Kevin - that's quite remarkable. I do almost exactly the same thing, except for I first make sure that my arm can only just reach zero beat before I make fine tuning adjustments. Having zero beat right up by my chest is usually enough to get it pretty much bang on, as I make sure to stand a similar distance from the instrument every time.
Gordon's Progress
Posted: 7/30/2006 8:53:26 AM
Good point, Charlie. I do the same thing with my Epro!
The Theremax is a little different because the portion of the playing arc that is linear (I call it the "sweet spot") is less than the remarkable response of the Etherwaves.
On the Tmax, if I set zero beat at my shoulder, then the intervals that fall within the "sweet spot" are too closely spaced. Thus, I end up placing zero beat behind me. In addition, I have to decide which notes are to fall into the sweet spot... to play higher pitches I have to set zero beat farther behind me than if I am playing in the tenor range.
As you mentioned, setting zero-beat is only the first tuning step and the fine-tuning is based on the intervals within the sweet spot.
Gordon plays a Kees and I understand that the Kees is not as linear as the Etherwaves.
The Theremax is a little different because the portion of the playing arc that is linear (I call it the "sweet spot") is less than the remarkable response of the Etherwaves.
On the Tmax, if I set zero beat at my shoulder, then the intervals that fall within the "sweet spot" are too closely spaced. Thus, I end up placing zero beat behind me. In addition, I have to decide which notes are to fall into the sweet spot... to play higher pitches I have to set zero beat farther behind me than if I am playing in the tenor range.
As you mentioned, setting zero-beat is only the first tuning step and the fine-tuning is based on the intervals within the sweet spot.
Gordon plays a Kees and I understand that the Kees is not as linear as the Etherwaves.
Posted: 7/30/2006 4:41:13 PM
I suspect as much. It's hard to tell without an etherwave for comparison or an appropriately trained ear, but I have had a growing feeling that the compression at the high end and the extension in the bass kind of meet in the middle rather than flattening out over the mid-range. To be sure, I think I'd need a crash test dummy on a rack and pinion, and a pitch-meter. :-)
That is some neat tuning incidentally. Calibrating the theremin to match your natural fingering rather than adjusting your fingering to suit the pitch field. I have been trying different fingerings to see what works. Silly me.
(Incidentally, and weirdly, the best results seemed to come from just having a specific note in mind and snapping my hand into some arbitrary claw-like gesture. It didn't work the next time - I think that was because I was thinking about it to much instead of letting it happen. It was what I have come to think of as "having a schielenkrahe moment" and I rather liked it!)
Finally, I can't post today without noting the passing of Top Of the Pops. And they didn't play the Rezillos song (http://www.youtube.com/watch?v=Xc3YIKNWi00) on the last show. In fact the 70's were rather skipped over. Grr. Still, end of an era and all that. But, to be honest, not before time - TOTP isn't relevant these days.
Gordon wanders off humming "internet killed the video star" quietly to himself.
That is some neat tuning incidentally. Calibrating the theremin to match your natural fingering rather than adjusting your fingering to suit the pitch field. I have been trying different fingerings to see what works. Silly me.
(Incidentally, and weirdly, the best results seemed to come from just having a specific note in mind and snapping my hand into some arbitrary claw-like gesture. It didn't work the next time - I think that was because I was thinking about it to much instead of letting it happen. It was what I have come to think of as "having a schielenkrahe moment" and I rather liked it!)
Finally, I can't post today without noting the passing of Top Of the Pops. And they didn't play the Rezillos song (http://www.youtube.com/watch?v=Xc3YIKNWi00) on the last show. In fact the 70's were rather skipped over. Grr. Still, end of an era and all that. But, to be honest, not before time - TOTP isn't relevant these days.
Gordon wanders off humming "internet killed the video star" quietly to himself.
Posted: 7/31/2006 8:35:52 AM
Gordon, I heard a radioa story about TOTP the other day.
The show is so relevent that I didn't even realize it was still being aired.
As far as the "sweet spot" on the Etherwave, it is pretty large. I am not too picky about how far I stand from the instrument since I also often play other instruments during the same show and the stage set-up is likeley to be different each time.
When I am at home it is easier to be consistent about these things.
The show is so relevent that I didn't even realize it was still being aired.
As far as the "sweet spot" on the Etherwave, it is pretty large. I am not too picky about how far I stand from the instrument since I also often play other instruments during the same show and the stage set-up is likeley to be different each time.
When I am at home it is easier to be consistent about these things.
Posted: 8/2/2006 7:55:03 PM
I had quite a day on Tuesday.
It was spent in Bruce Woolley's studio, along with Miss Hypnotique, Michael Alexander (of levnet, and a Doctor of Musicology, I believe), Barry Wooding, (theremin maker) and Charlie D.
There were a variety of theremins present - a tVox (http://www.thereminworld.com/theremins.asp?m=15&t=15), which has a very pure, clean sound, and a neat way of setting the volume - hold your hand at the position you want it to just reach maximum and press a button, both of Moog's current offerings, and my Kees, which has a very organic sound - some might say slide-whistley, but it would be kinder to compare it to a Japanese flute (shakuhachi - sound clip (http://www.ajj-online.net/bottomsounds/Shakuhachi.mp3)) - the aim, as I understand it, of the Japanese flautist, is to evoke natural wind sounds rather than to achieve a very clean, pure tone. It added a different and acceptable timbre to the ensemble, a soft, mellow tone compared to the etherwave, which I find a little acidic in comparison. Funny how you like what you're used to. The general opinion was favourable, and apparently the linearity is similar to that of the etherwave.
Also present were a couple of those Japanese dolls (Matryomins (http://www.thereminworld.com/forum.asp?cmd=p&T=1846&F=715)), various toy robots, and several ancillary family members.
I've a fair deal to write about it, but it will have to wait. I've got a busy day tomorrow visiting a potential venue for Hands Off.
It was spent in Bruce Woolley's studio, along with Miss Hypnotique, Michael Alexander (of levnet, and a Doctor of Musicology, I believe), Barry Wooding, (theremin maker) and Charlie D.
There were a variety of theremins present - a tVox (http://www.thereminworld.com/theremins.asp?m=15&t=15), which has a very pure, clean sound, and a neat way of setting the volume - hold your hand at the position you want it to just reach maximum and press a button, both of Moog's current offerings, and my Kees, which has a very organic sound - some might say slide-whistley, but it would be kinder to compare it to a Japanese flute (shakuhachi - sound clip (http://www.ajj-online.net/bottomsounds/Shakuhachi.mp3)) - the aim, as I understand it, of the Japanese flautist, is to evoke natural wind sounds rather than to achieve a very clean, pure tone. It added a different and acceptable timbre to the ensemble, a soft, mellow tone compared to the etherwave, which I find a little acidic in comparison. Funny how you like what you're used to. The general opinion was favourable, and apparently the linearity is similar to that of the etherwave.
Also present were a couple of those Japanese dolls (Matryomins (http://www.thereminworld.com/forum.asp?cmd=p&T=1846&F=715)), various toy robots, and several ancillary family members.
I've a fair deal to write about it, but it will have to wait. I've got a busy day tomorrow visiting a potential venue for Hands Off.
Posted: 8/4/2006 4:42:58 AM
OK, part the second. What did we play?
Started off with a classical piece - didn't recognise it, can't remember the name - something like "Slow and Elegant." Charlie, do you recall?
I can't read sheet music, so was given a radically simplified bass line. G for four bars, A for 1, D for 1, G for 1 and repeat. Or something like that. Oh, Lordy. G 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, A 2 3 4 and so on. Hit the notes Susi (Miss Hypnotique) showed me on the keyboard, remember the sequence, listen to my playing and everyone else's and keep in time all at once. Fiendishly tricky. Heck, I can barely walk in step with someone else without having to do funny little half-steps to get back in time every five paces or so. I muddled through, expecting at any moment the music would stop and someone would say "What on earth are you doing Gordon?" The answer would have been "I have almost no idea, I lost track ages ago." On the plus side, apparently I can hit a specified note, just about, with guidance.
Next came a piece of Percy Grainger's free music. The sheet music was understandable - follow one wavy line for pitch, follow another for volume. At the same time. And keep an eye on Susi for the tempo. Apparently one requires three eyes that swivel independently. But at least I could put my hands on autopilot, so to speak, and not worry about hitting precise notes. I don't think I was the odd one out here. Nonetheless we made a lovely drifty, ethereal, mysterious sound together. Possibly not quite the sound dear Percy intended, but pleasing to the ear. I think. Ensemble playing requires a different sort of listening to being an audience member. Definitely a case of not seeing the wood for the trees. We had been forewarned of the need for a sheet music stand and a sense of humour. The latter I fulfilled by bringing along a couple of lasso d'amore (http://en.wikipedia.org/wiki/Lasso_d%27amore)s, with the idea that my associated family members could join in the more experimental pieces, and I think they would have worked well, but space requirements rather put a damper on that plan.
We did a couple of other avant garde pieces. One was directed improvisation - an A3 sheet of various squiggles and wiggles - which is an unfair description, like calling regular sheet music a bunch of dots with tails. There is musical intent here, and this was a notation for aerial stroking. I think the sheet was by Eric Ross, or possibly in the Eric Ross style. Each of us picked a selection of motifs to play, and we went around the group playing one after the other, and then as the inspiration struck us.
The third was free improvisation, and I had the honour of starting off, which I did with one of the Plummeting Man lines - a series of ascending up-swoops.
Did the result make some sort of musical sense? Again I think so, but I was concentrating on the trees rather than the wood again. But there is a clue perhaps, in that in both of the improvised pieces we all finished playing at the same time. So there was at least enough musical sense there for us to agree when the piece ended.
I think I should like to put some of my aerial stroking ideas into graphic form when I feel they are sufficiently developed.
Ah, the real world is intruding again, so I shall pause my description here and return to it when opportunity presents itself.
Started off with a classical piece - didn't recognise it, can't remember the name - something like "Slow and Elegant." Charlie, do you recall?
I can't read sheet music, so was given a radically simplified bass line. G for four bars, A for 1, D for 1, G for 1 and repeat. Or something like that. Oh, Lordy. G 2 3 4, 2 2 3 4, 3 2 3 4, 4 2 3 4, A 2 3 4 and so on. Hit the notes Susi (Miss Hypnotique) showed me on the keyboard, remember the sequence, listen to my playing and everyone else's and keep in time all at once. Fiendishly tricky. Heck, I can barely walk in step with someone else without having to do funny little half-steps to get back in time every five paces or so. I muddled through, expecting at any moment the music would stop and someone would say "What on earth are you doing Gordon?" The answer would have been "I have almost no idea, I lost track ages ago." On the plus side, apparently I can hit a specified note, just about, with guidance.
Next came a piece of Percy Grainger's free music. The sheet music was understandable - follow one wavy line for pitch, follow another for volume. At the same time. And keep an eye on Susi for the tempo. Apparently one requires three eyes that swivel independently. But at least I could put my hands on autopilot, so to speak, and not worry about hitting precise notes. I don't think I was the odd one out here. Nonetheless we made a lovely drifty, ethereal, mysterious sound together. Possibly not quite the sound dear Percy intended, but pleasing to the ear. I think. Ensemble playing requires a different sort of listening to being an audience member. Definitely a case of not seeing the wood for the trees. We had been forewarned of the need for a sheet music stand and a sense of humour. The latter I fulfilled by bringing along a couple of lasso d'amore (http://en.wikipedia.org/wiki/Lasso_d%27amore)s, with the idea that my associated family members could join in the more experimental pieces, and I think they would have worked well, but space requirements rather put a damper on that plan.
We did a couple of other avant garde pieces. One was directed improvisation - an A3 sheet of various squiggles and wiggles - which is an unfair description, like calling regular sheet music a bunch of dots with tails. There is musical intent here, and this was a notation for aerial stroking. I think the sheet was by Eric Ross, or possibly in the Eric Ross style. Each of us picked a selection of motifs to play, and we went around the group playing one after the other, and then as the inspiration struck us.
The third was free improvisation, and I had the honour of starting off, which I did with one of the Plummeting Man lines - a series of ascending up-swoops.
Did the result make some sort of musical sense? Again I think so, but I was concentrating on the trees rather than the wood again. But there is a clue perhaps, in that in both of the improvised pieces we all finished playing at the same time. So there was at least enough musical sense there for us to agree when the piece ended.
I think I should like to put some of my aerial stroking ideas into graphic form when I feel they are sufficiently developed.
Ah, the real world is intruding again, so I shall pause my description here and return to it when opportunity presents itself.
Posted: 8/4/2006 8:42:17 PM
Continuing onwards.
Finished off with a Play Along With Peter session, courtesy of a copy of his Empty Jewel Box. You know the bit in the film where the comic tries to hide from the baddie in a dance troupe while they are performing and is constantly several steps behind the rest. Me.
But what the hey! I was having fun, and I discretely turned the volume down a bit and did my own thing, playing notes that the music suggested to me rather than trying to follow the tune.
Then we adjourned for a delightful meal at the local Italian cafe. (Proper Italian, not all anglicised and pizza-hutty. Pasta nicely al-dente and alive with flavours, espressos that were just right, and a desert - I forget the name, like a ball of light chocolate ganache, dusted with dark, dark chocolate and a ball of iced zabaglione at the heart. Generally I prefer zabaglione warm, but this was like eating a chocolate cloud with a silver lining.)
Over coffee I shared some thoughts about theremins with Bruce. Talked a bit about The Medusa Plait. I could not for the life of me remember why it was important that theremins respond instantaneously, thanks to the whole player is part of the circuit thing.
This is why... there was a programme on the telly about Alien Hand Syndrome and the like. Research shows, apparently, that by the time we are aware of deciding to, say, move a hand, it is already in motion, the decision having been made subconsciously, before the conscious mind is advised of the fact. We are talking about a very short period of time indeed between action and realisation, leaving enough time for you to change your mind and stop pressing a key on a keyboard, or pulling a string on a guitar before it becomes audible. But with a theremin there is no delay between moving and making the sound, so these subconscious gestures get heard. Kind of like audible microexpressions (http://en.wikipedia.org/wiki/Microexpression). A theremin reacts faster than you think. Literally.
So what did I get out of the day? I got to meet some terrific people. Really nice, all of them. I got a good confidence boost, particularly on the avant garde side of things. And I am motivated to devise a notation and create my own sheet music for guided improvisations. That was a whole lot of fun and I have ideas.
Also I have an idea pertaining to the brassy sounding setting on the Kees, which was likened to a wasp in a jar. I had my own thought of what it sounded like afterwards. Working title of another piece I would like to work on: "A Kazoo Up The Wazoo"
A very big public Thank You to every one there.
I also got good news about Hands Off. Short version - everyone is up for it. More Hand Off developments over in the World Thereminisation some time in the next few days. I am still recovering from a very hectic week.
Finished off with a Play Along With Peter session, courtesy of a copy of his Empty Jewel Box. You know the bit in the film where the comic tries to hide from the baddie in a dance troupe while they are performing and is constantly several steps behind the rest. Me.
But what the hey! I was having fun, and I discretely turned the volume down a bit and did my own thing, playing notes that the music suggested to me rather than trying to follow the tune.
Then we adjourned for a delightful meal at the local Italian cafe. (Proper Italian, not all anglicised and pizza-hutty. Pasta nicely al-dente and alive with flavours, espressos that were just right, and a desert - I forget the name, like a ball of light chocolate ganache, dusted with dark, dark chocolate and a ball of iced zabaglione at the heart. Generally I prefer zabaglione warm, but this was like eating a chocolate cloud with a silver lining.)
Over coffee I shared some thoughts about theremins with Bruce. Talked a bit about The Medusa Plait. I could not for the life of me remember why it was important that theremins respond instantaneously, thanks to the whole player is part of the circuit thing.
This is why... there was a programme on the telly about Alien Hand Syndrome and the like. Research shows, apparently, that by the time we are aware of deciding to, say, move a hand, it is already in motion, the decision having been made subconsciously, before the conscious mind is advised of the fact. We are talking about a very short period of time indeed between action and realisation, leaving enough time for you to change your mind and stop pressing a key on a keyboard, or pulling a string on a guitar before it becomes audible. But with a theremin there is no delay between moving and making the sound, so these subconscious gestures get heard. Kind of like audible microexpressions (http://en.wikipedia.org/wiki/Microexpression). A theremin reacts faster than you think. Literally.
So what did I get out of the day? I got to meet some terrific people. Really nice, all of them. I got a good confidence boost, particularly on the avant garde side of things. And I am motivated to devise a notation and create my own sheet music for guided improvisations. That was a whole lot of fun and I have ideas.
Also I have an idea pertaining to the brassy sounding setting on the Kees, which was likened to a wasp in a jar. I had my own thought of what it sounded like afterwards. Working title of another piece I would like to work on: "A Kazoo Up The Wazoo"
A very big public Thank You to every one there.
I also got good news about Hands Off. Short version - everyone is up for it. More Hand Off developments over in the World Thereminisation some time in the next few days. I am still recovering from a very hectic week.
Posted: 8/9/2006 4:37:33 PM
Note from last couple of evenings' exploration. Or playing, if you prefer.
I've been revisiting My House Resounds, and extending and adjusting the tune. Definitely a lot easier to carry a tune if it has words. So I've been putting words to it, to remind me of the tune.
Maria...
Maria...
Don't go near the potting shed.
Maria...
Maria...
Don't go near the potting shed.
Maria...
Maria...
Oh Maria, can't you see,
What's in store for you and me.
Oh Maria, can't you see,
What's in store for you and me,
Lies in wait for you and me in there.
Maria...
Maria...
Don't go near the potting shed.
Don't go near the potting shed today.
Maria...
Maria...
Don't go there today.
I've been revisiting My House Resounds, and extending and adjusting the tune. Definitely a lot easier to carry a tune if it has words. So I've been putting words to it, to remind me of the tune.
Maria...
Maria...
Don't go near the potting shed.
Maria...
Maria...
Don't go near the potting shed.
Maria...
Maria...
Oh Maria, can't you see,
What's in store for you and me.
Oh Maria, can't you see,
What's in store for you and me,
Lies in wait for you and me in there.
Maria...
Maria...
Don't go near the potting shed.
Don't go near the potting shed today.
Maria...
Maria...
Don't go there today.
Posted: 8/10/2006 8:09:34 PM
If I had to sum up my life to date in a single cliché, it would probably be "one thing led to another".
It appears that Diana Mavroleon, who I mentioned previously as impresario of Songbird at Russian Club Bomonti where I saw Ninki V play, and in sorting out a radio programme about Hands Off 2007 on Resonance FM also arranges a 3 day camping holiday for her musical friends for playing to each other and networking purposes.
So the Charlton family are going at the end of this month, (M's immediate reaction was to buy a tent on eBay!) and I am to pack my eBay. So I'll be working a bit more on The Potting Shed, taking along a couple of lasso d'amores to provide a drone for Soup Dragon, and hopefully recruiting Ninki V (who is also going) to help out on Soup Dragon and Plummeting Man. Won't really have room to pack a dining chair, so will have to manage without the twangulator.
I think a ten to fifteen minute set to an audience of peers (I suppose) in a holiday atmosphere sounds like a relatively gentle introduction to performing live.
Still, just a bit daunting, even this far away from the event.
Also, it appears DM is somewhat multi-talented - radio, MC, films, writing, folk guitar. She wants me to accompany her while she does her "incredible shrinking woman" act. Probably something related to the film, but it wouldn't surprise me in the slightest if she counts contortionist amongst her skills. I shall doubtless find out sooner or later.
Anyway, another opportunity to see musicians getting together, and perhaps some more useful experience towards Hands Off, and a chance to promote it to a bunch of people.
It appears that Diana Mavroleon, who I mentioned previously as impresario of Songbird at Russian Club Bomonti where I saw Ninki V play, and in sorting out a radio programme about Hands Off 2007 on Resonance FM also arranges a 3 day camping holiday for her musical friends for playing to each other and networking purposes.
So the Charlton family are going at the end of this month, (M's immediate reaction was to buy a tent on eBay!) and I am to pack my eBay. So I'll be working a bit more on The Potting Shed, taking along a couple of lasso d'amores to provide a drone for Soup Dragon, and hopefully recruiting Ninki V (who is also going) to help out on Soup Dragon and Plummeting Man. Won't really have room to pack a dining chair, so will have to manage without the twangulator.
I think a ten to fifteen minute set to an audience of peers (I suppose) in a holiday atmosphere sounds like a relatively gentle introduction to performing live.
Still, just a bit daunting, even this far away from the event.
Also, it appears DM is somewhat multi-talented - radio, MC, films, writing, folk guitar. She wants me to accompany her while she does her "incredible shrinking woman" act. Probably something related to the film, but it wouldn't surprise me in the slightest if she counts contortionist amongst her skills. I shall doubtless find out sooner or later.
Anyway, another opportunity to see musicians getting together, and perhaps some more useful experience towards Hands Off, and a chance to promote it to a bunch of people.
Posted: 8/11/2006 7:40:21 AM
You sound like you're on the verge of forming your first band!
A little advice for playing live in front of an audience:
1) no matter how bad you screw up in front of them, don't stop. Plow through and look like everything is fine. 9 times out of 10, they didn't even notice.
2) You are going to be nervous. Just be aware of it, let it happen, and it will be gone before you realize it (usually during the first 10 minutes of your set).
3) Never argue with the vocalist about lyrical intent while on stage, even if you wrote the song. Apparently, people find this distracting.
4) Enjoy yourself even if the crowd seems more interested in their drinks than in you and your show.
A little advice for playing live in front of an audience:
1) no matter how bad you screw up in front of them, don't stop. Plow through and look like everything is fine. 9 times out of 10, they didn't even notice.
2) You are going to be nervous. Just be aware of it, let it happen, and it will be gone before you realize it (usually during the first 10 minutes of your set).
3) Never argue with the vocalist about lyrical intent while on stage, even if you wrote the song. Apparently, people find this distracting.
4) Enjoy yourself even if the crowd seems more interested in their drinks than in you and your show.
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