Velocity Abilene TX

The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect.

gfire m.
(877) 231-8505
st and Manor Road
Austin, TX
Subjects
Singing, Theatrical Broadway Singing, Piano, Music Recording, Songwriting, Music Theory, Music Performance, Speaking Voice, Opera Voice
Ages Taught
5 to 99
Specialties
music, singing, piano, songwriting, DJ'ing, yoga I have developed Yoga for the Voice - a combination of my 18 years of studying and receiving certification in the Science of Singing (as taught by Ernest George White of London, England) and my 10 years experience and certification in yoga, specifically ancient yoga breathing techniques. I will work with voice students as young as 7 and as old as they want to go! Voice lessons span all styles and all levels - pop, rock, r 'n' b, country, folk, …
Education
Univ. of MD - music - voice & piano - 1986-1990 Kennedy H.S. - college prep - 1983-1986
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TakeLessons Music Teacher

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Ann Eckman Piano Studio
(817) 905-3293
Aledo, TX
 
Kal M.
(877) 231-8505
Paisley Street
Houston, TX
Subjects
Cello, Piano
Ages Taught
5 to 75
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Alfred, Bastien, Suzuki, Thompson Classical
Education
Univ of Vermont - Music Theory & Comp - 1982-1986 (Bachelor's degree received)
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Rocio R.
(877) 231-8505
Woodlark Wy.
El Paso, TX
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Music Theory, Opera Voice, Guitar, Music Performance, Singing, Classical Guitar, Piano
Ages Taught
5 to 99
Specialties
Opera Voice Bel Canto Contemporary Singing Classical Piano Classical Guitar Folk Guitar Latin-American Styles Pop
Education
University of Texas at El Paso - Music - 08/2000-05/2007 (Bachelor's degree received)
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Lorena B.
(877) 231-8505
Evers
San Antonio, TX
Subjects
Opera Voice, Piano, Music Theory, Singing
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5 to 99
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Classical, Hymns, Inspirational, Contemporary, Gospel and Christian
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Our lady of the Lake University - Music/Vocal Performance - 2007-2009 (Bachelor's degree received)
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Christina H.
(877) 231-8505
Village Center Drive
Austin, TX
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Piano, Singing, Organ, Music Theory, Music Performance
Ages Taught
5 to 99
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I primarily focus on the classical genre (including Renaissance, Baroque, Classical, Romantic, Twentieth Century, and Contemporary eras). I have found if one can play classics well, it is easier to learn pop music.
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University of Northern Iowa - Organ Performance - June 1995-May 1999 (Bachelor's degree received) Arizona State University - Organ Performance - Sept. 1999-May 2002 (Master's degree received) Arizona State University - Organ Performance - Sept. 1999-Aug. 2008 (PhD degree received)
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Sing & Play Music Studio
(512) 415-1134
Austin, TX
 
Cheryl P.
(877) 231-8505
Travis Ave
Fort Worth, TX
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Music Theory, Piano
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6 to 99
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My specialty is classical music. I believe that a strong background in classical music is important for any musician, regardless of their musical preferences. I assign scales and arpeggios, and occasionally use technical exercises and studies in lessons. That being said, I allow for student input, and will also teach music such as church hymns or pop songs, or any other piece you or your child are interested in. I will work with you to achieve all of your musical goals! If you are thinking ab…
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Texas Christian University - Piano Performance - 8/01-5/06 (degree received) University of North Texas - Piano Performance - 8/06-5/08 (degree received)
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Kathy Hutton Stallbaumer Piano Studio
(325) 653-3490
San Angelo, TX
 
Cheryl O.
(877) 231-8505
Cedarwood Ct.
Arlington, TX
Subjects
Music Theory, Piano
Ages Taught
5 to 99
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I believe young students like to learn with touching and doing. I've use materials from Bastien, Thompson, Aaron along with aids I create for students to get the best learning experience. With adult students, we discuss what the goal is for taking lessons and in what ways they learn best.
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Illinois Wesleyan University - Music Ed - Piano - 1975-1979 (Bachelor's degree received)
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Velocity

If you’ve ever played a piano, the process seems perfectly natural: The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect. Other keyboards, such as organs and the first generation of synthesizers, don’t respond in that way. Play lightly, play hard — it makes no difference.

Just about all synthesizer keyboards today respond the way a piano does. There will be subtle differences, but the speed with which the key travels downward is sensed by a mechanism of some sort, and the information coming from the sensor is used to affect the sound of the synth.

The speed of the key as it descends toward the keybed is called its velocity. Each key has its own velocity sensor. And because just about all keyboards transmit MIDI, the velocity data is always encoded in the form dictated by MIDI. MIDI defines messages called note-on and note-off, and each note-on message includes velocity. (Note-off velocity — the speed with which the key is allowed to rise at the end of the note — is also defined by the MIDI Specification, but it’s rarely used.)

Because the velocity is embedded in the note-on event, the velocity of a note can’t change while the note is sounding. The value transmitted by the velocity sensor remains the same from the start of a given note to its end. Manufacturers of consumer keyboards sometimes blur this distinction by referring to velocity as “pressure.” MIDI defines a separate type of data called pressure, or aftertouch. When a keyboard senses pressure (not all of them do), you can send a control signal by pressing down harder after the key has reached the keybed. But that control signal has nothing to do with velocity.

MIDI defines velocity as a data type that can have values ranging from 1 to 127. A velocity of 1 is extremely slow (produced by very light playing), and 127 is extremely fast (produced by very hard playing).

USING VELOCITY TO CONTROL SOUND

The most common use of velocity is to control the loudness of the notes. As on a piano, when you play harder, the notes will be louder. On a synthesizer, this is accomplished by using velocity to modulate the amplitude of the audio signal. If you roll up your sleeves and do a little voice programming, you’ll probably find a parameter called VEL or Velocity in the Amplifier, AMP, or VCA area of your synth. If you turn this parameter down to zero, the velocity-to-loudness effect should go away: All notes should be equally loud.

If you listen closely to a piano, you’ll hear that the louder notes also have more sound energy in the upper frequency range. In other words, they’re not only louder, they’re also brighter. This effect is modelled in most synthesizers. If your synth has analog-type lowpass filters, you’ll find a parameter with which you can control velocity modulation of the filter cutoff frequency. When the velocity value is higher, the filter cuto...

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