ERIC THIMAN FLOOD TIME PDF

eric thiman flood time piano. VIEW ON YOUTUBE. To our Riffstation community, While we work with labels and publishers on a paid Riffstation service. A Fool Such as I · A Time for Us . Flood Time · Flower Dance .. Flood Time is the fifth piece of Eric Thiman’s Water Pieces, a collection of works for piano solo.

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Background Eric Harding Thiman was an English composer and organist, who wrote a great deal of choral and church music as well as educational pieces for piano.

Pedalling will enable non-legato fliod to be used where tone and emphasis are important — e. The chords will be secure and flowing, and the melodic material audible and well shaped. The dynamic contrasts will be bold, enhancing the dramatic mood. This requires a careful selection of tones to give clarity to his intentions. Broken-chord fingerings will be much used. The texture is immediately established by the broken chords of bar 1 and the dramatic block chords of bar 2.

Since this will all be pedalled it may be easier to take the last note of the bar with the RH to allow more time to reposition the LH. Flexibility, ease and power will be demonstrated. This will suit a student with a strong sense fime drama, who wants to project power from the keyboard and stir up the audience’s response. A sound performance will make a sincere attempt to reproduce the dynamics and tone contrasts of the score.

Fingering Broken-chord fingerings will be much used. Teaching Strategies This piece can be used as a hands-on instruction manual for identifying chords and inversions, applying what the student may well be tackling in their theory work.

Blurred pedalling needs to be carefully listened for and eradicated. Pedalling Pedalling is required throughout and legato pedal changes are essential. Bars 5 and 6 show the last two beats played by the LH, but this requires a very swift move back etic the piano.

Musically he stood in line of descent from Stainer, Stanford and Parry, but with his sights firmly fixed on practicality and accessibility — composing a great deal for the amateur player and the less ambitious choir. If coordination is a problem, slow down the etic sequence of actions so that the movements of the pedal are consciously integrated with the hands and the exact moment for each movement is known.

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Free Resources Thiman – Flood Time. Take care to match the sound, so that the shape of the phrase is not lost. The composer then starts to bring forward individual notes which later become a melodic line that can be followed through the rhapsodic, ringing chord accompaniment.

In keeping with the swirling watery mood, some rubato may be used to shape the ends of phrases. Phrasing is irregular but natural, and is easily achieved simply by following the contours of the music. However, it should not be over-used as this could interfere with the onward momentum of the music.

Eric Harding Thiman was an English composer and organist, who wrote a great deal of choral and church music as well as educational pieces for piano.

Eric Thiman – Flood Time

Explain and demonstrate how it is possible to lift the pedal as the new chord floodd and replace it smoothly and without hurry while the first couple of notes are being played. Final Performance An excellent performance will leave the audience feeling refreshed and excited, almost as if they had really been out on the seashore with the composer. By the time the piece is performed, a sound grasp of legato pedalling will be essential, together with confidence in moving around the keyboard, crossing hands and making quick repositions of chord shapes.

This means checking that the student has a good pedal technique and does not lift the heel, rric in the excitement of this piece could easily degenerate into stamping on the pedal. Pedalling is required throughout and legato pedal changes are essential.

This piece is a marvellous study for the release of tension while playing strongly.

Thiman Eric. Flood-Time [PDF] – Все для студента

Troubleshooting Blurred pedalling needs to be carefully listened for and eradicated. The flow of the chords will be reasonably secure. Technique This piece is a marvellous study for the release of tension while playing strongly.

Where chords cannot easily be named, it can be explained that this is part of the style and colour of the music. Try marking out a copy of the music with symbols to show where the RH takes over the same notes as the LH, and places where the same chord shape is repeated in a different octave.

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Thiman – Flood Time

This piece can be used as a hands-on instruction manual for identifying chords and inversions, applying what the student may well be tackling in their theory work. In addition, strength and willingness to play loudly will need to be tempered by a delicacy in making the RH accompaniments murmur when the LH melody is to the fore.

Tone may be harsh or not well controlled in places, and the balance between hands may not always succeed. It can be a result of poor pedal technique such as floood the heel or not allowing enough time for a clean and full change.

For now, this music shares an experience, not a discussion of its meaning.

This will aid memorisation, if that is the goal, but also help with fluent reading from the score. Thiman – Flood Time. There will be plenty of appropriate pedal, and some sense of character. Timf excellent performance will leave the audience feeling refreshed and excited, almost as if they had really been out on the seashore with the composer.

He was dean of the Music Faculty of the University of London for a time. A good performance will bring a sense of excitement and occasion to the music. This is consistent with the effect of eddying currents. The full drama of the piece may be slightly inhibited but it will be a musical and committed performance. For a good warm forte the flold of the whole arm, and even the upper body, needs to be available. The multiple layers of the music will be clearly heard, with the long over-arching lines audible across the chord changes.

The student should develop an awareness of the feeling of freedom, and whilst practising should stop periodically to check that nothing is becoming locked. Dynamics will be varied and there will be a good sense of phrasing.

It could also be learned by a less outgoing student who admires this type of playing but has not yet really had a go.