Velocity East Amherst 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.

Natalia H.
(877) 231-8505
E.35th Street
New York, NY
Subjects
Piano, Music Theory
Ages Taught
4 to 99
Specialties
music, music theory, piano Although I was classically trained, I do not limit my students to Classical music. I encourage all genres of music.
Education
Manhattan School of Music - Piano Performance - 2000-2004 Los Altos High School - - 1996-2000
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TakeLessons Music Teacher

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David W.
(877) 231-8505
Bedford Ave.
Brooklyn, NY
Subjects
French Horn, Trombone, Piano, Trumpet, Music Theory, Music Performance, Tuba
Ages Taught
5 to 99
Specialties
I have extensive experience in jazz, classical and Avant Garde styles of brass playing, as well as pop styles. I have experience teaching piano, solfeggio, theory and ear training.
Education
Webster University - Music Education - 2005-2007 (not complete) Brooklyn College - Music Education - 2008-present (not complete)
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TakeLessons Music Teacher

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Helen B.
(877) 231-8505
EAGLE STREET
Spring Valley, NY
Subjects
Piano, Music Theory
Ages Taught
5 to 35
Specialties
Classical piano teaching; Suzuki piano method; popular and Broadway music.
Education
Daugavpils Pedagogical Academy Musical depertment - general music teacher ,choir condactor, piano performer - 1980-1985 (Master's degree received) Europe Kiev University philosophy department - estetic in philosophy - 1986-1990 (Bachelor's degree received) Spring valley Eurythmy school ny - music in movment - 2004-2010 (not complete)
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TakeLessons Music Teacher

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Sean B.
(877) 231-8505
Lawrence Avenue, fl
Brooklyn, NY
Subjects
Music Performance, Clarinet, Piano, Flute, Music Theory, Songwriting, Drums, Saxophone
Ages Taught
8 to 99
Specialties
Styles/genres: jazz, funk, rock, pop, classical, folk, reggae, hip hop, Balkan folk. Methods: transcription and analysis, ear training, tone production, music theory, improvisation, composition, reading and rhythm studies, repertoire development.
Education
Washington State University - Music - Sept '91-May '97 (Bachelor's degree received) New England Conservatory - Jazz Studies - Sept '04-May '06 (Master's degree received)
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TakeLessons Music Teacher

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Jamie R.
(877) 231-8505
Noll St.
Brooklyn, NY
Subjects
Music Theory, Theatrical Broadway Singing, Music Performance, Guitar, Opera Voice, Singing, Speaking Voice, Piano
Ages Taught
5 to 80
Specialties
I usually adjust my method to the student's needs. For example, if the student is not serious about music and wants to take lessons for fun, I will not pressure practicing (although communicate that it is important to practice in order to improve). However, if the student has a particular goal or is serious about music, I will usually teach a more detailed and intense lesson. Although I have a degree in voice performance, I have had a lot of theater education, and I focus my singing lessons o…
Education
University of Oregon - MFA Choral Conducting - 09/05-06/08 (Master's degree received) Syracuse University - BFA Voice Performance - 9/01-5/05 (Bachelor's degree received)
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TakeLessons Music Teacher

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Andriy L.
(877) 231-8505
Menahan st. ap
Brooklyn, NY
Subjects
Piano, Music Theory, Songwriting
Ages Taught
5 to 60
Specialties
I am very familiar with the method that was invented by Rahmaninoff, since his youngest student taught me personally at Mannes.
Education
Higher State Music Institute - composition - 1989-1994 (Bachelor's degree received) Mannes College of Music - composition - 2008-2010 (Master's degree received)
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TakeLessons Music Teacher

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Fine Arts Academy
(845) 613-7678
.
Orangeburg, NY
 
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)
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TakeLessons Music Teacher

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Nina R.
(877) 231-8505
W 157th
New York, NY
Subjects
Theatrical Broadway Singing, Opera Voice, Piano, Singing
Ages Taught
6 to 85
Specialties
I specialize in classical voice, Broadway, and pop singing. I can do any style because I focus on healthy technique. My main singing is classical, but I also sing different styles. For piano, I teach beginners piano.
Education
Interlochen Arts Academy - voice major/piano minor - 1999-2001 (High School diploma received) Manhattan School of Music - voice - 2001-2005 (Bachelor's degree received) Manhattan School of Music - voice - 2005-2007 (Master's degree received)
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TakeLessons Music Teacher

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gabriel j.
(877) 231-8505
west 84th street
New York, NY
Subjects
Piano, Music Performance, Music Theory
Ages Taught
1 to 99
Specialties
Jazz, classical and latin.
Education
Aaron Copland School of Music at Queens College - Jazz Piano Performance - 9/97-12/99 (Master's degree received) Vassar College - Music - 9/92-5/96 (Bachelor's degree received)
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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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