Velocity El Paso 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.

Rocio R.
(877) 231-8505
Woodlark Wy.
El Paso, TX
Subjects
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)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Digital Dimensions
(281) 703-7037
4519 Pineville Lane
Spring, TX
 
Karen G.
(877) 231-8505
Sherwood. Dr.
Arlington, TX
Subjects
Piano
Ages Taught
4 to 99
Specialties
Classical, Praise Music, Pop/Rock, Some Blues and Jazz. I teach both how to play by ear and how to read sheet music.
Education
Texas Wesleyan University - Music - Aug. 2005-Aug.2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Piano Playhouse
(210) 823-6012
Helotes, TX
 
Jerod S.
(877) 231-8505
Eustis Ave
Dallas, TX
Subjects
Opera Voice, Music Theory, Music Performance, Singing, Theatrical Broadway Singing, Songwriting, Music Recording, Speaking Voice, Piano
Ages Taught
4 to 99
Specialties
piano, voice, singing, Songwriting, Music, Music Theory, Public Speaking, Vocal : Pop, R&B, gospel, Rock, Adult Contemporary. Praise Team and Ensemble singing. Anything related to church music. Piano : Classical, Written, Chord Charts, Fake Books, etc.
Education
Baylor University - 1997-2001 - Bachelor's in Music Midway- Graduated 1997 - High School
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Hsin-Jung T.
(877) 231-8505
Almeda Road,
Houston, TX
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
music, Theory, Composition, Piano Theory: I am experienced in helping students to prepare the ABRSM exam. Composition: Start with harmony, counterpoint with analysis of master composer's music; then, encourage students to develop and create their musical ideas. Piano: any kind of music scores and books are suitable for my teaching.
Education
• Graduate Center of City University of New York - • D.M.A Level II in Music Composition - August, 2000 • Queens College of City University of New York - Music Composition - August, 1997 Taipei National University of Arts - Theory and Composition - September, 1991 Hwa-Kang Art School - Piano Performance - September, 1985
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Christina L.
(877) 231-8505
Greenstone Trail
Carrollton, TX
Subjects
Songwriting, Piano, Singing
Ages Taught
1 to 30
Specialties
Classical and Contemporary/Modern music
Education
Hebron High School - - August 2003 - May 2007 (not complete) University of North Texas - Jazz Studies - August 2007 - 2008 (not complete) Collin County Community College - Associate of Arts - August 2009 - present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Robert C.
(877) 231-8505
Lawn Arbor Drive
Houston, TX
Subjects
Music Theory, Piano, Classical Guitar, Guitar, Bass Guitar
Ages Taught
5 to 99
Education
North Harris County College - Music-guitar - 1982-85 (not complete) Musicians Institute - Music-guitar - 1991-92 (not complete) University of North Texas - Music-guitar - 1985-87 (not complete) Klein High School - Music - 1974-78 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Cheryl O.
(877) 231-8505
Cedarwood Ct.
Arlington, TX
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
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.
Education
Illinois Wesleyan University - Music Ed - Piano - 1975-1979 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Nora F.
(877) 231-8505
Confederate Dr.
Pearland, TX
Subjects
Piano
Ages Taught
4 to 99
Specialties
music, piano Depending upon the age and experience, I start very basic by showing the student the piano and discussing the names of the keys. I want the student to have fun so at the end of the lesson the student is able to play whatever he/she wants to play.
Education
University of Houston Clear Lake - Finance - 2001-2003 University of Houston Clear Lake - MIS - 2003-2006
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

 
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