Volume Loop Technique

It's been a couple of years since we talked about the volume hand.

here (http://www.thereminworld.com/forum.asp?cmd=p&T=1648&F=780)

So I thought maybe I'd bump it with an observation.

The volume loop suffers from the opposite problem to the pitch rod, in that perfection is too easily obtained.

It is an infinite bow - or infinite breath - with perfect bow (or breath) control. Maintaining a perfectly steady volume is as easy as forgetting to move your hand.

Having attended a few theremin workshops and performances, I note that newcomers to the instrument often have a tendency to hold their volume hands very rigid and flat, as if they were balancing a pint of beer on the back of their hand, while more experienced performers are more relaxed, on the whole, and the volume hand moves fluidly. (-: As if they had drunk the beer. :-)

Hi Gordon,

One of my skype students, and I just talked about the volume hand just a few minutes ago.

I was just telling him, that I had the opposite problem when I first started the theremin. As a certain other thereminist pointed out at that time, I was dipping the volume hand between each, and every note. I think he called it "pumping".

While I feel it's ok, to some extent in the beginning to be a bit rigid with the volume hand, to concentrate on articulation, eventually, the volume hand does need attention with regards to dynamic articulation.

Subtle changes in dynamics from one note, to the next, rather than dipping between the notes too much, to enhance the illusion of a slight break between notes as demonstrated by Pamelia Kurstin on her EW Pro DVD comes to mind.

Even more, it really is important to eventually relax the volume hand, wrist, and arm to a point where the motions are more fluid, and allmost surpentine as the arm, wrist, and fingers eventually learn to articulate together in a graceful, relaxed manner.

I tend to also let the volume hand assume a relaxed, curl in the fingers.