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Clara Rockmore: Making the Theremin Playable

By Infinite Creation · Profile

Historical photograph of Clara Rockmore.

At a Glance

Clara Rockmore (1911-1998) was a violin prodigy who, forced to abandon the violin by tendon problems, took up the theremin and developed the technique that made it a serious instrument. Her aerial fingering system, precise, memorised hand positions plus a fast, controlled attack, is why the theremin can be played in tune at all.

Lived: 1911-1998, Lithuania, worked in the United States
Anchor year: 1934, the aerial fingering technique
Strand: overlooked, performance practice is part of a technology

Career

The problem as it stood

The theremin had no reference points and a continuously variable pitch, so early performers slid between notes. It sounded eerie and imprecise, which is why it was heard as a novelty or a sound effect rather than as an instrument.

What she actually did

Rockmore developed a system of memorised, discrete hand and finger positions, moving between them fast enough that the glide between notes is imperceptible, combined with precise use of the volume antenna to articulate each note. She also asked Theremin for a faster volume response, and he modified the instrument for her.

How it worked

The trick is to treat pitch as discrete despite the continuous control, and to use the volume hand to cut the sound during transitions so the slide is not heard. That is an articulation technique, and it is what separates playing an instrument from operating a device.

What it made possible

The theremin as a concert instrument. Rockmore performed with major orchestras and her recordings remain the reference for what the instrument can do. Every serious thereminist since works in her tradition.

What happened to her

She toured and recorded, with her sister Nadia Reisenberg accompanying her, and continued teaching into old age. Her album The Art of the Theremin, produced by Robert Moog, brought her work to a later generation.

Where the credit landed

Rockmore is in a technology corpus because performance practice is part of a technology. An instrument nobody can play in tune is not a solved problem, and her technique, plus the design change she requested, is what completed the theremin. Histories that separate inventors from performers lose that, and the loss falls disproportionately on women, who were far more often admitted to the performing role than the engineering one.

Known For

She treated a continuous control as discrete, and hid the transitions with the volume hand.
She asked Theremin for a faster volume response, and he redesigned it.
An instrument nobody can play in tune is not a finished technology.

Knowledge Base

What You'll Learn

A technology is not complete until someone works out how to use it.

Where performance practice is part of engineering

This recurs across the corpus. Multitrack recording needed Les Paul and Tom Dowd to establish what you do with it. The sampler needed Grandmaster Flash and the Fairlight users to define its vocabulary. The synthesiser needed Wendy Carlos to demonstrate what it was for. In each case the device existed and its purpose did not, until a performer supplied one. Rockmore is the earliest clear instance.

Where This Fits

Rockmore made an electronic instrument playable, and A History of Broadcast Technology follows electronic sound on its way from source to listener.

FAQ

Q: What is aerial fingering?
A: Clara Rockmore's technique of memorised, discrete hand and finger positions in the air, moving between them quickly and using the volume antenna to mask the transitions, allowing the theremin to be played in tune with clear articulation.

Q: Why is she in a history of broadcast technology?
A: Because an instrument that cannot be played accurately is an unfinished technology. Her technique, and the design change she requested from Theremin, completed it.

Sources

No document is cited here, because the evidence is not documentary. Checked 20 August 2026.

A performing technique is demonstrated rather than published. Rockmore's aerial fingering exists in her recordings and in film of her playing, and in the accounts of musicians who learned from her. She published no method book. The 1934 date the anchor year gives marks the period of her concert career rather than a dated publication, and any citation would be to a recording or a concert notice rather than to a document establishing the technique.