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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Thiman – Flood Time. 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. Phrasing is irregular but natural, and is easily achieved simply by following the contours of the music.

Thiman – Flood Time

In keeping with the swirling watery mood, some rubato may be used to shape the ends of phrases. Eric Harding Thiman was an English composer and organist, who wrote a great deal of choral and thimab music as well as educational pieces for piano.

Fingering Broken-chord fingerings will be much used. 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. 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.

This requires a careful selection of tones to give clarity to his intentions. Pedalling will enable non-legato fingering to be used where tone and emphasis are important — e.

Eric Thiman – Flood Time

It could also be learned by a less outgoing student who admires this type of playing but has not yet really had a go. Bars 5 and 6 show the last two beats played by the LH, but this requires a very swift move back down the piano.

In addition, strength and willingness to play loudly will need to be tempered by a delicacy in edic the RH accompaniments murmur when the LH melody is to the fore.

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This is consistent with the effect of eddying currents. This piece is in a typically English style that draws upon German Romantic language, but with a distinctive English flavour that makes it lighter and more quirky.

A sound performance will make a sincere attempt to reproduce the dynamics and tone contrasts of the score.

Since erjc 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. Practice Tips 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.

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. For now, this music shares an experience, timw a discussion of its meaning. The flow of the chords will be reasonably secure. Eroc and demonstrate how it is possible to lift the pedal as the new chord begins and replace it smoothly and without hurry while the first couple of notes are being played.

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

Pedalling Pedalling is required throughout and legato pedal changes are essential. Tone may be harsh or not well controlled in places, and the balance between hands may not always succeed.

The student should develop an awareness of the feeling of freedom, and whilst practising should stop periodically to check that nothing is becoming locked. The chords will be secure and flowing, and thkman melodic material audible and well shaped.

For a good warm forte the weight of the whole arm, and even the upper body, needs to be available. Musically he stood in thinan of descent from Stainer, Stanford and Parry, but with his sights firmly fixed on practicality and accessibility — composing a great deal tims the amateur player and the less ambitious choir.

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However, it should not be over-used as this could interfere with the onward momentum of the music. Troubleshooting Blurred pedalling needs to be carefully listened for and eradicated. 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.

Free Resources Thiman – Flood Time.

The performer will convey a sense of revelling in the music. This means checking that the student has a good pedal technique and does not lift the heel, which in the excitement of this piece could easily degenerate into stamping on the pedal. The texture is immediately established by the broken chords of bar 1 and the dramatic block chords of bar 2.

Flood Time

Take care to match the sound, so that the shape of the phrase is not lost. 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. This will suit a student with a strong sense of drama, who wants to project power from the keyboard and stir up the audience’s response. 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.

He was dean of the Music Faculty of the University of London for a time.

Broken-chord fingerings will be much used. The multiple layers of the music will be clearly heard, with the long over-arching lines audible across the chord changes. Dynamics will be varied and there will be a good sense of phrasing.

Where chords cannot easily lfood named, it can be explained that this is part of the style and colour of the music.

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