,'.Leitura e Percep~ao - Ritmo;fJ ---------- _

\ '

)r' i THlPRlNCE METHOD e READING AND EAR-TRAINING e:l.QlYTliMl'~t : -' : ~.. , > -U '. -:'~ ,

iJ, AdalDo Prince

Prefacio

Amusica e, basicamente, feita de dois elementos:ritmo e som. Esses tambem san os doisprincipais componentes de sua nota~ao. Ler eescrever musica para urn musico tern 0 mesmosignificado que ler e escrever 0 alfabeto paraalguem que fala. 0 processo do aprendizado daJeitura e escrita musical pode ser facilitado pelasepara~ao temponiria de seus dois elementos, 0ritmo e 0 som, por serem dois reflexosinteiramente diferentes. Depois do devido treinodos dois elementos em separado, junta-Ios esurpreendentemente facH.

o presente livro e destinado ao ensino da leituraritmica atraves de urn vasto material deexercfcios que abrange, sistematicamente, asmOltiplas situa~6es rftmicas que se apresentamno decorrer da leitura musical. Seu objetivo eensinar 0 uso consciente do primeiro e maisinruitivo elemento da musica que e 0 ritmo.Ritmo e constitufdo, basicamente, por pulsa<;6es.~6es san medidas de tempo. Qualquerrilmo, por mais complexo que seja, possui uma

.. ~ao basica, batidas imaginarias ouimpHcitas de duravao igual. Isso revela umaparticularidade: a arte da musica decorre noICIDpo (ao passo que as artes visuais decorrem no~).

AD aprender a leitura rftmica, 0 estudante~ a respeitar e lidar com 0 elemento-~ --al.-cSiJt~-tch. '(, nu--m. ';vu.1 v V:LV-:l.-:I.-:J..~-:J..-:a.,,~ ~

-.po. A continuidade e fluencia do tempo e~o da interpretavao musical, sem a qual a

Preface

Music is made up basically of two elements -rhythm and sound - which are also the two maincomponents of musical notation. To read andwrite music bears the same significance to amusician as does to read and write the alphabetto a native speaker of a given language. Theprocess of learning to read and write music canbe facilitated through the temporary separationof those two elements (rhythm and sound), oncethey are two entirely different reflexes. Followingdue training in those two elements separately, itis surprisingly easy to re-unite them.

This book is aimed at facilitating the teaching ofrhythmic reading through a wide range ofexercises encompassing, systematically, themultiple rhythmic situations encountered inmusical reading. The primary aim of this book isto develop the student's awareness of the first andmost intuitive element of music: rhythm. Rhythmconsists, basically, of pulsations. Pulsations aremeasures of time. Any rhythm, however complexit may be, contains a basic pulsation, that is,imaginary or implicit beats of equal length. Thisreveals a particular feature: the art of musictakes place in a time environment (whereas thevisual arts take place in a spatial environment).

As the student learns rhythmic reading, slhe isalso learning to respect and deal with theelement of time. The continuity and fluency of

time is th~ pre-requisite for the very ~xiste,!ce oJmusical interpretation, and without It mUSlC

musica se torn a incompreenslvel. Por essa razaotodo treino de leitura dtmica deve respeitar essacontinuidade.e desde 0 come~o 0 estudante deve

. adquirir 0 habito de nao errar nem fazerinterrop~5es. As dificuldades surgidas devem sercontornadas mediante a escolha da velocidadeadequada. A experiencia mostra que a leituradtmica em baixa velocidade e bastante diffcil,pois estamos acostumados a fazer musica em suavelocidade habitual, isto e, em seu impulsonatural. Aprender a reduzir a velocidade, porern,traz a grande vantagem de nos permitir pensar(antes de cada gropo de notas) no que vamosexecutar.

o Metodo Prince de leitura e percep~ao do ritmo,alern de abranger sistematicamente todas ascombina~5es dtmicas dentro de uma rigorosaescala de dificuldades, apresenta a grandevantagem de urn vasto numero de exercfcios emcada nlvel. A abundancia de exercfcios naopermite a ultra-repeti~ao e conseqtientememoriza~ao dos mesmos, oferecendo aexperiencia da "leitura a primeira vista" -indispensavel no treino da leitura. Dutro aspectoda presente obra e a leitura simuItanea de duaslinhas de ritmo, executadas pela boca e mao,respectivamente. Dividir a aten~ao entre duasatitudes simuItaneas e, alem da leiturapolirrftmica em muitos instrumentos, imposi~aofundamental a todo musico que toca em grupo.(A pr6pria leitura musical, com a simultaneidadedo dtmo e do som, exige aten~ao dividida.)

Ao encarar 0 estudo da leitura ritmica, deve-seter em mente que 0 mesmo e urncondicionamento de reflexo e, como tal, requerurn habito continuo a medio e longo prazos.Apesar do aprendizado se processar muito aospoucos, de grau em grau, 0 estudante s6percebeni 0 pr6prio progresso em momentosseparados por long as semanas, momentos em quequantidade se transform a em qualidade.

becomes incomprehensible. That is why alltraining in rhythmic reading must respect suchcontinuity; and the student must, from the verybeginning, develop the habit of not makingmistakes or interrupting the exercises. Thedificulties which will arise must be handled bychoosing the adequate velocity for each exercise.Experience shows that it is extremely difficult tore,ad rhythm at low velocities, because we areused to conceiving music at its habitual velocity,that is, at its own natural impulse. To learn toslow down, on the other hand, brings forth thegreat advantage of allowing us to think over(immediately before each set of notes) what weare about to play.

Apart from systematically encompassing allrhythmic combinations within a rigorous order ofincreased difficulty, "Prince Method" presentsthe great advantage of providing a large varietyof exercises in each level. Such a wealth ofexercises does not allow for ultra-repetition, andthus avoids consequent memorization. Ittherefore provides opportunities for "first-sightreading" - which is indispensable for training theskill of reading music. Another feature of thisbook is the simultaneous reading of two rhythmicstaves, to be perfomed with mouth and hand,respectively. The ability to pay attention to twosimultaneous attitudes translates into not onlypolyrhythmic reading of several instntments, butalso a fundamental imposition on every musicianplaying with others. (Musical reading itself,which involves the simultaneity of rhythm andsound, requires the sparing of simultaneousattention.)

Upon tackling the study of rhythmic reading, thestudent should keep in mind that what s/he willbe dealing with is the conditioning of reflex,which, as such, requires a continuous habit - inboth the medium and long term. Though thelearning process is a gradual one, whichdevelops slowly, step by step, the student willonly perceive his/her own progress at intermittentmoments in between long weeks - moments whenquantity is transformed into quality.

Metodo Prince • Leitura e Perce~ao - Ritmo I The Prince Method 9 Reading and Ear-training. Rhythm

Conceitos e elementosdo ritmo

Rhythm's concepts andelements

Ritmo: e a dura~ao do som e do silencio nodecurso do tempo.

Rhythm: the duration of sound and silence inthe course of time.

)

Figuras on valores: representam graficamente adura~ao do som e do silencio.

Figures or values: the graphic representation ofthe duration of sound and silence.

Figuras ou valores ritmicosRhythm figures or values

80m Nome PausaSound Name Pause

0semibrevewhole note

....

r ~ .llllmma ....half note

r seminima 1quarter note

Dcolcheia Ieighth note

p semicolcheia~sixteenth note

~fusa

~thirty-second note

~

semifusa~sixty-fourth note

Subdivisao das figuras ou valoresSubdivision of figures or values

80mSound

PausaPause

Simbolo numerico das figuras ou valoresNumeric symbols for figures or values

0 r r D ~ ~ ~1 1 1 1 1 1 1

2 4 8 16 32 64

Metodo Prince • Leitura e Perce~iio • Ritmo ! The Prince Method. Reading and Ear-training - Rhythm

~: pulsa~ao basica do ritmo.

lWdade de tempo (D. T.): valor correspondentea urn tempo (ou uma contagem).

Compasso: e 0 agrupamento dos tempos (2 a 2,3 a 3. 4 a 4 ...) a intervalos regulares.

lJDidade de compasso (U.C.): valoramespondente a urn compasso.

Compassos simples: san aqueles em que oslempos tern sua subdivisao natural em duasmetades, cada metade em mais duas, e assimsucessivamente.

Barra de compasso: linha vertical usada paraseparar os compass os.

Barra dupla: indica a finaliza~ao da musica oude urn trecho.

"~o de compasso: sfmbolo utilizado paracaracterizar um compasso. Nos compassossimples, 0 numerador indica a quantidade detempos e a unidade de tempo (V.T.) e indicadapelo denominador.

2 ---t Binarioou r u.T. = semfnima

---t

Time unit (T.V.): the duration whichcorresponds to one beat (or one count).

Measure or bar: the grouping of beats (2 by 2,3 by 3, 4 by 4...) within regular intervals.

Measure unit (M.U.): the duration whichcorresponds to one measure.

Simple measures: measures which take even-number subdivisions. In other words, measuresthat can be subdivided in two halves, each ofwhich can be subdivided in another two, and so on.

Barline: a vertical line drawn to separate twomeasures.

Double barline: the indication of the end ofamusical piece or passage.

Time signature: the symbol by which a measureis characterized. In simple measures, thenumerator indicates the number of beats in eachmeasure, whereas the denominator shows thetime unit (T.U.).

2 2 ---t Two-timeor ,4 ~ ---t T. U. = quarter note

I

Diagrama~ao dos Compassos SimplesLayoutjor Simple Measures

Binario (em dois tempos)Two-time (in two beats)

Ternario (em tres tempos)Three-time (in three beats)

Quaternario (em quatro tem.pos)Four-time (in four beats)

Fra~oes de Compassos Simples mais usadasThe most commonly-used time signatures for simple measures

Bimlrio Ternario QuatermlrioTwo-time Three-time Four-time

D.T. I 2 ou 2 ou ¢ 3 ou 3 4 ou 4= i or 2 or i or 2 i or 2T.u.

D.T. r 2 ou 2 3 ou' 3 4 ou 4 ou c= r 4 r 4 r 4T.u. or or or or

D.T.D 2 ou 2 3 ou 3 4 ou 4T.u. = P 8 D 8 D 8or or or

Obs.: ¢ e C sao conven<;5es que substituem asfra<;5es 212 e 4/4, respectivamente.A fra<;aode compasso e sempre colocada noinfcio de urn trecho ou pe<;amusical ap6s a ciavee a armadura.

Note: ¢ and C are conventionally employed assubstitutes for the 2/2 and 4/4 fractions,respectively.The time signature is always written at thebeginning o~ca musical piec.e or passage,following in:mediately after the clef and keysignature.

'..,.lllra: linha curva que indica 0)IIUIongamento de urn valor para outro.

Slur: a written curve which connects musicalnotes, indicating that the duration of one noteshould extend to that of the other.

'.•••••• de aumento: e usado a direita de urna"~ (sorn ou pausa) para aurnentar a rnetade.sco valor. Se 0 ponto for duplo, serao

I-aal:sci"das a rnetade rnais a quarta parte.

}.~ =

A dot: written on the right-hand side of a figure(representing either sound or pause), increasesthe duration half-fold. If two dots are used, theduration increases by half plus one quarter of itsown length.

~ + j

~

l

~

'Siwaisde repeti~oes e saltos

i; :11 RitorneIlo: indica a repetic;ao de urn, trecho.

Repetition and skipping marks

:11 R~tornello: indicates the repetition of aglven passage.

(!)------------------------------------------------------------~<Z)-----------------------;:~;;!~~~~~f;-------------------------~il

~--------------------------------------------------------------~~ Trecho repetido\ZI--------Rep;;~dp;~;i;---------~

ilCasas de e e 23 vez: utilizadas quando umamusic a ou urn trecho se repetem, porem comfinais diferentes.

First and second time ending: are used when thewhole musical piece or a given passage isrepeated, but with a different ending.

(!)---------------------------------------~G) -------- --------- --, S~ltar 1----------_ ----------~

Sktp

G 117

tlD.C. (da capo): indica a repeti~ao da musicadesde 0 seu infcio.

D.C. (da capo): indicates the repetition of amusical'piece from its very beginning.

(!)-----------------------------~@-------------------------------------------------------------~®------------------------------------------------_.------_.-----~

D.C.(sem repeti~ao)(without repetition)

(I)----------------------------~@ iSa1tar ~------------------------------~

Skip®-----------------------------~(±) ~Saltar ~------------------------------~

Skip

11 iGtl :11

"D.C..~~~ ·16 -

<D---~-------------------- •.~-------------------------------------------------------------------------------- ..([>---------------------- •.<!>--------------------------------------------~------ •.

il

_ Senho (Segno): indica 0 local de onde sentefetuada a repeti~ao.

~ Segno: indicates where the repetition is totake place from.

~---------------------------------------------------------- ..~-------------------------------------- ..

([)-------------------------------------- ..~ <!)-------------------------------------- •.I, -/il II: I I :11 ~Ir

Al~

(!)r----------------------------------------------------------- •.~--------------------------------------- ..

([)--------------------------------------- ..~

Iif II: I I :11. Dal ~ aiF.

(semrep.)(without rep.)

-$- Coda: sinal de pulo para finaliza~ao de urnarnusica (ou de urna parte).

-$- Coda: indicates the skipping of a passage forthe finalization of a musical piece (or of awhole passage). °

<D ---- ---- --------0---- ---- ---- ---- --- --------- ---- ---- ---- --.@ ~Saltar

Skip

tl~--------------------------.

-$-

I

Fade-out: indica que urn pequeno trecho deveser repetido varias vezes, dirninuindogradativarnente de intensidade, ate desaparecer.

D.C. al -$-

Fade-out: indicates that a short passage is to berepeated several times, with a gradual decreaseof intensity, until it has died out.

~--------------------------------.@-------------.([)--------------.(!)-------------.

tl

Fade-in: ao contrario do Fade out, indica queurn pequeno trecho deve ser repetido variasvezes, aurnentando gradativamente deintensidade.

Fade-in: as opposed to the Fade out, thisindicates that a short passage is to be repeatedseveral times, with a gradual increase inintensity.

Altrevia~oesdas repeti~oes

Noraf;ao -------------------------------------~""*'Bon

cl

~ao~n -------------------------------------~

dE'i~-f ~l.) ~

/ - Repeti~ao de urn desenho no rnesrnocornpasso:

Nota~ao~n -------------------------------------~

x -Repeti~ao do cornpasso anterior urna ournais vezes:

Nota~aolVotation ---- ----- ---- --- --------------------- ~

Abbreviations for Repetition

Execu~aoPerformance

Execu~aoPerformance

/ - Repetition of a pattern within a measure:

Execu~aoPerformance

x -Repetition of the preceeding measure, oneor more times:

Execu~aoPerformance

$-Repeti9ao dos dois compassos anteriores:

Nota9ao -------------------------------------~Notation

Assim como na gramcHica temos as silabas quecombinam as consoantes e as vogais, no ritmotemos figuras (notas e pausas) que, combinadas,formam particulas chamadas cliches.

Vma frase gramatical pode ser separada emsilabas:

2 ....f' h d'~ - RepetltlOn OJ t e two precee mg measures:

Execu9aoPerformance

Just as, in grammar, vowels and consonants aregrouped together to form syllables, in rhythm thefigures (notes and pauses) are grouped togetherto form particles known as cliches.

A grammatical phrase can be separated intosyllables:

••••••••••••••••••o reflexo apurado na associa9ao do cliche visualcom 0 seu significado sonoro e que possibilita aleitura a primeira vista. E para escrever eimportante 0 reflexo apurado na associa9aosonora/visual.

Por esses motivos, os cliches a seremestudadosem cada grupo de exercicios estarao destacadospor urn retangulo. Antes de exercitar, 0 estudantedeve familiarizar-se com a imagem e 0 som dosmesmos.

A well-developed reflex in associating the visualcliche to its correspondent sound meaning allowsfor first-sight reading, as well as for thetranscription and writing of music.

For the reasons mentioned above, the cliches tobe studied in each group of exercises will behighlighted within a rectangle. Before exercising,the student is to practice each cliche until he/shefeels familiar with its visual representation andwith the sound it represents.

Instru~oes para arealiza~aodos

~ .exerCICIOs

Directions to therealization of the

•exerClses

1) Bater 0 tempo com 0 pe e executar 0 ritmocom a boca (fa1ando).

Reading in one voice1) Mark the beat with your foot and perform the

rhythm with your mouth (speaking).

B = bocamouth

p p p p p p p

2) Bater 0 tempo com 0 pe e executar 0 ritmo 2) Mark the beat with your foot and perform thepercutindo com a milo direita. rhythm with your right hand.

MD = mao direita p=peright hand foot

ip p p p p p p

3) Acrescentar aos itens 1 e 2 a marcac;ilo docompasso na milo esquerda.

3) Do items 1 and 2, plus: mark the first beat ineach measure with your left hand.

B= bocamouth

p=pefoot

ME = mao esquerdaleft hand

p PME

p PME

MD = mao direitaright hand

p=¢foot

ME = mao esquerdaleft hand

p P

ME

p PME

4) Nos exercicios da terceira parte pode ser degrande utilidade acrescentar ao item 1 amarca~ao constante das semicolcheias na maodireita, com os dedos polegar, indicador,medio e anelar. Quando, porem, ja estiverfamiliarizado com os cliches visuais, esterecurso deve ser abandonado.

B = bocamouth

p =polegarthumb

p=pefoot

i = indicadorindex

4) It is very useful to add to item 1of the exercisein part three the constant marking of thesixteenth notes with your right hand, usingyour thumb, and your index, middle and ringfingers. However, let go of this resource onceyou have become familiar with the visualcliches.

m=mediomiddle

a= anelarring finger

P i m a

pp i m a

p

1) Bater Q tempo com 0 pe e executar a linhasuperior com a boca (falando); a inferiorpercutindo com a mao direita.

B = bocamouth

p i m a

pp i m a

p

Reading in two alternated voices

1) Mark the beat with your foot, and perform theupper staff with your mouth (speaking);play the bottom staff by tapping the rhythmwith your right hand.

MD = mao direitaright hand

p=¢foot

B

ill ! I]MD

p p

2) Bater 0 tempo com 0 pe e executar a linhasuperior percutindo com a mao direita; ainferior percutindo com a mao esquerda.

2) Mark the beat with your foot, and play theupper staff by tapping the rhythm with yourright hand; play the bottom staff by tappingthe rhythm with your left hand.

Metodo Prince • Leitura e Perce~iio - Ritmo I The Prince Method • Reading and Ear-training - Rhythm

MD = mao direita ME = mao esquerda p=peright hand left hand foot

MD MD MD MD MD

iCr IJJ i Jlrc9 i rrr I ~

ME ME ME MEP P P P P P P P

Bater 0 tempo com 0 pe e executar a linhasuperior com a boca (falando); a inferiorpercutindo com a mao direita.

Reading in two simultaneous voices

Mark the beat with your foot and perform theupper staff with your mouth (speaking); play thebottom staff by tapping the rhythm with yourright hand.

B= bocamouth

MD = mao direitaright hand

MD MDP

1) Ou~a 0 exercfcio que sera executado emandamento normal. Memorize e repita 0 ritmo,intuitivamente, sem nenhuma analise ouracionaliza~ao. E importante a memoriza~ao ea repeti~ao integral do ritmo ouvido emandamento normal, mas nao e fundamentalque se memorize na primeira audi~ao.o exercfcio deve ser executado tantas vezesquantas forem necessarias. Use somente aintui~ao, ou seja, nao fa~a nenhumacorrespondencia com a nota~ao, com acontagem, com os clicMs visuais ou com 0compasso, a nao ser que the ocorraespontaneamente. Apenas ou~a e repita.

MD MDP P

Ear-training in one voice

1) Listen to the exercise passage at normal time.Memorize and repeat the rhythm, intuitively,without any sort of analysis or rationalization.It is very important to memorize and repeatthe whole rhythmic pattern just as you haveheard it at normal time, but it is notfundamental to memorize it all the first timeyou hear it. The exercise is meant to berepeated as many times as needed by eachlearner. Use intuition alone, that is, do notassociate the rhythm with the notation, beatcounting, visual cliches, or measures, unlessthat association comes to you spontaneously.Just listen and repeat.

2) Add the marking of the beat and measures.(~

3) Ralente proporcionalmente 0 ritmo, 0 tempo eo compassoyo andamento ate que Ihe sejapossfvel associar mentalmente os clichesvisuais.

4) Agora escreva. Nao esque~a de primeiramenteanotar a fra~ao de compasso. As barrasdevem ser postas ao fim de cada compassoescrito. Para verificar a exatidao da nota~ao,leia 0 que escreveu.

Percep~ao a duas vozes alternadas

Mesmas instru~5es dadas para os exercfcios auma voz.

Percep~ao a duas vozes simultaneas

1) Ou~a 0 exercfcio que sera executado semprecom as duas vozes simuWineas e emandamento normal. Memorize e repita a vozsuperior (aguda). Ou~a quantas vezes foremnecessarias, mas nao fa~a ainda nenhumaracionaliza~ao. Apenas ou~a e repita.

2) Acrescente a marca~ao do tempo e docompasso.

3) Ralente proporcionalmente 0 andamento ateque Ihe seja possfvel associar mentalmente oscliches visuais.

5) Utilize 0 mesmo processo para escrever a vozinferior (grave), cuidando, porem, dadiagrama~ao entre as duas linhas. Paraverificar a exatidao da nota~ao, leia 0 queescreveu.

3) Slow down proportionally on the rhythm, timeand measure, adapting them to the time atwhich you manage to make a mentalassociation with the visual cliches,

4) Now write it down. Do notforget to take noteof the time signature first of all. Draw abarline at the end of each written measure.Read over what you have just written, in orderto check out the precision of your notation.

Follow the same directions as given for theexercises in one single voice.

1) Listen to the exercise passage in twosimultaneous voices and at normal time.Memorize and repeat the top line (the higher-pitched voice). Listen to the passage as manytimes as you feel you need to, but do not yetrationalize the exercise as you do it. Just listenand repeat.

3) Slow down proportionally on the time untilyou are able to make a mental associationwith the visual cliches.

4) Now write it down (the first voice, or upperstaff)·

5) Follow the same procedures in the process oftaking note of the second voice (the lower-pitched voice), but be careful with thealignment of both staves. Read over what youhave just written, in order to check out theprecision of your notation.

Primeira parte---Partone _

II Iem fin

Sugestoes para a promincia das figurasSuggestions for pronouncing the figures

ta-------------------- tah

Ligaduras----------------Slurs

Exemplos:Examples:

j)

<i) CI

ill ta tii ta ta ta ta tiitun tah tun tah tah tah tah tun

~

ill ta tii ta tiitun tah tun tah tun

l~ ~ rr r ~j

ill Hi ta tatun . tun tah tah

~~F 11 ~r ~

ta tatah tah

C~r tHitunFf'e~--=:-=t'j

ta ta tiitah tah tun'rr--1+!'

Leituraa uma vozReading in one voice

C~j - - r -~

- Iii r-+r rr1- i tj -

!:'

.i;

~2

~jCtj r-r--1 -- - i -

Obs.: A pausa de semibreve foi convencionadacomo pausa para urn com pas so inteiroqualquerque seja 0 compasso. Quando houver mais de urncompasso de pausa, coloca-se acima.da pausa 0mlmero equivalente.

Note: The whole-note pause represents, byaccepted practice, a full measure pause, whatevertype of measure that may be. Whenever the pauserefers to more than one measure, its correspondingnumber should be placed above the pause.

Adamo Prince

JC~i - - i - 11 - ~r r+r~. - i t-j -

;;.fJ

IC~r1 2 ~i rr1 -- - r -

Obs.: A pausa de semibreve foi convencionadacomo pausa para urn compasso inteiroqualquerque seja 0 compasso. Quando houver mais de urncompasso de pausa, coloca-se acima, da pausa 0mlmero equivalente.

Note: The whole-note pause represents, byaccepted practice, a full measure pause, whatevertype of measure that may be. Whenever the pauserefers to more than one measure, its correspondingnumber should be placed above the pause.

U-n-!I t lit I I I lt I lit I I I lit ij

It I

f I~r t tit ~ t r t ~ t tit r t ~ t r1

It r t ~ t t ~,;

t'tl-1 ~ r+r ~ I ~ i I ~ i------~r t t It t r~

!~i ~r~~~,,!wI,

Il,

c~r 1 - ~r 1 r 1 I - rT1- 1 rtr 1 - I - r 1 I

~r - ~r1 - ~

c~r 1 ~1 1- 1 rtr 1 - ~1 ~r -11 r 111 r - ~

Com IigadurasWith slurs

c~ =tr ~ ~ FPr ~.. 1- nr1- ~FPrt-~