Clara's technique - Drawing parallels with the violin

Hi all

I was recently watching Clara's videos on youtube and I couldn't help noticing how she always moved her fingers back (when she was decending) like she was playing a scale on the violin. I may be stating the obvious but being a violinst/violist I find that thinking about the control space as a long string rather helpful. As Clara was a violinst herself before taking up the Theremin, it is really interesting to look at how she draws parallels with the violin to great effect!I've already adapted some of this technique into my playing which great results.

Again I could be stating the obvious (or not!) but I thought i'd have a rant.

Tim

I think you're absolutely right. Clara took a great deal from the violin when she took up the theremin, in fact, it seems that she wanted to use the theremin as a *replacement* for the violin after she developed carpal tunnel syndrome. She did however say that the theremin is much harder.

Other things you may have noticed are:

1) Small finger movements
2) 'Bowing' volume action
3) Very fast, 1910-esque vibrato
4) Lots of violin repertoire (centred around 1910-20)
5) Use of violin-style portamento

I just watched the two videos of Musaire available for free at britishpathe.com

They are probably pretty good examples of what can be done musically without aerial fingering.

I find it especially interesting that Clara adapted aspects of violin technique as she did, given the two hands' role reversal-- i.e., on the violin, one fingers pitches with the left hand, and controls volume with the right. Ergo, all the motions described above may have arisen in part from intuition, but they didn't represent a direct transfer of previous habits.

I think it is useful to have a mental model - to find something to draw a parallel with the theremin when playing it. Such as a violin. I have seen other players from different backgrounds play a theremin like, for instance, a piano. (Specifically a French gentleman who's name eludes me. He is better known as an Ondes Martenot player.)

As I am more inclined to the electronica side of things I tend to think of the pitch rod and volume loop as the frequency modulator and envelope shaper respectively. Actually that's not quite accurate. I think of the pitch hand and volume hand as such. They just happen to work better when I'm standing near a theremin!

Indeed... although I seem NOT to have drawn on my, er, three decades or so of familiarity with instruments of the guitar persuasion.

I've never thought of the pitch control field as any sort of string, except perhaps in a ver-r-ry abstracted way, once or twice removed. Instead, early on in my thereminical training, I paid close attention to the underlying ratios of various musical intervals. But rather than think, "Where would I put my finger on this string?", I think, "How do I move an appropriate mass of fingers to mediate between the open and closed positions?"

In a way, it's sort of embarrassing, as it shows that I habitually don't pay close attention to absolute relationships on a guitar string... but rather, I just track the number of frets, allowing the spacing to shrink as one moves up the fingerboard. So sue me...

[i]As I am more inclined to the electronica side of things I tend to think of the pitch rod and volume loop as the frequency modulator and envelope shaper respectively. Actually that's not quite accurate. I think of the pitch hand and volume hand as such. They just happen to work better when I'm standing near a theremin![/i]

True... although when I'm introduced to people for whom the word "theremin" is meaningless, the quickest way I can explain it involves two steps:

1. saying, "It's that sound you hear in old science-fiction movies from the 1950s," and

2. waving hands in the air appropriately, while vocalizing a vigorous, wobbly swoop up an octave and back.

In this case, it's not clear that the presence of an actual theremin would significantly improve the efficacy of the message...

Here's my late reply since uni work has got the better of me. My composition degree really locks me up in a room for too long. Moving on

Long post warning!

Charlie, I really agree with you about Clara using the theremin as a "replacement" for her Violin. With that I think that she used the portamento characteristics of the theremin to great advantage. I have always found in my playing that making use of the natural portamento characteristics of the instrument makes the theremin sound more natural (in my opinion). Yes, while a violinist can hit notes perfectly without any doubt they still slide when changing position on the string in romantic pieces and even Bach! And as thereminists if we move away from using this feature of the instrument we begin to limit our possibilities both physically and aurally. I now use the four finger position developed by Clara opposed to the Eyck/Kavina 8 - 10 finger position. I have always found the Eyck/Kavina too limiting in how the theremin is played. While, I have to admit, it is accurate the sound made from the theremin is not as pleasing or 'natural' to my ears. And we must not forget that string players use a 5 finger method to great effect.

Gordon, I recently saw a video on YouTube of the Gentleman that you speak of (whose name escapes me as well). I had issues with the way he played the Theremin as he rested his hand on the case and moved it towards or away from the pitch antenna. I felt that his technique belittled everything that the theremin represents. I personally view the theremin as an instrument controlled in space without (!) touching material things such as the cabinet of the theremin.

[i]In a way, it's sort of embarrassing, as it shows that I habitually don't pay close attention to absolute relationships on a guitar string... but rather, I just track the number of frets, allowing the spacing to shrink as one moves up the fingerboard. So sue me...[/i]

Brian, I have to admit that when I play guitar the same thing happens to me, I only think of the frets, but my first main instrument was the Violin (which I took up when I was 6!). I suppose I think of the Theremin control range as being a String because of my initial training on the violin. Also since string instruments such as the violin/viola/cello/double bass don't have frets, muscle memory is very important and your conscious to the fact that your fingers have to be placed at a specific point on the string. It all rather interesting I must admit. Personally I’m a very conceptual person. I need to visualise everything as theory just goes in one ear and out the other...

Well that’s my 2 Australian Cents

Tatems.

I remembered. Claude-Samuel Levine.

http://www.youtube.com/watch?v=IA00Wug6uyc

Not sure I'd judge the technique on whether he touches the case or not. What counts is the end result.

Can anyone point me to a clear exposition (with pictures) of the Rockmore four-position technique? I have been unable to find a satisfactory explanation.