Very New To The Theremin ~ Want One BAD!

"Fred, it is sort of "weird" to read that you think I am exceptionally gifted at the theremin" - Amey

Amey, I don't think there's anything "weird" about people having special "gifts".. There are a mass of factors which work together to "fine tune" individuals and make them particularly well suited or unsuited to particular tasks - these "factors" span physical / mental / emotional, come from genetics and environment, and are complex.. But they are there!

The only really wonderful thing about it, IMO, is when someone finds "the thing" (or things) that they are exceptionally well suited to - whether this be the theremin or the ability to craft beautiful fine art.

I suspect (strongly) that you had a far better chance at exceptional mastery of the theremin than any other instrument - you have the required 'ear' for pitch, you have the physical stability and fine control required, and you have the required mental state* and patience.. Things which may disadvantage you on other instruments (perhaps less ability than most great musicians on other instruments in the area of theory) are less / no disadvantage on the theremin..

You are able to give the theremin the full attention it needs, without the distraction that may bug other musicians. The theremin was made for you! - It may be that you are gifted in areas which could make you exceptional on other musical instruments, if you were able to devote the required time to learning the theory and practicing them - But at least you have found another instrument (your voice being the first) on which you can create truly beautiful music, and (probably less important) have the potential for stardom.

Fred.

*The "mental state" is I think perhaps an important factor - The theremin, being monophonic, requires a different attitude than electronic polyphonic instruments - its like the voice - subtle modulations of pitch and dynamics are what brings the sound to life.. It requires utter attention to detail at the finest level.... Some people simply cannot manage this! - and some can only manage it for a short time.. (personally, I think Peter and Lydia are the two thereminists who most manage to impart life to the sound of the theremin, followed by you and some performances by perhaps 5 other thereminists - there's not many people on earth who can really make the theremin sing IMO - and extremely few who can get it to sing consistently on most of their performances)

 but most aren't even aware of this 'dimension' and don't realize that being able to play a tune is only the first step to playing - even if their pitch is perfect and their timing is perfect, unless (as you do) they can impart that "something more" they may as well be playing a keyboard with portamento.

Dear Dean ~

As I was driving to work today, I was trying to connect the “theremin dots” in the last 3 years I have been playing.

I have to admit that the theremin has added a lot of joy to my everyday life. What truly captivated me (and still is)the most is

The holy grail of what “works” for me. I remember watching videos at first and trying to “copy” what one does as far as technique

To only find out later that since my hands and stature as different from everyone else, I needed to start finding the technique

That will allow me and my unique physiology to accomplish the best playing possible on this instrument. I think my technique has

Morphed into what it is today 5 or 6 times. I tried knuckle extensions ~ it worked for a bit, then not really, I found it limited me.

Then I tried Peter Pringle’s method and that didn’t work for me at all from the start. Then tried Pamelia Kurstin’s method and it helped me a great deal ~ made me click in my mind that I need to not conform myself to ONE way of playing ~ by MANY of them together! So I started to play freely and mix/match different techniques for what I wanted to achieve. I use Carolina Eyck’s and Pamelia’s method to go up in the notes and I do knuckle extensions when I go down in notes… I realized that as long as the technique I use allows me to create the nuances I am trying to convey into a song, I will keep using it. J But all of these things, take a lot of time, trial and errors ~ many tears of frustration were shed, making shady deals with the devil involving the exchange of my soul for theremin goddess abilities… haha.

You will be amazed at the progresses you’ll make in 1 year. Thomas Grillo was my mentor/teacher for the first year ~ he really helped and guided me into this unknown journey J

Fred ~ my answers to you are in blue :)

"Fred, it is sort of "weird" to read that you think I am exceptionally gifted at the theremin" - Amey

Amey, I don't think there's anything "weird" about people having special "gifts".. There are a mass of factors which work together to "fine tune" individuals and make them particularly well suited or unsuited to particular tasks - these "factors" span physical / mental / emotional, come from genetics and environment, and are complex.. But they are there!

I think you may be right on this one. The theremin does require individuals that have that "fine tuning" ability in order to succeed at playing it. I am also a nail technician, so I have trained my brain (whatever that "thing" is) to see/imagine 3 dimensions ~ if you cannot do that, you'll do a poor job!I am also very patient and when I make mistakes, I learn from them and try to do better next time ~ many times I do fail at that, but hey ~ it's never ending!

The only really wonderful thing about it, IMO, is when someone finds "the thing" (or things) that they are exceptionally well suited to - whether this be the theremin or the ability to craft beautiful fine art.

I am just so happy that I found the theremin (or it found me?) because I have never really experienced such connection with something (a thing yes) like this one in my life. It is hard to believe that when I am playing, I am not even aware of my own existence ~ it is almost like I am suspended in time, that a second, a minute or even a breath do not matter... I am unable to explain the feeling that I experience when I play the theremin. It is more than trying to reach the notes right, make this vibrato fast or slow ~ crescendos or whatever... It's more like being one with what I am doing, creating life of some sort...

I suspect (strongly) that you had a far better chance at exceptional mastery of the theremin than any other instrument - you have the required 'ear' for pitch, you have the physical stability and fine control required, and you have the required mental state* and patience.. Things which may disadvantage you on other instruments (perhaps less ability than most great musicians on other instruments in the area of theory) are less / no disadvantage on the theremin..

Perhaps ~ the biggest factor here for me was the loving support of my husband, and several individuals (you per example and Sewer Pipe ~ which I miss tremendously) who have given me the strength to keep on doing... It is sad when someone has a talent but are not in the right enviroment to blossom that talent into something great...

You are able to give the theremin the full attention it needs, without the distraction that may bug other musicians. The theremin was made for you! - It may be that you are gifted in areas which could make you exceptional on other musical instruments, if you were able to devote the required time to learning the theory and practicing them - But at least you have found another instrument (your voice being the first) on which you can create truly beautiful music, and (probably less important) have the potential for stardom.

Stardom? What is that? :) I don't think I'll ever be a theremin star ~ as many have said there is not really such thing as that, or professional thereminists. As you say, it would have to be on another instrument to achieve that level. I am not a "studied" musician, I don't know how to read notation/sheet music. I know it could be a disadvantage if I wanted to play in orchestras etc, but it is not really what I want to do anyway. I know I can learn it later if I really "need" to. I don't envision the Boston symphony knocking on my door begging me to play the theremin with them anytime soon :)

Fred.

*The "mental state" is I think perhaps an important factor - The theremin, being monophonic, requires a different attitude than electronic polyphonic instruments - its like the voice - subtle modulations of pitch and dynamics are what brings the sound to life.. It requires utter attention to detail at the finest level.... Some people simply cannot manage this! - and some can only manage it for a short time.. (personally, I think Peter and Lydia are the two thereminists who most manage to impart life to the sound of the theremin, followed by you and some performances by perhaps 5 other thereminists - there's not many people on earth who can really make the theremin sing IMO - and extremely few who can get it to sing consistently on most of their performances)

I think I just do poorly at any instrument that requires you to utilize most of 10 fingers at a time to play it, like the piano, guitar, harp etc... my brain is not wired that way! Lydia and Peter have been playing the theremin for a long long long time... I have been only playing for 3 years ~ so hopefully, I'll be better at it with time! :)

 but most aren't even aware of this 'dimension' and don't realize that being able to play a tune is only the first step to playing - even if their pitch is perfect and their timing is perfect, unless (as you do) they can impart that "something more" they may as well be playing a keyboard with portamento.

True, playing on pitch is a small (but important) component of playing the theremin... Dynamics, vibrato, and all of these nuances you can breathe into the theremin are what makes it so beautiful and mysterious... Can you tell I am in love? :)

"First, have music in your soul. If you have THAT, then you will find a way to do it". Clara Rockmore on playing the theremin.

It should be noted that pitch is NOT set by the closest 'object' to the antenna! It is set by the total capacitance - Capacitance is a function of distance and area, so moving the hand closer to the antenna increases the pitch, but having a finger pointing at the antenna with the tip of the finger say 20cm from it will raise the pitch less than having the hand angled (fingers bent) so as to increase the surface area, and having the knuckles 20cm from the antenna.

Fred, thank you for that explanation. That is certainly much different from my initial understanding of how the Theremin determines pitch. I can see now how important it must be to be very aware not only of your hand and finger position, but also the position of your body and other objects in the room.

Also, on the topic of lessons. I ran across a series of online lessons from a Theremist named Kip Rosser. Are any of you familiar with this musician and do you recommend his tutorial series?

- Dean -

" I can see now how important it must be to be very aware not only of your hand and finger position, but also the position of your body and other objects in the room." - Dean

Great! - glad to have helped!

Objects in a room tend to be static, so one mostly "gets rid" of these when you tune your theremin (the tuning process effectively 'compensates' the total capacitance seen by the antenna) - provided the capacitance seen is not excessive, once tuned, one can 'almost*' ignore static capacitances (*at an advanced level, or from a theremin design perspective, one cannot ignore the 'environment - as it influences other factors such as linearity - but you can safely ignore this for a few years! ;-)

So you only need to "worry" about anything (including yourself) that moves!

Fred.

The technique you use to play the theremin is going to determine, to a large extent, what you are and are not able to do on the instrument. My advice to newcomers has always been to imitate, as closely as possible, the technique of the person whose theremin playing they most enjoy until their own style and approach sets in naturally. 

Listen to as many thereminists as you can - there are hundreds of them on YT alone - and if Kip is the one you most enjoy, then his method is the one for you. 

Clara Rockmore used to say that the most important thing for any newcomer to the theremin is to know where you want to end up before you start out. She said this because she knew the method that is ultimately chosen by the student will determine how that student is able to "shape" the sound. 

When it comes to the theremin, ALL ROADS DO NOT LEAD TO ROME!

"When it comes to the theremin, ALL ROADS DO NOT LEAD TO ROME!" - Coalport

But can you assure us that with the theremin, all roads do not lead to ruin ?

;-)

Fred.

Thank you everyone so much!

I am getting so excited to purchase my first Theremin. I'm already wheeling and dealing to try and find a suitable amp/speaker combo. I decided it would probably be better for me to buy a basic model Theremin ~ one with only volume and pitch controls. And supplement the sound with an amplifier with on-board effects. Right now the EtherWave Standard and the Burns B3 are in the running. Of course if I can find a great deal on a better model, I would certainly prefer that. I'm trying to stay within the $200. - $300. range.

That way, if I decide the Theremin is not for me ~ or vise versa ~ I haven't got a huge financial investment involved. But how can the Theremin NOT be for me. Hell, I've been practicing finger positions all week! Haa!

So right now, I'm bartering a possible trade for a CRATE XT120R. It seems to have all the features I could possibly want at this stage of the game. Small enough to transport and light enough to make a hasty retreat if the situation dictates.

And speaking of finger positions. I've been watching a lot of YT's and have been focusing my attention on the fingering techniques. Seems there are almost as many ways to position your fingers as there are thereminists with fingers! But the one technique that caught my eye was the knuckle extension ~ is that what it's called? Where you hold your thumb and first finger together and extend the remaining fingers to adjust pitch. Is this a good technique to use when first starting out? Seems one would have a lot of control this way. At least it seems that way to me. Is there a fingering technique that is best suited for new theremin players.

I apologize if I'm hogging the forums lately. This is a very exciting adventure I'm about to embark on and I want to get the best information possible. And it seems I've landed at the right place. Thank you all for being so informative and helpful.

- Dean -

Hi Dean,

1.) - "hogging" ? LOL - At first it feels a bit uncomfortable when your name appears in a long line down the "recent posts" list, but you are nowhere near any level that should cause discomfort... And if you become a regular poster, you get used to these feelings! - If people didn't post, TW's forums would die!

2.) I found that flexing 4 fingers simultaneously (I have a frozen thumb joint, so flexing this is limited) was enough to control pitch quite finely, and was a real easy way to start... From there it was easy to progress to changing the number of fingers and individually adjusting them to obtain the right pitch - I found it became instinctive.

3.) All you can do is try it! - It will either work for you, or it wont ...

Fred.