Let’s continue the exploration of the way we “shape,” or lend basic character, to any given
pitch. This time, we’ll isolate the decay of our notes to really discern the differences. How you
choose to end a note is key to its overall sonic quality.
A brief explanation of the approach and a look at the rudimentary movements we’ll be using
in the second part of this tutorial.
To develop pitch fingering techniques and really make them your own, work from your wrist
to your fingertips this is the foundation. As you become more proficient at this, the movements
that yield repeatable results will happen naturally and they’ll also grow more subtle. Depending
upon the melody you want to play, these movements will continue to evolve.
Following the initial attack and before the decay of any note, you find yourself in the middle
of the pitch you created. Here is where you have the most freedom to shape the sonic quality
of what you’re playing. This is a time to experiment; try for effects, vary the length, put
different vibrato techniques to work. The possibilities are infinite.
Part 3 gives a new meaning to “using your head.” When your practice includes involving your
whole body, you’ll see positive results. It’s fun, effective, and silly — but no one’s watching…
give this a try.
Remember that all songs exist within the context of the key they’re written in – let’s use the
entire range of notes in the scale and “meld” it with the melody to give your mind and body
still another way to develop muscle memory and refine your sense of pitch.
This is the first in a series that asks “What Does a Theremin Sound Like?” We’ll study
techniques for the volume hand that lend character to every pitch you play.
Here is an unusual addition to the techniques of using a flat hand or the snap of a hinged
wrist over the volume loop: the downstroke. It’s very effective for repeating notes. So, instead
of a downward movement being used solely to lower or silence the volume, the same move
when executed at the “threshold,” becomes an efficient movement to get clean articulation
while staying in rhythm.
The conclusion of the first vibrato series; you can begin to bridge the gap between vibrato as
a purely mechanical technique and its more intimate role as one of your own unique means
of self expression.
If you’re just starting out on the theremin; here’s a look at the two most common and
effective techniques for working over the volume loop.