Kip Rosser's "The Complete Theremin" » Techniques

Lesson 64The Xtremes: Xtreme Pitches and RhythmsPart 2

KipRosser — Fri, 30 Aug 2013 03:12:21 +0000

This is the final lesson the “The Complete Theremin” course, and hopefully, a real challenge
for everyone. Let’s go out on an Xtreme note. The melodic and rhythmic sequences in this
tutorial require speed, accuracy and persistence. And they just might be things you already
know but have never attempted to play. Have fun!

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Lesson 63The Xtremes: Xtreme Pitches and RhythmsPart 1

KipRosser — Mon, 19 Aug 2013 03:24:15 +0000

In continuing to work with the precision fan, this lesson introduces two short, briskly paced
melodic sequences. The first is a sequence that is primarily a melodic descent, while the
second is a melodic ascension. They’re both designed to test your ability to simultaneously
hit precise pitches and synchronize them with rhythm. In addition, since the pitch hand moves
back and forth in relation to the pitch rod and the fingers on the volume hand move back and
forth through the threshold, this will intentionally challenge your coordination as they move
sometimes in the same direction and sometimes in opposition.

Lesson 57The Xtremes: Xtreme Volume Hand TechniquesPart 4

KipRosser — Mon, 12 Aug 2013 03:26:48 +0000

In Part 4, pitch is added back into the mix exclusive of rhythm. In an evolution of Lesson
45, the challenge is to see if hitting pitches in a scale is possible in one unbroken movement of
the pitch hand, while the volume hand articulates each one. This is the precursor to playing
challenging and/or rapid melody lines during which there’s a minimal amount of time to hit a
pitch before moving on to the next. Stay tuned, because Lessons 63 and 64 will put this to
the ultimate test.

Lesson 56The Xtremes: Xtreme Volume Hand TechniquesPart 3

KipRosser — Thu, 08 Aug 2013 10:57:32 +0000

Transition out of the “hand fan” to the more challenging “precision fan.” In preparation
for incorporating melody, we’ll continue to disregard pitch and take on complex and rapid
rhythms; You’ll build endurance and accuracy as you work at the threshold.

Lesson 55The Xtremes: Xtreme Volume Hand TechniquesPart 2

KipRosser — Tue, 30 Jul 2013 12:53:55 +0000

First, be sure to work with Part 1 of this series; that is where you learn the basics of the “hand
fan,” and you’ll need to be proficient with it when tackling this lesson. We’ll experiment with
rhythms that get progressively more rapid and complex. Be sure to record yourself when
working on this and the tutorials that follow; it’s the best way to determine when you’ve
become skilled enough at the technique and can then move on.

Lesson 54The Xtremes: Xtreme Volume Hand TechniquesPart 1

KipRosser — Tue, 30 Jul 2013 12:46:03 +0000

In the first of this four-part sequence of lessons, we’ll review every volume hand technique
and begin working toward techniques that help with greater relaxation while playing,
cleaner articulation, and the ability to play more rapidly. The new “transitional” technique
shown here lays the groundwork for what’s to come, so, make sure to record yourself in
order to track your progress.

Lesson 53The Xtremes: Xtreme ArticulationPart 5

KipRosser — Tue, 23 Jul 2013 15:56:35 +0000

We usually think of the pitch hand primarily as the source of muscle memory, intuiting the
actual location of any given pitch as well as the guide for intonation – the ability to stay on
pitch. However, using a very simple hand movement, the hand can also aid in articulation.
Try it out.

Lesson 52The Xtremes: Xtreme ArticulationPart 4

KipRosser — Mon, 01 Jul 2013 16:40:43 +0000

Practicing the “upstroke” against a surface above your volume hand as you’ve been
doing was a great way to build coordination, endurance and create the sense memory
of a physical reference point. Now, you’ll take this movement over the volume loop
to work on isolated and complex rhythmic patterns.

Lesson 62The Xtremes: Expression and the Pitch HandPart 3

KipRosser — Mon, 24 Jun 2013 04:36:51 +0000

The theremin’s portamento, i.e., “slide,” is often given a bad rap. But under close examination,
it’s revealed as a wonderful means of self-expression.

Lesson 61The Xtremes: Expression and the Pitch HandPart 2

KipRosser — Tue, 18 Jun 2013 12:33:04 +0000

As thereminists, we tend to think of the volume loop as the place where expression is lent to
the pitches and music we produce; some of us even refer to the volume loop as the
“expression loop.” It’s true – note articulation, the dynamics of loud and soft (crescendo,
diminuendo, pianissimo, etc.) all happen using the volume loop. Yet, an examination of the
pitch hand and its ability to subtly help “shape” a note or pitch reveals just how much can be
accomplished. Your pitch hand can lend an endless variety/character to musical passages,
soundscapes, and more.