Theremin, the untouchable music | Pamelia Kurstin

Translator: Raimonds Jaks Reviewer: Kristaps Kadiķis

(Music)

(Mūzika)

(Aplausi)

(Applause)

Paldies.

Man ir tāda sajūta: „Kuš, kuš, nomierinies. Atgriezies sevī.”

Thank you. Ooh, I'm like, "Phew, phew, calm down. Get back into my body now." (Laughter)

(Smiekli)

Usually when I play out, the first thing that happens is

Parasti, kad uzstājos, sākumā

people scream out, "What's she doing?!"

cilvēki sauc: „Ko viņa dara?!”

I'll play at these rock shows, be on stage

Es spēlēju rokkoncertos uz skatuves

standing completely still, and they're like,

un stāvu pilnīgi mierīgi, un viņi sauc:

"What's she doing?! What's she doing?!"

„Ko viņa dara?! Ko viņa dara?!”

And then I'll kind of be like -- (Vvvwow!) -- and then they're like, "Whoa!"

Un tad es izdaru tā – (Ūūū!) – un viņi atbild: „Oo!”

(Laughter)

(Smiekli)

I'm sure you're trying to figure out,

Esmu droša, ka mēģināt saprast:

"Well, how does this thing work?"

„Kā tad šis rīks strādā?”

Well, what I'm doing is

controlling the pitch with my left hand.

Ar kreiso roku es regulēju skaņas augstumu.

See, the closer I get to this antenna, the higher the note gets --

Jo tuvāk esmu antenai, jo augstāka ir nots.

(Portamento) --

(Portamento)

and you can get it really low.

Var arī spēlēt ļoti zemu.

And with this hand I'm controlling the volume,

Un ar šo roku es regulēju skaļumu –

so the further away my right hand gets, the louder it gets.

jo tālāk ir mana labā roka, jo skaļāk tas skan.

(Tones)

(Skaņas)

So basically, with both of your hands

Principā ar abām rokām

you're controlling pitch and volume and kind of

var regulēt skaņas augstumu un skaļumu

trying to create the illusion that you're doing separate notes,

un radīt ilūziju, ka spēlējat atsevišķas notis,

when really it's continuously going ...

bet īstenībā tā ir nepārtraukta...

(Flourish ... Beep)

(Žestikulē... pīkstiens)

(Laughter)

(Smiekli)

Sometimes I startle myself: I'll forget that I have it on,

Dažreiz es pati nobīstos, aizmirstu, ka tas ir ieslēgts,

and I'll lean over to pick up something,

noliecos kaut ko paņemt,

and then it goes like -- (Blip) -- "Oh!"

un tas ieskanas – (Spalga skaņa) – „O!”

And it's like a funny sound effect that follows you around

Tas ir dīvains skaņas efekts, kas visur seko līdzi,

if you don't turn the thing off.

ja to neizslēdzat.

(Laughter)

(Smiekli)

Maybe we'll go into the next tune,

Varbūt turpināsim ar nākamo skaņdarbu,

because I totally lost where this is going.

jo es pilnībā aizmirsu, ko gribēju teikt.

We're going to do a song by David Mash called "Listen: the Words Are Gone,"

Nospēlēsim Deivida Meša dziesmu „Listen: the Words Are Gone”,

and maybe I'll have words come back into me afterwards if I can relax.

un varbūt man vārdi atgriezīsies, ja būšu atbrīvojusies.

(Music)

(Mūzika)

(Applause)

(Aplausi)

So, I'm trying to think of some of the questions

Es mēģinu atcerēties jautājumus,

that are commonly asked; there are so many.

ko parasti uzdod; to ir ļoti daudz.

And ... Well, I guess I could tell you

Un... laikam jau varu pastāstīt mazliet par termenvoksa vēsturi.

a little of the history of the theremin.

It was invented around the 1920s, and the inventor, Léon Theremin

To ap 1920. gadu izgudroja Ļevs Termens.

-- he also was a musician besides an inventor --

Viņš bija ne tikai izgudrotājs, bet arī mūziķis.

he came up with the idea for making the theremin,

Viņš nāca klajā ar izgudroto termenvoksu,

I think, when he was working on some shortwave radios.

šķiet, viņam izstrādājot īsviļņu radio.

And there'd be that sound in the signal -- it's like (Screeching) --

Un pārraidē bija šī skaņa, gluži kā čīkstoņa.

and he thought, "Oh, what if I could control that sound

Un viņš nodomāja: „Ja nu es spētu šo skaņu regulēt

and turn it into an instrument, because there are pitches in it."

un pārvērst to instrumentā, jo tam ir skaņas augstums?”

And so somehow through developing that,

Kaut kā to attīstot,

he eventually came to make the theremin the way it is now.

viņš galu galā radīja šādu termenvoksu.

And a lot of times, even kids nowadays,

Bieži vien pat bērni mūsdienās,

they'll make reference to a theremin by going, "Whoo-hoo-hoo-hoo,"

runājot par termenvoksu, saka „vū-ūū-ūū”.

Jo 50. gados to izmantoja šausmu filmās.

because in the '50s it was used in the sci-fi horror movies,

that sound that's like ... (Woo-hoo-hoo-hoo)

Tā ir tā skaņa... (Vū-ūū-ūū)

(Laughter)

(Smiekli)

It's kind of a funny, goofy sound to do.

Tā ir tāda jokaina, neveikla skaņa.

And sometimes if I have too much coffee,

Dažreiz, kad sadzeros par daudz kafijas,

then my vibrato gets out of hand.

mans vibrato iziet ārpus rāmjiem.

You're really sensitive to your body and its functions

Šī ierīce ir ļoti jutīga pret ķermeni,

when you're behind this thing.

kad esat tās tuvumā.

Lai to labi regulētu, jābūt ļoti nekustīgam.

You have to stay so still if you want to have the most control.

It reminds me of the balancing act earlier on -- what Michael was doing --

Tas man atgādina Maikla līdzsvara priekšnesumu,

because you're fighting so hard to keep the balance

jo ļoti jācenšas, lai saglabātu līdzsvaru

with what you're playing with and stay in tune, and at the same time

ar spēlēto un tai pašā laikā spēlētu tīri.

Nedrīkst arī visu laiku koncentrēties tikai uz skaņas tīrību.

you don't want to focus so much on being in tune all the time;

you want to be feeling the music.

Jāizjūt arī mūzika.

And then also, you're trying to stay very, very, very still

Un tad, protams, jācenšas būt ļoti, ļoti, ļoti nekustīgam,

because little movements with other parts of your body

jo mazākās ķermeņa kustības

will affect the pitch, or sometimes if you're holding a low note -- (Tone rising out of key) --

ietekmē skaņas augstumu vai, ja spēlējat zemu noti...

(Augstums mainās)

and breathing will make it ...

Un elpošana to...

(Smiekli)

(Laughter)

If I pass out on the next song ...

Ja nākamajā dziesmā noģībstu...

(Laughter)

(Smiekli)

I think of it almost like

Tas man šķiet gandrīz

kā jogas instruments, jo tas liek apzināties

like a yoga instrument because it makes you so aware

of every little crazy thing your body is doing,

katru mazāko, jocīgo ķermeņa kustību,

or just aware of what you don't want it to be doing

liek apzināties, ko negribat, lai tas dara, kad spēlējat,

while you're playing; you don't want to have any sudden movements.

jo negribat pēkšņas kustības.

And if I go to a club and play a gig, people are like,

Ja es spēlēju kādā klubā, cilvēki saka:

"Here, have some drinks on us!"

„Iedzer, mēs izmaksājam!”

And it's like, "Well, I'm about to go on soon;

Un man jāsaka: „Bet man drīz atkal jāspēlē,

un es negribu, lai ir tā – (Šķības skaņas) – saprotiet?”

I don't want to be like -- (Teetering tones) -- you know?"

It really does reflect the mood that you're in also,

Tas tiešām atspoguļo noskaņojumu,

if you're ...

ja esat...

it's similar to being a vocalist, except

Tas ir līdzīgi kā vokālistam, izņemot to,

instead of it coming out of your throat,

ka tas nenāk no rīkles,

you're controlling it just in the air

bet to regulē gaisā,

and you don't really have a point of reference;

un tā īsti nav tāda atskaites punkta.

Jūs vienmēr paļaujaties uz savām ausīm un visu laiku pieregulējat.

you're always relying on your ears and adjusting constantly.

You just have to always adjust to what's happening

Vienmēr jāpielāgojas notiekošajam

and realize you'll have bummer notes come here and there

un jāsaprot, ka šad tad būs greizas notis,

and listen to it, adjust it, and just move on,

un jāklausās, jāpielāgojas, un jāturpina,

citādi iestrēgsiet un sajuksiet prātā. Kā es.

or else you'll get too tied up and go crazy. Like me.

I think we will play another tune now.

Domāju, tagad nospēlēsim vēl vienu skaņdarbu.

I'm going to do "Lush Life." It's one of my favorite tunes to play.

Nospēlēsim „Lush Life”. Tas ir viens no maniem mīļākajiem skaņdarbiem

(Music)

(Mūzika)

(Aplausi)

(Applause)