The Art of Playing the Theremin

Catalogue-No.: SE N0632
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Carolina Eyck already started to take theremin lessons from Lydia Kavina at the age of 7. Up to now she can look back on a remarkable international concerting career. She has been invited by well-known orchestras and chamber musicians and is a frequent guest at festivals and shows. National and international Medias report about her work.
With "The Art of Playing the Theremin" Carolina Eyck defines for the first time a systematic method of playing the theremin, the only instrument that is being played without actually being touched.
For this she refers to the playing technique of her longstanding teacher Lydia Kavina. At the same time she feels related to the credo of Clara Rockmore, that is not to purely use the theremin in order to create sound effects, but to rather interpret the music with a high artistic claim.
During his study of the theremin, the student will be constantly guided, more than 150 practical exercises and etudes strengthen the learned material. Over 20 well-known as well as new pieces of different skill-levels are included within
the book. They will accompany the thereminist up to the stage.
www.CarolinaEyck.com
Book: A theremin method by Carolina Eyck
English language edition

90 book sides with texts, music and photos
more than 150 practical exercises and etudes
over 20 well-known as well new pieces, arr. for theremin
Editor: Jan Bilk (www.jan-bilk.de)
ISBN 3-933 757-08-8, EAN 4025 1187 0632
© 2006/2008, 3rd edition © 2009 SERVI Verlag, Berlin

Contents
Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..6
Set-up of the theremin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Basic position while playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
The right hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Exercises 1 & 2
The left hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Exercise 3
Tuning the instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Exercise 4
Initial finding of the tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Exercise 5
Exercises for the left hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Exercises 6 & 7
Finger positions: 0 to 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Exercise 8 to 13
Etude 1
Articulation: Legato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Exercises 14 to 20
Etude 2
Intervals: Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Exercises 21 to 27
Etude 3
Dynamics: Crescendo and Decrescendo. . . . . . . . . . . . . . . . . . . . . . . . . . 27
Exercises 28 to 34
Etudes 4 & 5
Finger positions: 6, 7 and 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Exercises 35 to 38
Etude 6
Sorbian folk song The major advertizes his daughter
Intervals: Fourths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Exercises 39 to 46
The right starting tone
German folk song Soon I'll be grazing at the Neckar
Cornelius Gurlitt Morning greeting Op. 212
Articulation: Portato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Exercises 47 to 52
Etude 7
Cornelius Gurlitt The little Savoyard
Dynamics: Pianissimo to Fortissimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Exercises 53 to 56
Etude 8
George Armand Echo
Intervals: Fifths and Sixths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Exercises 57 to 65
Russian folk song Over the Meadow
George Armand In Thought
Articulation: Staccato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Exercises 66 to 73
Etudes 9 &10
Intervals: Sevenths, Octaves, Ninths . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Exercises 74 to 79
Etude 11 (Carl Czerny)
Russian folk song Round Dance
Sorbian folk song Sleep well for the night
Two daily exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Vibrato (of hand and arm) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Exercises 80 to 86
Franz Schubert Ecossaise
Change of Position: from finger position 0 and 1 . . . . . . . . . . . . . . . . . . 52
Exercises 87 to 95
Erik Satie 1ère Gymnopédie
Enlarging the pitch-range. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Exercises 96 to 102
Gabriel Fauré Les Berceaux Op. 23, N° 1
Change of Position: from finger position 2 and 3. . . . . . . . . . . . . . . . . . .59
Exercises 103 to 112
Cornelius Gurlitt Valse noble
Articulation: Accents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Exercises 113 to 116
Etude 12
Change of Position: from finger position 4 and 5. . . . . . . . . . . . . . . . . . .63
Exercises 117 to 126
Sorbian folk song Hanna cried
Robert Henriques Lento
Gabriel Fauré Après un rêve
Ornamentation: Grace Notes and Trills . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Exercises 127 to 132
Etude 13
Friedrich Burgmüller The little Kavalier
Felix Mendelssohn Bartholdy Springtime Song Op. 62, N° 6
Change of Positions: from finger position 6, 7 and 8 . . . . . . . . . . . . . . . 72
Exercises 133 to 141
Camille Saint-Saens Swan (Le Cygne)
Korla Awgust Kocor Kantilena III
Claude Debussy Arabesque I
Antonín Dvorák Restful Woods
Rainer Oleak Murmur of clouds
Jan Bilk Girl and goblins celebrate a wedding (Sorbian fairy-tale)
Carolina Eyck Carefree
Epilog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Impressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88