Moog Music Forum

I've had my theremin for about 2 months now. . .I've been hitting the scales/intervals pretty hard. . .creating my hand positions. . .however if I adjust my etherwave pitch knob dramatically. . .my hand positions are shot. . .now the etherwave instructions suggest standing an arms length away from the pith antenna. . .I've found I like to stand closer and adjust the pitch appropriately. . .but with so many changing variables. . .pitch knob, distance from the instrument, what's around the room. . .how does one refine muscle memory for playing?

The real solution is: do whatever is comfortable for you. Whether you stand close or far away, if you're arms get tired, if your posture feels wrong, etc., you'll be at a disadvantage.

Unlike a cello, a flute, a piano, etc., the intervals between pitches are RELATIVE on a Theremin precisely because you CAN vary the setting on your pitch knob.

Find a position that feels relaxed, comfortable, one that you can sustain for a long while. Set your pitch knob. Then, forget about what others do. As long as you feel good, as long as you can find the pitches and play music, you're fine.

It's the same way with your pitch hand. When I was observed by another Theremin player during a concert, he asked me, "Where did you learn your fingering technique?" I told him the truth: it evolved over time, based on achieveing the best results. Now, there are some purists out there who will watch video clips of Clara Rockmore with a microscope to imitate her finger movements, but the truth is, everyone's fingers are different lengths, widths, and AS LONG AS YOU HIT THE NOTE ON PITCH what difference does it make? A friend of mine has the most unusual playing stance and method I've ever seen -- he sets the Theremin very low on its stand to just below his waist, moves his pitch hand SIDEWAYS from left to right (from the volume antenna to the pitch antenna) and holds his hand as if he were going to shake hands -- then he "swims" his hand like a fish (to get the vibrato). The result is beautiful, and it's certainly compelling to watch.

I learned by watching others on video, by doing what felt right -- and the technique, finger positions, pitch settings, all fell into place by themselves.

If you go to Thereminvox.com you can hear two samples. Go to the Library and listen to Eleanor Rigby and Clair de Lune. They're two of my tracks.

Happy playing.

shadowing wrote:The real solution is: do whatever is comfortable for you. Whether you stand close or far away, if you're arms get tired, if your posture feels wrong, etc., you'll be at a disadvantage.

Unlike a cello, a flute, a piano, etc., the intervals between pitches are RELATIVE on a Theremin precisely because you CAN vary the setting on your pitch knob.

Find a position that feels relaxed, comfortable, one that you can sustain for a long while. Set your pitch knob. Then, forget about what others do. As long as you feel good, as long as you can find the pitches and play music, you're fine.

It's the same way with your pitch hand. When I was observed by another Theremin player during a concert, he asked me, "Where did you learn your fingering technique?" I told him the truth: it evolved over time, based on achieveing the best results. Now, there are some purists out there who will watch video clips of Clara Rockmore with a microscope to imitate her finger movements, but the truth is, everyone's fingers are different lengths, widths, and AS LONG AS YOU HIT THE NOTE ON PITCH what difference does it make? A friend of mine has the most unusual playing stance and method I've ever seen -- he sets the Theremin very low on its stand to just below his waist, moves his pitch hand SIDEWAYS from left to right (from the volume antenna to the pitch antenna) and holds his hand as if he were going to shake hands -- then he "swims" his hand like a fish (to get the vibrato). The result is beautiful, and it's certainly compelling to watch.

I learned by watching others on video, by doing what felt right -- and the technique, finger positions, pitch settings, all fell into place by themselves.

If you go to Thereminvox.com you can hear two samples. Go to the Library and listen to Eleanor Rigby and Clair de Lune. They're two of my tracks.

Happy playing.

Very helpful, I totally agree with you..

Hi,

this is what I thought.

My hands are much bigger, and so the same movement as in the video would produce a much higher change of pitch frequency.

So I train it on my own way. The included viedeos with Clara Rockmore and Lydia Kavina were very helpfully.

Best regards
Bernd