It's All A Trick!
My playing technique consists of a series of what most Thereminists would consider to be tricks, cheats, or crutches. And you know what? I don't care! I'm having fun and almost feel like I'm singing sometimes, and that's plenty for me. All I ask is that a musical instrument pull me in and make me want to play it, and so few do (but I'm a dabbler, in constant need of a quick and easy fix). The tricks:
1. The near pitch field is linearized and
2. the antenna is a plate, so I don't have to change my fingering when playing over the entire field.
3. Indeed, I play with an extremely relaxed note spacing of 4 half notes per open/closed hand so I don't even have a fingering technique to speak of, and my vibrato is just waving my hand like a dead mackerel (Peter Pringle says this is bad technique, and it likely is on a typically tight analog Theremin, where fingering tends to be essential).
4. I use highly aggressive though subtle sounding pitch correction, and
5. I watch the LED tuner like a hawk.
With all of these things together, honestly just about anyone could be playing simple tunes pretty passably in a couple of months without everyone cringing. And with the relaxed pitch field I don't have to use a special sit/standing chair to casually stand normally at the thing and stay in tune without a frozen statuesque pose.
Will all these tricks keep me from being the next Katica or Grégoire? I mean, what were the chances in the first place? ;-) And I have no desire to perform publicly anyway.
I had high hopes for the "RESPONSE" knob on the Claravox to yield significantly wider note spacing like I use, which could be fundamentally transformative to the various approaches to Theremin playing, but unfortunately it doesn't seem to have the range necessary to do this. And I now understand why the Claravox only has pitch quantization, and not true pitch correction, as it lacks any form of responsive absolute pitch feedback mechanism. I can play a cappella all day long with zero drift from where I started.