Moog Claravox Centennial, User Manual

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30
Learning How to Play
4.
Now hum a third note that is slightly higher
than the second. Play the first note, slide to the
second, pause, and then glide to the third.
5.
Start at the third note and then play down to
the first.
Practice this a bit, going up and down, making
sure to hit the same three notes. Gradually speed
up, while keeping your movements smooth and
graceful. Pay attention to how much movement
is needed to reach each note. Try to repeat the
same movements and finger positions.
When you can consistently glide back and forth
across three notes, try this:
Playing Legato Style
Refer to Figure 9
1.
Start at the first note again, but rather than
gliding up, make a quick jump to the second
note. This will require snapping your hand into
the second note position with an abrupt change.
This creates the stepped sound of two distinct
notes.
2.
Playing notes together like this, with no space
in between, is referred to as legato. Practice
snapping the three notes in order, up and down;
then, try larger jumps – snapping quickly from
note to note.
3.
Experiment by mixing combinations of legato
and glissando.
Volume Hand Exercises
Refer to Figure 10
Now that you’ve gotten your pitch hand in
shape, let’s work on your volume hand. Keep
your pitch hand still and use only the Volume
Antenna to articulate notes.
Play any note and slowly raise your volume
hand to raise the volume. Gradually lower your
hand toward the Volume Antenna to reduce
the volume.
NOTE: Keep the motion mainly in your wrist as
opposed to raising your whole forearm.
Practice making your movements as smooth as
possible. The start of the note is called the “at-
tack” and the end is the “decay.” This exercise
is an example of a slow attack and slow decay.
Try it again, but this time, make your move-
ment as quick as possible, so there is a dramatic
jump in volume.
A fast attack gives you the ability to pluck out
sharper sounding staccato notes and rhythms.
Practice playing notes with a fast attack and fast
decay in groups of three or more; then, try mix-
ing it up by playing notes with a slow attack and
fast decay, or with a fast attack and slow decay.
Expressive Volume
Refer to Figure 11
There is a wide range of loudness that the
thereminist can employ to liven up their play-
ing. Try playing with your volume hand about