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Velocity Chico CA

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.

Gizelle C.
(877) 231-8505
Rock St
Mountain View, CA
Subjects
Violin, Piano
Ages Taught
5 to 99
Specialties
Classical Violin and Piano. Accompaniment Piano. Music History and Theory. Playing games with students while learning. Correct arm positioning.
Education
Kazan State Music College - Violin and Piano - 2000-2002 (Bachelor's degree received)
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Mark F.
(877) 231-8505
Masonic Avenue
San Francisco, CA
Subjects
Music Performance, Piano, Music Theory
Ages Taught
5 to 99
Specialties
Typically piano lessons for the Beginner/Advanced Beginner student revolve around a sequence of method books. Bartók's piano/musical education method Mikrokosmos works phenomenally well. Ear training exercises, sight-reading practice, and music theory instruction may supplement the lessons. There is a large variety of learning materials out there. Method books often use different approaches. I match up the student with the appropriate material. I give great attention to the individual child's…
Education
Temple University - Spanish - 9/1985 - 5/1989 (Bachelor's degree received) University of Florida - Piano Performance - 9/2000 - 12/2005 (Bachelor's degree received) San Francisco State University - Piano Performance - 9/2006 - 5/2010 (Master's degree received)
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Wes S.
(877) 231-8505
Round Top Dr
Los Angeles, CA
Subjects
Music Theory, Music Recording, Songwriting, Music Performance, Saxophone, Piano, Flute, Clarinet
Ages Taught
5 to 99
Specialties
I teach technique in saxophone, flute, clarinet and piano. I specialize in techniques for ear training (Learning songs quickly and remembering them.) and for improvisation within the genres of Jazz, Rock and R&B.
Education
University of Rochester - Music - 08/2004 - 12/2007 (Bachelor's degree received)
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TakeLessons Music Teacher

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Ontario A.
(877) 231-8505
E. La Palma Dr.
Inglewood, CA
Subjects
Music Theory, Acting, Singing, Speaking Voice, Theatrical Broadway Singing, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I specialize in teaching beginners in pop styles. I use a combination of methods and techniques including Mark Harrison,
Education
Louisiana State University - Music and Theater - 06/1999-05/2003 (Bachelor's degree received) Musician's Institute - Contemporary Keyboards - Spring 2008
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TakeLessons Music Teacher

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David W.
(877) 231-8505
C Ave
Coronado, CA
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
Music, Piano, Theory Classical, Pop, Rock, Jazz, Swing
Education
SFSU - Music/Business - 1993-2004
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TakeLessons Music Teacher

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Esther B.
(877) 231-8505
MarlinSeas CT.
Sacramento, CA
Subjects
Singing, Piano, Music Theory, Guitar
Ages Taught
5 to 80
Specialties
I teach the basic skills very strongly, and also encourage students and, challenge them, as well. I also have new techniques for teaching voice and piano.
Education
Sacramento City College - Music(voice&piano) - 1999 (Associate degree received) C.S.U.S. - Voice &piano - 2001 (Bachelor's degree received) C.S.U.S. - Voice&Piano - 2004 (Master's degree received)
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Laura V.
(877) 231-8505
13th Street
Huntington Beach, CA
Subjects
Singing, Songwriting, Piano, Music Theory, Speaking Voice, Theatrical Broadway Singing, Music Performance
Ages Taught
7 to 70
Specialties
music, voice, modern singing, piano, ear training, vocal jazz, musical theatre, Broadway, children's voice lessons,piano lessons, Rock, jazz, pop, Latin, folk, Broadway, classical, bel-canto, Songwriting, improvisation, sight reading, speech techniques, monologues, speaking voice, music theory, music performance
Education
Art School La barraca, Buenos Aires, Argentina - Acting - march 1983 - nov 1986 Liceo Nr 9 Santiago Derqui, Buenos Aires, Argentina - Bachiller - march 1978 - december 1982 Conservatory of Music Basel, Switzerland - Vocal jazz, piano - sept 1997 - sept 2002
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Joy A.
(877) 231-8505
Rosemont Ave
Los Angeles, CA
Subjects
Piano
Ages Taught
5 to 18
Specialties
I specialize in working with children, but I have also taught at an advanced level preparing students for college auditions, and other classical assignments.
Education
University of Washington - Music - 2001-2006 (Bachelor's degree received)
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TakeLessons Music Teacher

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Alexander C.
(877) 231-8505
Shad Ct.
San Mateo, CA
Subjects
Piano
Ages Taught
8 to 99
Specialties
I teach using the Bastien series and Alfred's Piano Series
Education
San Jose State University - Bachelor of Music: Piano Performance - 2009 - present (not complete)
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Benjamin C.
(877) 231-8505
Lincoln Street,
Carlsbad, CA
Subjects
Bass Guitar, Guitar, Piano, Music Recording
Ages Taught
1 to 99
Specialties
Modern/Classic/Acoustic Rock Pop Hip Hop Ballads Punk Metal Industrial Electronic
Education
Sunflower Christian - General - 1989-1993 (High School diploma received) Palomar College - General - 1990-2000 (not complete) Cedarville College - Communications/audio/video - 1994-1996 (not complete) Cal State Bakersfield - Communications/audio/video - 1997-1998 (not complete)
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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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