Velocity Brooklyn NY

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.

Veronica G.
(877) 231-8505
Rogers Ave
Brooklyn, NY
Subjects
Piano, Singing, Songwriting, Music Theory
Ages Taught
4 to 99
Specialties
Piano and Vocals: beg to adv Jazz and contemporary music specialization
Education
Northern Virginia Community College - Music - 1998-2000 (Associate degree received) Berklee College of Music - Music - 2000-2005 (Bachelor's degree received) University of North Texas - Music - 2006-2009 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
J. David W.
(877) 231-8505
South Oxford Street
Brooklyn, NY
Subjects
Singing, Organ, Music Theory, Opera Voice, Music Performance, Piano
Ages Taught
5 to 99
Specialties
All, but adept at teaching improvisation
Education
Cincinnati College-Conservatory of Music - 1982 - 1980 (Bachelor's degree received) The Juilliard School - 1984 - 1982 (Master's degree received) The Manhattan School of Music - 1989 - 1986 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
David Phillips
1453 Prospect Place 1G
Brooklyn, NY
Instruments
Composition, Conducting, Ear Training, Music Therapy, Musicology, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$200
Years of Experience
35 Years

Data Provided by:
Brian M.
(877) 231-8505
Clarkson Ave.,
Brooklyn, NY
Subjects
Clarinet, Theatrical Broadway Singing, Music Performance, Music Theory, Opera Voice, Piano
Ages Taught
6 to 99
Specialties
Will discuss at interview.
Education
San Francisco Conservatory of Music - Composition - 9/04-5/06 (Master's degree received) Berklee College of Music - Composition/Film Scoring - 9/99-5/02 (Bachelor's degree received) Boston University - Psychology - 9/94-8/98 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Cal S.
(877) 231-8505
Beverley Rd.
Brooklyn, NY
Subjects
Music Performance, Bass Guitar, Songwriting, Piano, Guitar, Music Theory
Ages Taught
5 to 99
Specialties
Guitar, Bass, Piano, Songwriting, Performance, Music Theory, Rock, Pop, Country, Blues, R&B, Jazz, Funk, Classical, Folk
Education
The New School - Liberal Arts/Music - Jan 2010-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Matt James
1363 Union Street
Brooklyn, NY
Instruments
Guitar, Piano
Styles
Kids
Experience Levels
Beginner
Rate
$25
Years of Experience
17 Years

Data Provided by:
Alex G.
(877) 231-8505
East 4th St
Brooklyn, NY
Subjects
Music Theory, Bass Guitar, Piano, Upright Bass, Music Performance, Music Recording
Ages Taught
5 to 45
Specialties
My specialty is Electric Bass and Upright Bass. I teach and have performed professionally, a variety musical styles with special interests in Jazz, Funk, R&B, Pop, Rock, Latin, and Classical. I work out of the Simandl Method For The Double Bass Books 1&2. For electric bass i use a variety of Berklee Press Bass books. Aside from bass, I play piano very well and teach out of the Berklee Press Basic Keyboard 1&2 Books. For music production I have hands on digital audio workstation assignments fo…
Education
University of New Hampshire - Economics - Sept 1 1996-May 15 2000 (Bachelor's degree received) Berklee College of Music - Contemporary Writing and Production - Jan 3, 2003- Dec 15 2005 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Arianna B.
(877) 231-8505
Dean Street
Brooklyn, NY
Subjects
Music Recording, Drums, Piano, Percussion
Ages Taught
5 to 99
Specialties
Beginning-Intermediate classical and jazz piano. West African percussion (djembe, djun djun, shakere, claves, etc) Latin Percussin (congas, bongos, guiro, etc), and kit drums (jazz/funk/rock)
Education
Sarah Lawrence College - Jazz Piano/Percussion - 2004-2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Doran D.
(877) 231-8505
St Marks Pl
Brooklyn, NY
Subjects
Music Recording, Piano, Music Theory, Singing, Music Performance, Songwriting
Ages Taught
3 to 99
Specialties
Piano Pedagogy: Classical, Jazz, Blues, Modern, etc, Music Theory Music History: All Levels (High School - Masters degree) Basic Musicianship: Ear-Training, Rhythmic Training, Harmonic, Melodic Theory Composition: Classical, Contemporary, Jazz composition, arrangement, notation
Education
New York University - Music Composition, Music Theory - Sept. 2007 - May 2009 (Master's degree received) Columbia Univeristy - Music Composition, Music Theory - Sept. 2006 - May 2007 (Bachelor's degree received) Kenyon College - Music Theory, Piano Performance, English - Sept. 1999- May 2003 (Bachelor's degree received) Harvard-Westlake School - - 1995-1999 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jennifer K.
(877) 231-8505
Hancock St
Brooklyn, NY
Subjects
Guitar, Music Performance, Piano, Music Theory, Songwriting, Speaking Voice
Ages Taught
5 to 99
Specialties
When teaching piano, because I specialize in classical, I emphasize sight-reading, theory and performance from the very first lesson. As soon as possible, I have student memorize pieces appropriate to their level. I begin each lesson with memory work, move into sight-reading and analysis of the new work, or exercise. This way a student has a multi-faceted approach to music they are learning, and once they have learned it, they are continually adding to their repertoire. I work this way becaus…
Education
Williams College - Music Major - September 1999-June 2004 (Bachelor's degree received) Conservatory of Music/ SUNY Purchase - Master of Music Classical Piano - September 2007-December 2010 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Data Provided by:

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...

Click here to read the rest of the article from Keyboard Magazine

Local Events

Jenny's Penny Musical
Dates: 11/19/2019 – 11/19/2019
Location:
Riverdale Y Bronx
View Details
 
 
Subscribe Live Bookmarks Advertise Contact Us Privacy Policy Terms & Conditions
 



 
Keybord Magazine is a trademark of New Bay Media, LLC. All material published on www.keyboardmag.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved