AETHERPHON, global theremin family

Hello all,

I got to thinking about this recently, after reading some comments 
on-line, and I thought I'd tap you guys to see if you had any thoughts.

Who gives theremin lessons?  And who that give theremin lessons are 
worth spending the time on?

Lydia Kavina does, provided you can be where she is.  (Takeuchi-san had 
to move to Moscow and learn Russian...not very practical with a day 
job.)  Pamelia Kurstin used to.  Her web site still claims that she 
does.  No one I have communicated with indicate she even answers e-mails 
at the moment, so clearly she has too much stuff going on to be an 
option.  I have not personally inquired to Peter Pringle, but several 
people have indicated that he does not give lessons.

Takeuchi Masami might, but he's in Tokyo.  Again, not practical. 
Others, I have no idea.  But there have been enough comments out there 
of thereminists who are teaching others who have no business teaching 
that it would appear at least some demand exists but there's no way to 
judge the quality of the instruction.

Right now in the state of theremin performance education, it reminds me 
a great deal of the state of things in the early days of Neo-Pagan 
religions, from the 1950's through the 1980's.  All the early 
practitioners were self-taught or knew someone personally who was 
already a practitioner.  Many wrote books, and many of those books 
contradicted each other.  A handful of people were "known" but there 
were so few that there wasn't enough time to go around to teach everyone 
who desired instruction.  So the vast majority taught themselves, mostly 
from books, and those people went on themselves to write books and to 
teach others.  Now with a second generation of Neo-Pagans, there is 
beginning to be a critical mass of agreement on knowledge, content, and 
approach, and there are enough knowledgeable teachers to service those 
who desire to learn.

Are we at that point with the theremin?  There just aren't enough 
instructors to go around, and many of them contradict each other?  Peter 
Pringle once wrote that it was a grave mistake to attempt to pick and 
choose techniques among theremin playing, that it was important to 
select a "method", if you will, and stick with it.

What are your thoughts on this topic?
-- 
-----
DAVID VESEL -- synthetic music for humans
http://davidv.purplenote.com
porphyrous@...
-----
The Purple Note Radio Network:
Escape From Noise, vocal electronica, 10PM Sats http://efn.purplenote.com
Spellbound, music for theremin, 11PM Suns http://spellbound.purplenote.com
-----

Hello David and Spellbound-I.....

As you mentioned, the world's best thereminists are hard to come by, so here are my 
thoughts on learning the theremin.  

One can find Clara Rockmore's method for theremin online.  Since you have some sort of 
sequencing device David you could program the exercises in, and have them played back 
to you.  If one does not have a sequencer maybe that person could find a piano playing 
friend or some such and practice with that person.

The hand positions are included by number.

I had been practicing this way, and then I had a lesson with Lydia Kavina at Ethermusic 
2005, and she recommended a similar course of practice anyway.  The biggest thing she 
emphasized to me was that I was not going changing from zero position (fingers together) 
to the point where my fingers were fully extended.  The online version of the book doesn't 
emphasize this point enough.

That's all I've got to say about that.

-Chris Accornero



--- In spellbound-l@yahoogroups.com, David V <porphyrous@...> wrote:

>
> Hello all,
> 
> I got to thinking about this recently, after reading some comments 
> on-line, and I thought I'd tap you guys to see if you had any thoughts.
> 
> Who gives theremin lessons?  And who that give theremin lessons are 
> worth spending the time on?
> 
> Lydia Kavina does, provided you can be where she is.  (Takeuchi-san had 
> to move to Moscow and learn Russian...not very practical with a day 
> job.)  Pamelia Kurstin used to.  Her web site still claims that she 
> does.  No one I have communicated with indicate she even answers e-mails 
> at the moment, so clearly she has too much stuff going on to be an 
> option.  I have not personally inquired to Peter Pringle, but several 
> people have indicated that he does not give lessons.
> 
> Takeuchi Masami might, but he's in Tokyo.  Again, not practical. 
> Others, I have no idea.  But there have been enough comments out there 
> of thereminists who are teaching others who have no business teaching 
> that it would appear at least some demand exists but there's no way to 
> judge the quality of the instruction.
> 
> Right now in the state of theremin performance education, it reminds me 
> a great deal of the state of things in the early days of Neo-Pagan 
> religions, from the 1950's through the 1980's.  All the early 
> practitioners were self-taught or knew someone personally who was 
> already a practitioner.  Many wrote books, and many of those books 
> contradicted each other.  A handful of people were "known" but there 
> were so few that there wasn't enough time to go around to teach everyone 
> who desired instruction.  So the vast majority taught themselves, mostly 
> from books, and those people went on themselves to write books and to 
> teach others.  Now with a second generation of Neo-Pagans, there is 
> beginning to be a critical mass of agreement on knowledge, content, and 
> approach, and there are enough knowledgeable teachers to service those 
> who desire to learn.
> 
> Are we at that point with the theremin?  There just aren't enough 
> instructors to go around, and many of them contradict each other?  Peter 
> Pringle once wrote that it was a grave mistake to attempt to pick and 
> choose techniques among theremin playing, that it was important to 
> select a "method", if you will, and stick with it.
> 
> What are your thoughts on this topic?
> -- 
> -----
> DAVID VESEL -- synthetic music for humans
> http://davidv.purplenote.com
> porphyrous@...
> -----
> The Purple Note Radio Network:
> Escape From Noise, vocal electronica, 10PM Sats http://efn.purplenote.com
> Spellbound, music for theremin, 11PM Suns http://spellbound.purplenote.com
> -----
>

Quoting David V <porphyrous@...>:

> ...theremin lessons?  What are your thoughts on this topic?

To get a Theremin gig is easier than getting a Theremin lesson.

pamelia kurstin still gives theremin lessons.
but: she moved to europe.
i visited her in vienna two times now and it was really great. i  
learned a lot just by talking to her. and by watching her play in  
person and being able to ask her about what i did not understand.
her lessons also include either coffee or beer, depending on the time  
of day.
so, if you live in europe, or get the chance to go there, phone her up!
also she will be in america in october...

robert

On 8 Aug 2006 at 10:45, David V wrote:

> Who gives theremin lessons?  

In the Netherlands Wilco Botermans does. And he's the first and only one there.
To learn playing the theremin in 1994 and 1995 Wilco spent some months in Moscow to 
study with Lydia Kavina (just as Masami Takeuchi did, but without learning Russian.). 

Unfortunately there is not much demand for theremin lessons in the Netherlands. Most 
lessons Wilco give are to people who just bought a theremin or are interested in buying 
one. They want to have some guidance into mostly precision playing and then try to 
develop on their own. A lot of those new thereminists already play other instruments and 
use the theremin as an extra, or want to use the theremin as an effect.

If there was a standard technique for playing the theremin, the demand for quality would 
be higher and maybe people would have more need for lessons.

> And who that give theremin lessons are worth spending the time on?

In a world with a small number of thereminists you should grab what you can get.
So every thereminist you encounter that does teach is worth having lessons with.
Until you feel it's not working well for you, for what ever reason.
(distance, time, finance, being to stubborn, having babies together ;-) etc.)


greetings,
Jessica

On 8 Aug 2006, at 16:45, David V wrote:
>
>
> Who gives theremin lessons?
Probably not much help, but I did notice on Chris Conway's website  
( http://chrisconway.org ) that he "has given theremin workshops in  
the UK and the USA".


> Peter
> Pringle once wrote that it was a grave mistake to attempt to pick and
> choose techniques among theremin playing, that it was important to
> select a "method", if you will, and stick with it.
>
> What are your thoughts on this topic?

I'm not sure about that. I think it depends on the individual. I much  
prefer an exploratory approach to learning. Figuring it out is fun,  
as is hanging with other players and picking up stuff. I guess my  
head just isn't wired for having lessons and sticking to the book.




Gordon Charlton: gordonc@...

Beat Frequency: myspace.com/beatfrequencyuk
Theremin UK:http://theremin.org.uk
              UK Thereminist? Read the FAQ.

On 8 Aug 2006, at 16:45, David V wrote:
>
>
> Who gives theremin lessons?
Probably not much help, but I did notice on Chris Conway's website  
( http://chrisconway.org ) that he "has given theremin workshops in  
the UK and the USA".


> Peter
> Pringle once wrote that it was a grave mistake to attempt to pick and
> choose techniques among theremin playing, that it was important to
> select a "method", if you will, and stick with it.
>
> What are your thoughts on this topic?

I'm not sure about that. I think it depends on the individual. I much  
prefer an exploratory approach to learning. Figuring it out is fun,  
as is hanging with other players and picking up stuff. I guess my  
head just isn't wired for having lessons and sticking to the book.




Gordon Charlton: gordonc@...

Beat Frequency: myspace.com/beatfrequencyuk
Theremin UK:http://theremin.org.uk
              UK Thereminist? Read the FAQ.

Hi David,
I give theremin lessons in England using a combination of Rockmore and
Kavina techniques, though I would say demand is not high over here!  I used
to teach it as one of 5 theory/practical subjects I taught when I had a
music studio in London.  I got a fair amount of enquiries, but once people
found out that: a) they'd have to travel to my studio to do it and b) they'd
have to pay for it - the demand waned somewhat - such is the fickle way of
wannabe thereminists!  The most take up was for people thinking of buying a
theremin but wanting some guidance first, or the 'I've bought a theremin now
what the hell do I do with it' people - and I didn't meet anyone that wanted
to develop their playing of the instrument as a serious proposition.   Now
I've move out of London, the apathy of taking up on a lessons is even
higher!
I believe Michael Alexander and Marc Naylor in Kent (near London) are also
equiped to teach and we're all three classically trained musicians.
Child wonder Carolina Eyck has been teaching students in Germany the
classical technique.
Masami Takeuchi told me he has taught 400 students in Japan - this is a
record!!  In Japan, the really value the instrument and his teaching.

I travelled to Hamburg for lessons with Lydia Kavina, then later had lessons
in London.  It was definitely worthwhile doing, and a few lessons went a
long way in consolidating and developing the techniques learned from videos
and books.

I would say generally it is worth holding out as it's likely a player you
like will be in your vicinity or you in theirs sometime (more likely at a
theremin festival!) so it may not be necessary to haul yourself from USA to
Moscow or Japan to do it.  I'm hoping to make Electro Music festival next
year, for example.

(Hypnotique)
-- 
Susi O'Neill
Lunette Records
www.lunette.co.uk  - sales@...
Tel: 07981 222799

Hypnotique "The Hanging Garden" - soothing and uplifting music for the
impending apocalypse - out now!  http://www.hypnotique.net


[Non-text portions of this message have been removed]

> Who gives theremin lessons?>

I do, also. For a while, I was posting segments of my methodology in 
response to people asking about study and technique, and the 
segments can be found in various forum topics on Thereminworld. I 
stopped after a while because the majority of responses usually 
expressed disbelief and skepticism.

I'm tickled by folks who engender doubts about the value of lessons 
while putting out their own DVDs and instruction books. This past 
year has seen THREE new books on how to play the theremin published 
and purchased. All of them essentially impart the same information 
with variations on fingering along with scale and interval training. 
My personal opinion is that there is much more beyond this to 
explore.

My approach is much less conventional than the books currently on 
the market. It  uses exercises that move beyond the isolated 
mechanics required for playing into techniques that promote
understanding of body awareness, techniques designed to enhance 
unconscious physiological and neurological processes that are 
happening while one plays. There is also performance approach, 
exercises that help make the leap from simple mechnical techniques 
to interpretive skill, and (horror of horrors) I MAKE IT FUN!! Many 
of the exercises and techniques ARE weird, but students are 
definitely responding well.

Once someone buys a theremin, the instrument is so accessible and so 
responsive, that the natural tendency is to jump right in start to 
play. This is great – it's a very liberating process. Some people 
are quickly able to discern the basics of playing songs (playing 
using definite pitches to accurately interpret an existing piece of 
music) and others go wild with sonic textures, effects, etc. It's 
all good! Some can read music, others have yet to learn how. My two 
newest students are a husband and wife. They are both vastly 
different in terms of their musical abilities and goals. They 
clearly learn at different rates and respond to different 
procedures. The teaching is always adapted to fit the needs of each 
individual student.

--- brickblad <kr@...> wrote:
My approach is much less conventional than the books currently on 
the market. It  uses exercises that move beyond the isolated 
mechanics required for playing into techniques that promote
understanding of body awareness, techniques designed to enhance 
unconscious physiological and neurological processes that are 
happening while one plays. There is also performance approach, 
exercises that help make the leap from simple mechnical techniques 
to interpretive skill, and (horror of horrors) I MAKE IT FUN!! Many 
of the exercises and techniques ARE weird, but students are 
definitely responding well.
------------
Brickblad,
Do tell us more!  I'd love to hear how to do some of your exercises.
bret

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com

Beautiful post, Kip!  Thank you for sending that!


-----
DAVID VESEL -- synthetic music for humans
http://davidv.purplenote.com
porphyrous@...
-----
The Purple Note Radio Network:
Escape From Noise, vocal electronica, 10PM Sats http://efn.purplenote.com
Spellbound, music for theremin, 11PM Suns http://spellbound.purplenote.com
-----




brickblad wrote:

>>Who gives theremin lessons?>
> 
> 
> I do, also. For a while, I was posting segments of my methodology in 
> response to people asking about study and technique, and the 
> segments can be found in various forum topics on Thereminworld. I 
> stopped after a while because the majority of responses usually 
> expressed disbelief and skepticism.
> 
> I'm tickled by folks who engender doubts about the value of lessons 
> while putting out their own DVDs and instruction books. This past 
> year has seen THREE new books on how to play the theremin published 
> and purchased. All of them essentially impart the same information 
> with variations on fingering along with scale and interval training. 
> My personal opinion is that there is much more beyond this to 
> explore.
> 
> My approach is much less conventional than the books currently on 
> the market. It  uses exercises that move beyond the isolated 
> mechanics required for playing into techniques that promote
> understanding of body awareness, techniques designed to enhance 
> unconscious physiological and neurological processes that are 
> happening while one plays. There is also performance approach, 
> exercises that help make the leap from simple mechnical techniques 
> to interpretive skill, and (horror of horrors) I MAKE IT FUN!! Many 
> of the exercises and techniques ARE weird, but students are 
> definitely responding well.
> 
> Once someone buys a theremin, the instrument is so accessible and so 
> responsive, that the natural tendency is to jump right in start to 
> play. This is great \ufffd it's a very liberating process. Some people 
> are quickly able to discern the basics of playing songs (playing 
> using definite pitches to accurately interpret an existing piece of 
> music) and others go wild with sonic textures, effects, etc. It's 
> all good! Some can read music, others have yet to learn how. My two 
> newest students are a husband and wife. They are both vastly 
> different in terms of their musical abilities and goals. They 
> clearly learn at different rates and respond to different 
> procedures. The teaching is always adapted to fit the needs of each 
> individual student.
> 
> 
> 
> 
> 
> 
> SPELLBOUND-L, the glocal thereminist community
> 
> To contact the moderator, e-mail porphyrous@...
> 
> 
>  
> Yahoo! Groups Links
> 
> 
> 
>  
> 
> 
> 
> 
>

> Do tell us more!  I'd love to hear how to do some of your 
exercises.>

Okay. This appeared on Thereminworld quite some time ago. I usually 
introduce it around the fourth lesson because people are so focused 
on their initial excitement and desire for results that they find it 
hard to really let go until they've had a chance to try some 
conventioanl things first. Though it seems absurdly basic, it is an 
exercise I advocate for players at ALL levels. After eight years of 
playing, I STILL do this regularly:

Try this for just fifteen minutes each time you practice. I refer to 
this as "getting out of your own way." Consciously, we try to do 
what's correct, but unconsciously YOUR BODY ALREADY KNOWS. Sounds a 
little heady, but this works.

a) You've seen lots of people play by now and tried a lot of things. 
For fifteen minutes, FORGET EVERYTHING.

b) Stand where you normally stand and close your eyes, hands at your 
sides. Take ten very deep and slow breaths.

c) Keep your eyes closed. Remain unconcerned about PLAYING MUSIC. 
Once you've completed your tenth breath, exhale completely. Now 
you're ready...

d) Keep your eyes closed. As you inhale again, allow your arms to 
float up in any way THEY want to and just let them float around as 
the theremin begins to respond any way IT wants to. Allow the 
theremin to make sound ONLY AS YOU INHALE. Just breathe in deeply as 
the sound plays and your arms move; become acutely aware of where 
the points of tension are, where things feel relaxed and where 
things feel strained. As you continue to breathe, relax all the 
spots you felt tension in WHILE YOU PLAY. When you feel that tension 
release, THEN exhale, allowing your arms to float back to your 
sides. Do this for at least five more slow, deep breaths. Eyes 
closed the entire time.

e) Think of any melody or song you absolutely love -- one that 
carries all the joy and passion that no other song seems to have. 
Hear it in your head as fully as you can.

f) Know this: whatever energy or combination of energies out there 
in the universe that is required to play a theremin -- it's always 
out there. Move out of your own way and begin to allow a shift in 
your thinking. Allow whatever the universe requires to flow through 
you. Stop thinking of yourself as the solid entity that bends this 
instrument to your will -- rather, think of yourself as the conduit 
and ALLOW THE THEREMIN TO PLAY YOU -- and still with your eyes 
closed, play that song you love. It doesn't matter if you get all 
the notes right or the speed -- JUST PLAY. Your body knows what's 
comfortable. Let it find that place for you.

I promise you, odd as it may sound, this mindset will do more to 
help you as a player than you can imagine. Your body will arrive at 
techniques you would never have conceived of if you'd kept your eyes 
open. We are so visually oriented-- We are LOOKING so hard that we 
disallow the intuition!

I'm never surprised when someone asks "is this a joke?" The fact is, 
it DOES sound silly.

The exercise I described is not solely intended as a relaxation 
technique. It is a way to free oneself of the visual self-
evealuation a player constantly measures him or herself by (am I 
standing close enough, am I using the right fingering technique, are 
my hands position correctly, etc.) Secondly, closing the eyes allows 
a player to FEEL more acutely where tension, holding of breath, and 
even overthinking may be hindering one's ability.

Ultimately, this process of discovery as one learns to play is very 
intuitive; there will never be only one technique.

The excercise that Kip shared here is really great.  Besides being  
relaxing and fun, you may find yourself playing passages that you  
wouldn't think to try otherwise.

For me, traditional practice and excercises are like building a statue  
by gluing little pieces together.  Kip's method is more akin to  
building a statue by starting with a stone and carving away at it.   
(Hope this makes sense.)

When I do the excercise below, I personally like to play my Theremin  
thru effects: thick reverbs, echos, phases, whatever.  The effects  
help me to "forget everything". In fact, last night while combining  
Kip's excercise with my effects units, I stumbled on to some ideas  
that I may incorporate into some free-form style music.

The breathing is VERY important at the beginning of the excercise. And  
to identify stress points is also important.  Often in performing  
traditional music, we are so focused on hitting the notes that we  
don't notice stiffness in the neck, shoulders, arms, etc.  So, to  
simply make sound (noise) with the Therein while identifying stress  
points is very valuable.  As a result, I never feel particularly  
worn-out after playing -- and my practice sessions can easily run  
three to five hours.

Playing the Theremin with eyes closed is very valuable advice.  I find  
that when I play with my eyes closed, I still visualize the position  
of the pitches anyway.  btw -- I never look at the Theremin or my  
hands while playing -- I trained myself not to do this because this is  
standard on any instrument.  After all, if one has to read music or  
watch for cues, one can't be looking at one's instrument.

Anyway, I just wanted to share some of my results with this excercise  
and would encourage you, the reader, to give it a try!  It won't hurt  
a bit and you'll probably have a great time.

-- Kevin

Quoting brickblad <kr@...>:

>> Do tell us more!  I'd love to hear how to do some of your
> exercises.>
>
> Okay. This appeared on Thereminworld quite some time ago. I usually
> introduce it around the fourth lesson because people are so focused
> on their initial excitement and desire for results that they find it
> hard to really let go until they've had a chance to try some
> conventioanl things first. Though it seems absurdly basic, it is an
> exercise I advocate for players at ALL levels. After eight years of
> playing, I STILL do this regularly:
>
> Try this for just fifteen minutes each time you practice. I refer to
> this as "getting out of your own way." Consciously, we try to do
> what's correct, but unconsciously YOUR BODY ALREADY KNOWS. Sounds a
> little heady, but this works.
>
> a) You've seen lots of people play by now and tried a lot of things.
> For fifteen minutes, FORGET EVERYTHING.
>
> b) Stand where you normally stand and close your eyes, hands at your
> sides. Take ten very deep and slow breaths.
>
> c) Keep your eyes closed. Remain unconcerned about PLAYING MUSIC.
> Once you've completed your tenth breath, exhale completely. Now
> you're ready...
>
> d) Keep your eyes closed. As you inhale again, allow your arms to
> float up in any way THEY want to and just let them float around as
> the theremin begins to respond any way IT wants to. Allow the
> theremin to make sound ONLY AS YOU INHALE. Just breathe in deeply as
> the sound plays and your arms move; become acutely aware of where
> the points of tension are, where things feel relaxed and where
> things feel strained. As you continue to breathe, relax all the
> spots you felt tension in WHILE YOU PLAY. When you feel that tension
> release, THEN exhale, allowing your arms to float back to your
> sides. Do this for at least five more slow, deep breaths. Eyes
> closed the entire time.
>
> e) Think of any melody or song you absolutely love -- one that
> carries all the joy and passion that no other song seems to have.
> Hear it in your head as fully as you can.
>
> f) Know this: whatever energy or combination of energies out there
> in the universe that is required to play a theremin -- it's always
> out there. Move out of your own way and begin to allow a shift in
> your thinking. Allow whatever the universe requires to flow through
> you. Stop thinking of yourself as the solid entity that bends this
> instrument to your will -- rather, think of yourself as the conduit
> and ALLOW THE THEREMIN TO PLAY YOU -- and still with your eyes
> closed, play that song you love. It doesn't matter if you get all
> the notes right or the speed -- JUST PLAY. Your body knows what's
> comfortable. Let it find that place for you.
>
> I promise you, odd as it may sound, this mindset will do more to
> help you as a player than you can imagine. Your body will arrive at
> techniques you would never have conceived of if you'd kept your eyes
> open. We are so visually oriented-- We are LOOKING so hard that we
> disallow the intuition!
>
> I'm never surprised when someone asks "is this a joke?" The fact is,
> it DOES sound silly.
>
> The exercise I described is not solely intended as a relaxation
> technique. It is a way to free oneself of the visual self-
> evealuation a player constantly measures him or herself by (am I
> standing close enough, am I using the right fingering technique, are
> my hands position correctly, etc.) Secondly, closing the eyes allows
> a player to FEEL more acutely where tension, holding of breath, and
> even overthinking may be hindering one's ability.
>
> Ultimately, this process of discovery as one learns to play is very
> intuitive; there will never be only one technique.
>
>
>
>
>
>
> SPELLBOUND-L, the glocal thereminist community
>
> To contact the moderator, e-mail porphyrous@...
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
>

On 9 Aug 2006, at 10:50, Theremin UK wrote:

>
> On 8 Aug 2006, at 16:45, David V wrote:






Gosh. I posted this 11 days ago and it just arrived. My, my.




Gordon Charlton: gordonc@...

Beat Frequency: myspace.com/beatfrequencyuk
Theremin UK:http://theremin.org.uk
              UK Thereminist? Read the FAQ.




[Non-text portions of this message have been removed]

Yahoo implemented some sort of spam filtering without telling anyone.  I 
didn't even know it was there until I went there to approve a new 
subscription and just decided to click on it.  And there they were.  I 
released the messages and turned the spam filter off.  It should not 
trouble us further.


-----
DAVID VESEL -- synthetic music for humans
http://davidv.purplenote.com
porphyrous@...
-----
The Purple Note Radio Network:
Escape From Noise, vocal electronica, 10PM Sats http://efn.purplenote.com
Spellbound, music for theremin, 11PM Suns http://spellbound.purplenote.com
-----




Theremin UK wrote:

> On 9 Aug 2006, at 10:50, Theremin UK wrote:
> 
> 
>>On 8 Aug 2006, at 16:45, David V wrote:
> 
> 
> 
> 
> 
> 
> 
> Gosh. I posted this 11 days ago and it just arrived. My, my.
> 
> 
> 
> 
> Gordon Charlton: gordonc@...
> 
> Beat Frequency: myspace.com/beatfrequencyuk
> Theremin UK:http://theremin.org.uk
>               UK Thereminist? Read the FAQ.
> 
> 
> 
> 
> [Non-text portions of this message have been removed]
> 
> 
> 
> SPELLBOUND-L, the glocal thereminist community
> 
> To contact the moderator, e-mail porphyrous@...
> 
> 
>  
> Yahoo! Groups Links
> 
> 
> 
>  
> 
> 
> 
>

Hey List,
well...
I'm always willing to discuss or even 'teach' what I know.
I'm never really sure how much I know,
but I do know how to make music happen.
 
Good teachers are hard to find.[period]
Voice and Theremin teachers chief among them.
 
I've been lucky to have a couple really, *really* good ones
in dance, improvisation, conducting, and organ performance.
 
Honestly?
You come together.
Or...
You teach yourself.
Either one takes maximum
respect, honesty, and joy.
 
Sometimes you learn something else
to get what you need to know.



Skål - jh 



[Non-text portions of this message have been removed]