Comprehensive Lessons and Concepts

Here, you’ll pick up where the first two Free Flow exercises, Lessons 13 and 14, left off (that
was way back in The Fundamentals). You’re beginning lessons where you’ll dig into
exploring your own personal means of self expression. And once again, we want to do it in a
way that feels as if it takes very little effort. You’ll be experimenting with your own “moves,”
with only one constraint/parameter: moving symmetrically.
 

Please make sure to practice Part 4 before working on this one. Part 5 is directly builds on the
previous lesson. In this final pitch jumping exercise you’ll play along with music again and
you’ll eliminate all traces of sliding. In addition to your ability to listen and consistently intuit
the locations of compatible pitches, you will have to think quickly in order to “correct” creatively
for any pitches that sound awkward with the music. The goal is to play in a continuous
improvised flow, during which every pitch you play sounds intentional. In other words, you are
trying to make this sound like a composition rather than a just series of notes. Experiment,
give it some life, have fun.

This lesson focuses on refining muscle memory, building on your natural ability to intuit,
pinpoint and play pitches that are far apart. You will have to adapt your earlier skill set
of sliding from one pitch to the next, because here, while you are intentionally sliding
and accentuating each destination pitch, you will also be playing along to music. Your
objective is to use the techniques in order to play pitches that you feel “go with” the music
you are hearing. Make sure to record yourself so you can evaluate the results.

IMPORTANT NOTE:
Be sure to view Part 1 before trying this lesson; it can make a big difference in your
progress with most of the lessons that follow. Without making the interior adjustment
described in Part 1, you may find a) that your volume hand is so close to the volume
loop that you hit it repeatedly, hindering your ability to use the techniques, and b) that
your theremin’s response is not sharply defined.

In Part 2, we lay the groundwork for Xtreme articulation by creating sounds right at the
threshold. Once you get the hang of this, you’re ready for working on truly extreme methods
of articulation.

WATCH THIS VIDEO IN ITS ENTIRETY BEFORE MAKING ANY CHANGES
TO YOUR THEREMIN.
 
This is the first in the series known as “Extremes.” As such, they’re the most challenging
lessons in this course, with each one a) building on everything from the the preceding
lessons, and b) each lesson becoming increasingly difficult. But first…
 
A WARNING: This lesson describes in great detail the process of making an internal
adjustment to the theremin that dramatically changes the location of the “threshold” — the
point above the volume loop right at the edge of silence and sound. Once this adjustment
is made, it may be difficult to reverse it easily. You make this adjustment at your own risk, so…
 
That said, the adjustment maximizes your potential for success in all of the tutorials that
comprise The Xtremes. So, you may want to consider rolling up your sleeves and getting
into your THEREMIN’S GUTS to make an adjustment. We’ll cover the Standard Etherwave,
Etherwave Pro, and the B3 Series. Those of you with other makes of theremins may be able
to discern how to do it once you’ve seen this.
 

Let’s look at the second choice you can make to work past the obstacle of stopping and starting.
By using this distinct “stop and start” method as a conscious choice, you will improve muscle/
pitch memory, relieve tension and make it all the way through a song.

As thereminists, we want to get the melody right! We practice and practice, going
back and forth through a piece, and a lot of times, it seems we’ll we never make it
to the end! Here is the first of two ways to overcome what is probably the most
common obstacle thereminists face when working on music. The need to get things
“perfect” can actually inhibit your playing. Stopping and starting has its place, but it’s
also important to be able to break out of that pattern when practicing.
 

This last tutorial in the New Pitch and Articulation Mindset series brings everything back to
you. As you find a way of once again centering yourself, practice all of the tutorials for
a while and return to them periodically, particularly if you reach a plateau and want to
advance your practice.

Remember what it felt like when you first tried playing a theremin? Adopting a new mindset
in this instance requires challenging even your most basic ability to play. Can you take control
in the face of new, and sometimes unusual playing parameters? Good luck; and get ready to
remove your shoes.