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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.

Laura V.
(877) 231-8505
Magnolia
Huntington Beach, CA
Subjects
Theatrical Broadway Singing, Piano, Music Theory, Singing, Music Performance, Speaking Voice, Songwriting
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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TakeLessons Music Teacher

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Arline Linke Piano Studio
at St Luke Church, 10 Bayview Drive
San Rafael, CA
 
Keyboards & Kindermusik Conservatory, Inc.
(209) 473-9102
Stockton, CA
 
Andy S.
(877) 231-8505
West Olympic Blvd
Los Angeles, CA
Subjects
Drums, Piano, Percussion, Music Performance, Guitar, Music Theory
Ages Taught
5 to 99
Specialties
My percussion knowledge is vast and I can teach any genre My guitar knowledge is considerably less, but I can teach from beginners to intermediate levels. My piano knowledge is beginner to novice level
Education
Berklee College of Music - Professional Music - 9/1991-5/1995 (Bachelor's degree received) New York University - Music/Composition - 9/1995-5/1997 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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Gino J.
(877) 231-8505
Island Cir,
Huntington Beach, CA
Subjects
Piano, Music Recording, Music Theory, Music Performance, Classical Guitar, Bass Guitar, Guitar
Ages Taught
5 to 99
Specialties
Acoustic and Electric Guitar: beg to adv Bass Guitar: beg to adv Piano: beg to inter Electronic Keyboards: synthesizers, software, recording, sequencing I am adept in the following music styles & genres: classic rock, modern rock, metal, pop radio hits from 70’s, 80’s, 90’s, & current top40, blues, r&b. Also have jazz background in these genres: swing, bebop, smooth jazz, fusion, Brazilian, Latin. I like to use different teaching formats: notation, tab, transcribing, ear training, theory, vid…
Education
Cosumnes River College - Music - (not complete)
Membership Organizations
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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TakeLessons Music Teacher

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Kelley H.
(877) 231-8505
Toscana Way
San Diego, CA
Subjects
Flute, Music Performance, Piano, Singing, Opera Voice
Ages Taught
5 to 99
Specialties
Bel canto (classical technique) singing, Art Song and Opera, Italian, German, French and English diction
Education
Crowder College - Mathematics - 1995-1996 (Associate degree received) Missouri Southern State University - Music Education, Voice & Flute - 1997-2001 (Bachelor's degree received) The University of Texas at Austin - Opera Performance - 2003-2005 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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Lusine Shahinyan
25530 River Bend Dr #E
Yorba Linda, CA
Instruments
Piano
Styles
Blues, Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$55
Years of Experience
20 Years

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Emma M.
(877) 231-8505
Tulagi St.
Cypress, CA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
I am using Alfred’s Piano or Thompson’s Modern course, popular classics, musicals/movie and piano duets. These duets are very useful as supplementary material in a piano program, musically rewarding, and very motivational.
Education
Musical Education: 1962-1971 Odessa State College of Music, Odessa, Ukraine 1971-1975 Odessa State University of Music, Odessa, Ukraine Qualification: Piano Teacher and Concertmaster Completion: B.A. in 1975.
Membership Organizations
TakeLessons Music Teacher

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Matthew M.
(877) 231-8505
Centralia St.
Lakewood, CA
Subjects
Piano, Singing, Trumpet, Ukulele, Music Theory, French Horn, Percussion, Songwriting, Guitar, Trombone, Bass Guitar, Music Performance
Ages Taught
5 to 99
Specialties
Trumpet methods include (not limited to) Arban's, Clarke, Sachs, Rubank, Getchell, Adam, Schlossberg, Colin, Bai Lin. For instruments outside the trumpet, methods will more closely follow school curriculum, unless student has advanced beyond provided materials. I strongly encourage students of voice, guitar, and piano to pick material of their choosing. Classical and rock are the genres to which I am most attracted
Education
Peabody Conservatory of Johns Hopkins University - Music Education w/Secondary Applied Vocal Instruction - Fall 2003- Spring 2007 (Bachelor's degree received) Peabody Conservatory of Johns Hopkins University - Trumpet Performance - Fall 2003- Spring 2007 (Bachelor's degree received) Bob Cole Conservatory of California State Long Beach - Trumpet Performance - Spring 2008- Present (not complete)
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TakeLessons Music Teacher

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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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