTECA Ny UNICPAL CASSIANG RICARDO Toto tet testo oto De. (em rep) (ortho rep) Al 116 4424] 8925:flafet ia pautmleltatetatataraltmta cla rr am BPP falta ttt ty te ie ooo eto to Sr tee eer ere ho oft te -101-Adam PrinceTooter toot — = 4.4 fpr mor veers 21-: Hp ra PO eat othe ded ae | Hoot ttt = 103-ect 8 a a a or iho eee i a a a | De.Rassqe yo eaeannea ae ao CCT afi Cente ss teeta (om al foe === Tafa if fas ef gfe To Rott too m4 ttSooo er Pott oto ot SOni See acer Toot ariesRohr tre dad oS et B 3 = 108 - 4.J D.C. alk. HottMétod Prince « Lelturae Pereepedo ~ Ritmo / The Prince Metivod » Re ee ey Se BR otto ot oto Lit tit titre tar re Seto eno AD rE dS rot teat te DC. al F. = 1D9-34 tf CaP eaL ta tater FF = 7 U4) tate ierSaceni eta eae pid aoe fae 1 Peet. ft ete el (exten (1a Beeps reece oy ee eeeMiétado Proce « Leitura« Pereepeio - Ritmo / The Prince Method » Reading and Farswining - Rhythia Pirate oo PP ett aed ne I Dc. Siti te Pee er hiro oooh ooo Roo ooo or +13Método Prince » Leitara Percepgio - Ritmo / The Prince Method » Reading ane Ear-aining ~ RhytonMétodo Prince » Leitarae Percepgto + Ritmo / The Priace Method « Reading and Bar-raining - Rhyéhin Ce erehh er ve SiecleMétodo Prince « Leltara ¢Percepgio ~ Ritmo / The Prince Meihad « Reading and Earaining ~ Rythme maa Fara 3 —s on 2 " . Fs (fea fi ak - = FE to] 3a eI -119-Método Prince « Leitura ¢ Percepedo = Ritmo / The Prince Method © Reeling ane Eartraning - Rhythia a ke all oS eS sy (nt a= Tegra CAP or Sey ae DGalF. 11+m3 84 3 Iee De Tiel eat eee maf etal x Jed © AR oS eee tr a Vaon laa aaAdamo Prince Percepcao a uma voz Ear-training in one voice Professor: executa Teacher: plays Aluno: ouve, memoriza, repete e escreve Student: listens, nemorizes, repeats and then writesMétodo Prince « LelturaeBorcepale ~ Ritmo / The Prince Method « Realiag cnet Exr-raiing ~ Ribot terete teri A horror oT ootMétodo Prince » LelturaePercepyto - Ritmo / The Prince Methat « Reading and Bertnaning - Rhytion thecererth = Cotati ier patie tater hata Prenrororenr eet ent oot tert ded Preset tie ttt ae dD Fade-outMétodo Prince « Leitura «Pereepeto = Ritmo / The Prince Method + Reating amt Earraning - Rlythns ect focal ate Cosh ryan Satta tai arene 2404043 ae Pe corenrer erent top Ae Q at a ral cal )Adame Prince Pet eet ter cer Poneto corte tet Ro error tearMétodo Prince « Leitura.ePereepeio - Ritmo / The Prince Method « Reading and Earraining - Rhythms Pep tere er hd Ro eet “131.‘Adure Prince Auséneia de Compasso Measureless EnvironmentsTooter Gre eerererergr ger ear ti Fg gg ee oo ee pot oo Oa a a Hoey f So sa + 133-‘Adan Prince ap a Co ed Tal teat ey‘sto livro fo! impreseo nas oficinas grdtieas da ‘vous Lida. Rua Fret Lufs, 109 — Potrdpolis, 3, com filmes © papel fornecidos pelo’ editor.