a few details on the theremin playing (and notation)?

Hi!

I'm currently working on a piano and theremin duo, and I'm very very interested in picking up as much as possible for a theremin, without actually buying one myself. No money at the moment!

So I was wondering if it's possible to help me out a little with these quick questions.

1. Is there a definite range for the theremin? I know it can go pretty high and pretty low, but it depends on the model? Or something else? Any 'specific' guide?
2. Volume. How does it compare to a grant piano? The last thing I want is for the piano to overpower the theremin.
3. I saw in various videos that the theremin can perform pretty fast passages (it depends on the performer of course). Any guides on that? Of course I won't treat it like a solo violin, but... relatively fast...

Any help would be most welcome.

[i]1. Is there a definite range for the theremin? I know it can go pretty high and pretty low, but it depends on the model? Or something else? Any 'specific' guide?[/i]

Different theremins have different playable ranges, however for general composition you could write from Tenor-C (the first C below middle C) up to F3 (the third F above middle C).

In other words, the nominal playable range is about 3 1/2 octaves. That is, your composition will be playable on most theremins if you stay within this range. Most theremins have notes above and below this range, however they may not be easily playable due to the loss of linearity at the extremes.

[i]2. Volume. How does it compare to a grant piano? The last thing I want is for the piano to overpower the theremin.[/i]

The theremin, given that it is an electronic instrument, can overpower anything. A theremin can easily balance a piano -- not to worry.

[i]3. I saw in various videos that the theremin can perform pretty fast passages (it depends on the performer of course). Any guides on that? Of course I won't treat it like a solo violin, but... relatively fast...[/i]

I've become less of a fan of "rapid" theremin-playing in the last couple of years for I see the theremin's ability to impart extreme expression to long notes as a strong suit of the instrument.

OK, so how rapid is "rapid"? By way of example, I was asked to provide a theremin track for Ravel's "Bolero". To play the passage (about 50 seconds in length) was extremely difficult and required nearly eight hours of my time to polish and perform it to professional standards.

http://www.interstellarsuite.com/boleroclips_mp3.html (the first passage is played with an Ondes Martinot, the second with theremin)

Rapid passages can add excitement to a theremin melody however they can, if overused, expose the theremin's inherent weakness rather than its strength.

I love you! :D Thank you so much for the rapid reply! :)

Range is brilliant. If we assume that the C bellow the middle C is C3 (midi wise, for example), then we would be talking about... F6 as the highest note. Excellent! This is a perfect guide. :)

As for "rapid" your clip is nothing but wonderful and illustrates in the most suitable way what is possible (more or less), from the theremin, without this meaning that it can't go a bit faster (not that I have plans of that really), or that one couldn't practice 7 months to make it happen (again, I'm not insane...:)

Balance wise, again thanks, it's a perfect reply really.

Last, tiny question, if I may. Notation wise you read a normal score with dynamics etc. Will graphic notation create more trouble, given the nature of the instrument (undefined pitches and gliss, etc)? Just wondering.

I hope to start working at some point this... month, so if you (all) wish I will keep you notified of my progress!

Again thank you for your time!

Nikolas

Hi Nikolas,

Welcome to Theremin World. Harry Partch's Free Music #1, for instance, uses a graphic notation drawn over lines indicating specific pitches, and is eminently playable. On the occasion I saw it performed, the score was projected onto a large screen viewable by the four thereminists, scrolling over past a vertical line to indicate what is currently to be played. I imagine this is a necessity, not just an interesting visual for the audience, as without beat or melody it must be virtually unlearnable for the majority of people.

I would be delighted to read progress reports. There are not enough compositions for theremin. :-)

(btw -- Free Music #1 was written by Percy Grainger)

You can notate theremin music with standard notation (that is easiest for most musicians to read) and then add performance notes for glisses and other techniques. As in "Free Music", you can use continuous lines over a staff, too (similar to some of the works by William Albright).

Hope this helps. Good luck to you!

[i](btw -- Free Music #1 was written by Percy Grainger)[/i]

D'oh. I knew that. Apparently I was having a senior moment.

Thank you for putting me right, Kevin.

Hi, all,

About rapid passages--I think what Kevin has written about the dangers for thereminists of fast passages is generally true; however, I believe that that's mostly because of the non-existence of rigorous training for thereminists and the corollary absence of good models for rapid playing.

Me, I just love playing fast notes--I was trained as a flutist--and though, without a doubt,it's difficult to play fast passages on the theremin, still, it's entirely doable--and with accuracy, too. Anybody who goes at it with some ardor and perseverence will discover lots of little techniques to facilitate it (as Clara Rockmore famously did for her performance of the Fuleihan). Through trial and error, with my trusty metronome, and with help and feedback from guys like Kevin, actually, I've developed some facility at it, and, for heavens sakes, I'm an old man. Plus, of course, having worked at specific passages in a concentrated way makes learning others easier. I think I can articulate pretty fast passages almost at sight nowadays, or with only a little preparation.

The down side is that I have to double back and work on the slow stuff now, having somewhat neglected it: that is, on the art of beautifully shaping the longer notes. Ah, but that's a delightful occupation. A fellow, with some application, can even play Baa Baa, Black Sheep with such lovely textures that it makes an audience sigh.

In a while, I'll post a new version of the Debussy Arabesque #1 to show you what I mean about fast notes. I've tried to vary their articulation in a couple of interesting ways. (Kevin gave me valuable feedback on an earlier version.)

Composer, if you write it, they will come.

--Eliot

Thank you all for your help!

As I said, I will keep you noted of the progress (which may be slow, however...) :)