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I just heard on Radio 3 an announcer mentioning that there are at least 30 concertos for the ondes, although that's not really a citeable source. [1] mentions someone who played 14 of them, but I'm reluctant to cite a source for 14 when I know it's actually 30. Just a thought for anyone who wants to build up the article. Mark 1 20:22, 28 December 2005 (UTC)
Some points to expand on in the article: The Ondes Martenot can be played in two ways: you can either play the keyboard, to produce precise pitches like on an organ, or move your hand along the keyboard while pulling a string coming out at the side of the keyboard, to produce full-range glissando sounds. The left hand has controls for volume. The original design, as used by Messiaen, came with several different speakers, with different tonal qualities; one had strings spun across it to produce resonant tones, like the sympathetic strings on a sitar. (I have picked up this knowledge over the years by being a Messiaen fan, but I cannot quote precise sources. Someone will have to investigate further :-)
The Theremin article claims a Theremin was used. This needs to be researched! Ibadibam 22:39, 6 June 2006 (UTC) The article on the theme itself lists a vocalist. I seem to recall hearing that different seasons had different versions. Ibadibam 00:49, 7 June 2006 (UTC)
The article had said that Jonny Greenwood plays the Ondes Martenot in Radiohead concerts, but Mark Brend, in talking about the instrument on a recent installment of public radio's To the Best of Our Knowledge, says Radiohead synthesizes the sound for touring, out of fear that the studio Martenot is too fragile to make the trip. I took the sentence out about playing the instrument in concert, not as a judgment that the article was wrong and the radio show was right, but rather to avoid the contradiction until someone definitively irons it out.
Answer: As the answer below clarifies, he had a more portable one built by Analogue Systems to take on the road with him because he was afraid of damaging his "actual" Ondes. There should be enough photographic and video evidence around to erase any doubts about Jonny playing the Ondes live, in particular on tracks including
"The National Anthem"
and
"How to Disappear Completely".
I could have sworn that I saw one of these instruments being played on SNL by Mr. Greenwood. There were numbers of SNL concert MPG movies floating around the net of Radiohead's appearance when Kid A came out. I recall seeing "The National Anthem" and "Idioteque" being performed live on SNL, and I thought I saw one of these instruments being played by Mr. Greenwood. Can anyone verify?
Answer: Yes, that is indeed an Ondes Martenot that Jonny Greenwood is playing. It is an analogue controller designed to emulate the Ondes Mrtenot, which was built by Analogue Systems and called the "French Connection." This version is more portable, and is cheaper than the actual Ondes Martenot synthesizers. However, it lacks the sound generators of the original instruments, so it does not have as wide a tonal palette.
Questions, questions... who has the answers? Does anyone have Johnny Greenwood's phone number? He seems to know... -- Sean 19:10, 6 October 2006 (UTC)
The article has a tag saying that it contradicts another article, but I can't find any explanation here. Can someone help me out? Is that tag obsolete? Should it be removed? Joshua Davis 22:02, 18 November 2006 (UTC)
The article says that the Ondes Martenot produces a sound similar to that of the Theremin. Is the sound also produced in a similar way? How is it different? The Theremin article has a fairly nice explanation of what makes it work, but I don't see anything similar here. —The preceding unsigned comment was added by 76.80.43.194 ( talk) 01:19, 14 March 2007 (UTC).
I read the first few paragraphs and it really doesn't tell me anything about the instrument, other than it's uses. I'd like to be reminded that it's the instrument that I saw in a History Channel special way back when that lets you control sound by physically moving your hand, if it's even that.
In 2008, there is a project to rebuild an instrument which is as close as possible to the original.
I did not add this, but I can cite prominent player Thomas Bloch who has told me that his instrument technician is currently building a prototype ondes clone based on instruments in the Paris Conservatoire and reconstructed technical plans. jdpercival 30/03/08
By the way, this is a separate project to the 'Ondea', which is a digital clone of the ondes. jdpercival 24/04/08 —Preceding unsigned comment added by 129.67.64.220 ( talk) 17:26, 24 April 2008 (UTC)
Many of these works were written for [Messiaen's] sister-in-law, Jeanne Loriod...
I have removed this sentence - it simply isn't true. Jeanne Loriod was only 16 years old when Trois petites liturgies was composed and 20 when Turangalîla was premiered. After that point, Messiaen did not score for the ondes again until St. François d'Assise in the late 70s. According to Cynthia Millar, Loriod only entered Martenot's conservatoire class in 1947. So in fact, Jeanne Loriod can only have been in Messiaen's mind for this one piece. Ginette Martenot, the inventor's sister, premiered Fête des belles eaux, Trois petites liturgies and Turangalîla. It is certainly true however that Jeanne Loriod became the most famed exponent of Messiaen's ondes writing. jdpercival 30/03/08
Why is this article titled with the lowercase tag. I see that the correct spelling is ondes Martenot - but you would start a sentance with a small o on ondes, would you ? -- Beardo ( talk) 01:02, 10 August 2008 (UTC)
these comments were just sitting uncategorized at the top of the this Talk page, so i just stuffed them down here to get them out of the way and clean things up. please post properly! - Elgaroo ( talk) 17:48, 19 March 2011 (UTC)
Yes, I know I'm supposed to Move a page rather than just create a new one and replace the old one by a redirect, but there were 2 different old pages, both incorrectly titled:
Each had slightly different content, so rather than have to decide which one was "worthier" to be moved, I moved neither of them and integrated their contents here -- PS4FA
There's a somewhat obscure piece by Messiaen (quite an early one, I think) which is for six (or is it four?) Ondes Martenots, the title of which escapes me - anybody happen to know what it's called? It'd be worth mentioning, I think. Pieces for massed Martenots aren't very common. -- Camembert
It's Called "Fêtes des belles Eaux" (1937). It is indeed for 6 Ondes Martenots. There is a recording of it on cd by Jeanne Loriod, Messiaen's sister-in-law. Two movements from it were later rewritten for other instruments and incorporated into the "Quatuor pour la Fin du Temps".
An Ondes Martenot is featured on three tracs (Soft Shoe Dancer, Sweet Tune and Sleepwalker) on the Norwegian progrock band Popol Ace's third album "Stolen from Time", played by guest musician Sylvette Allard. -- magnus bruheim
sorry, just trying to sort this out. i know that early ondes Martenots especially could easily sound much like a theremin (and most laypeople don't or can't make the distinction) and were often used in stead of a theremin, even in compositions specifically for theremin, as they are so much easier to play, and an effectively skilled theremin player is often very hard to come by. but the score to the russian film "Odna" is often proclaimed to be the first movie soundtrack utilizing an electronic instrument. it is listed here as an ondes Martenot, but most other sources list it as a Theremin. can someone come up with a definitive source to sort this out? perhaps it is a bit of a moot point, but i would think whichever instrument was actually recorded would be the point here, not whatever it might have been written for or which was used for later public performances...? perhaps the distinction is lost to history, but it is rather confusing to find it listed either way depending on where you look on the internet...P thanks! - Elgaroo ( talk) 18:14, 19 March 2011 (UTC)
In this score (printed 1953), Messiaen uses certain abbreviations that do not correspond to the modern timbre designations. Here are some examples:
I guess "métallisé" (M) wound be D3, "amplifié" (A or B?) = D1, "palme" (P) is D4, Onde = modern O, gambé = G or g, "feutré" means damped, "cuivré" means "brassy", but what do the letters and numbers actually mean (on a modern O. M.)? And what would be the "son tournant" ("rotating sound")?
Can anyone shed some light on these abbreviations? Would they be relevant for the article? I suspect they are described in Jeanne Loriod's "Technique de l'onde électronique", but I've never found it. -- megA ( talk) 22:33, 26 March 2011 (UTC) [EDIT]I saw Thomas Bloch with T. S. recently, and "son tournant" means a slow "circling" motion around the pitch (like a very slow and broad vibrato) -- megA ( talk) 08:44, 31 August 2012 (UTC)
métallisé amplifié = use the métallique diffuseur; tournant = perform slow circling motion; timbre onde = use timbre O (sinusoidal timbre available on the Mk 7); gambé = use timbre G/g (string-like timbre available on the Mk 7). cuivré = use brassy timbre; timbre d'éspace = use reverb (?); palme = use the palme diffuseur. Loriod's method was written for the Mk 7, an instrument which has the timbres O, C, N, T, G, g and 8 and diffuseurs indicated as D1-4. Earlier instruments used numbered timbres, and letters A-D diffuseurs. These do not correlate exactly between instruments (the timbres are more like recipes). Lt1896 ( talk) —Preceding undated comment added 14:17, 10 January 2019 (UTC)
Hello, the "Playing technique" section has a pic with only three of the loudspeakers shown, if possible can we get a pic of the Résonance loudspeaker added to that section on, or better yet a single pic with all four speakers.
Thank you — Preceding
unsigned comment added by
97.124.68.195 (
talk) 16:28, 15 September 2012 (UTC)
Please consider adding that Henry Mancini used the Martenot in the film score It Came From Outer Space. [1] Haineux ( talk) 19:57, 3 May 2014 (UTC)
The rock band Muse also used the Ondes Martenot in one of their works (in "Resistance" off the album "The Resistance"). This could be added to the article in the designated section.
[1]
Sapphiruby (
talk) 07:29, 24 June 2014 (UTC)
[EDIT] I realised that the synth used was actually a French Connection controller modelled after the Ondes Martenot, so this is superfluous. I'll leave it on here because this mistake could happen again - as you can see from my reference, MuseWiki, which is generally believed by the fans, states he's using an Ondes. Further confusion could be prevented this way.
Sapphiruby (
talk) 06:58, 25 June 2014 (UTC)
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Cheers.— cyberbot II Talk to my owner:Online 04:44, 26 February 2016 (UTC)
There has been a banner on this article for over ten years requesting material to be translated from the Japanese article. It was originally on the talk page and transferred to the article more recently. I have removed this, assuming it to be out of date, but if there is still material on the Japanese page that could usefully be added, please state what it is here – or alternatively just translate it and add to the article. -- Deskford ( talk) 22:18, 2 August 2016 (UTC)
do we consider the Ondes Martenot to be an Analogue Synthesizer? I ask because the Ondioline that is mentioned in /info/en/?search=Analog_synthesizer#1920s.E2.80.931950s (albeit with the caveat that "...would not be considered synthesizers...") is mentioned as being a variant/version/cheaper Ondes Martenot but with more options i.e. do we consider Ondioline perhaps the very threshold of an analogue synthesiser contra the Ondes Martenot?
*I* consider the Ondioline an analogue synthesizer, so I have added that category to it, but others might not agree to that, (feel free to change it, but hopefully explaining why it is decisively not an analogue synthesizer). if the Ondioline is not, then the Ondes Martenot is definitely not, an analogue synth. -- CatCat ( talk) 13:22, 3 November 2016 (UTC)
I notice that User:GraemeLeggett has attempted to solve an inconsistency in the referencing that I had not previously noticed. There used to be a short "Notes" section using short-footnote references (SFNs), and a much longer "References" section using full-footnote format. These two sections are now merged, but unfortunately retains the SFN format for one source (Martenot 1931) while leaving all the rest as full footnotes. Is it the intention to convert everything to SFN, or is this just a temporary measure, with the eventual aim of changing those SFNs to full footnotes. The inconsistency of format is contrary to WP:CITESTYLE and WP:CITEVAR, the latter of which in any event counsels seeking consensus on the article's Talk page before changing from one reference style to another. While I agree that having two separate citation sections in two different formats is worse than mixing formats in one section (especially since that one source occurred in both sections), it now looks very odd to have a single listing for Martenot 1931 following forty-four footnotes, only one of which links to that source.— Jerome Kohl ( talk) 01:08, 30 December 2018 (UTC)
The following Wikimedia Commons file used on this page has been nominated for deletion:
Participate in the deletion discussion at the nomination page. — Community Tech bot ( talk) 10:53, 3 February 2019 (UTC)
Shouldn't Olivier Messiaen's ondes martenot composition Oraison (1937) be mentioned in this article? 173.88.246.138 ( talk) 00:00, 10 October 2022 (UTC)