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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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 eeric. The dynamic contrasts will be bold, enhancing the dramatic mood.
Fingering Broken-chord fingerings will be much used. Pedalling is required throughout and legato pedal changes are essential. Dynamics will be varied and there will be a good sense of phrasing.
Timee is irregular but natural, and is easily achieved simply by following the contours of the music. The performer will convey a sense of revelling in the music. 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 lfood repeated in a different octave.
Tone may be harsh or not well controlled in places, and the balance between hands may not always succeed. This requires a careful selection of tones to give clarity to his intentions.
For now, this music shares an experience, not a discussion of its meaning. Technique This piece is a marvellous study for the release of tension while playing strongly. In keeping with the swirling watery mood, some rubato may be used to shape the ends of phrases. If coordination is a problem, slow down the entire sequence of actions so that the movements of the pedal are consciously tim with the hands and the exact moment for each movement thimah known.
Thiman – Flood Time
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. 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 flow of the chords will be reasonably secure. Flexibility, ease and power will be demonstrated. There will be plenty of appropriate pedal, and some sense of character. 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.
Explain and demonstrate how it thijan 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. Pedalling will enable non-legato fingering to be used where tone and timd are important — e.
He was dean of the Music Faculty of the University of London for a time. 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.
Troubleshooting Blurred pedalling needs to be carefully listened for and eradicated. Broken-chord fingerings will be much used.
Thiman – Flood Time
Thiman – Flood Time. A sound performance thimah make a sincere attempt to reproduce the dynamics and tone contrasts of the score. The full drama of the piece may be slightly inhibited but it will be a musical and committed performance. 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.
Pedalling Pedalling is required throughout and legato pedal changes are essential.
It could also be learned by a less outgoing student who admires this type of playing but has wric yet really had a go. Take care to match the sound, so that the shape of the phrase is not lost. Bars 5 and 6 show the last two beats played by the LH, but this requires a very swift move back down the piano.
Free Resources Thiman – Flood Time. This will suit a student with a strong sense of drama, fkood wants to project power from the keyboard and stir up the audience’s response. 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 floodd less ambitious choir.
The multiple layers of the music will be clearly heard, with the long over-arching lines audible across the chord changes. The chords will be secure and flowing, and the melodic material audible and well shaped.
Thiman Eric. Flood-Time
However, it should not ghiman over-used as this could interfere with the onward momentum of the music. 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 is consistent with the effect of eddying currents.
This thi,an is a marvellous study for the release of thimn while playing strongly. 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. A good performance will bring a sense of excitement and occasion to the music. The texture is immediately established by the broken chords of bar 1 and the dramatic block chords of bar 2. Where chords cannot easily be named, it can be explained that this is part of the style and colour of the music.
The student should develop an awareness of the feeling of freedom, and whilst practising should stop periodically to check that nothing is becoming locked. Blurred pedalling needs to be carefully listened for and eradicated.
Teaching Strategies This piece can be used as a hands-on instruction manual for identifying chords and inversions, applying thhiman the student may well be tackling in their theory work.