Velocity Everett WA

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.

Ben G.
(877) 231-8505
Harbour Pointe Blvd.
Mukilteo, WA
Subjects
Music Theory, French Horn, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
No specific methods in particular, and I tend to teach more in the classical genres, with some pop/film music thrown in for variety (from time to time). I prefer using the Bastian, Alfred, and/or John Thompson piano methods, and Pottag-Hovey, Maxime-Alphonse, etc. for French Horn.
Education
Central Washington University - Bachelor of Arts in Music - Spring 2003-Fall 2007 (Bachelor's degree received) George R. Curtis Senior High School - High School Diploma - 1993-1996 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Michelle Young
5200 175th St SW
Edmonds, WA
Instruments
Ear Training, Piano, Theory
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
8 Years

Data Provided by:
Michael H.
(877) 231-8505
126th Way NE
Kirkland, WA
Subjects
Music Theory, Piano, Songwriting, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I teach multiple styles of guitar for all levels. I am very proficient in Rock, Blues, Jazz, and Pop guitar playing. I can also teach songwriting, rock/jazz piano, music theory, and general music performance.
Education
Seattle Pacific University - Music Theory - September 2006-June 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Deborah Gandolfo
10200 Ne 64th Street
Kirkland, WA
Instruments
Composition, Ear Training, Piano, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

Data Provided by:
Ben G.
(877) 231-8505
Harbour Pointe Blvd.
Mukilteo, WA
Subjects
Music Theory, French Horn, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
No specific methods in particular, and I tend to teach more in the classical genres, with some pop/film music thrown in for variety (from time to time). I prefer using the Bastian, Alfred, and/or John Thompson piano methods, and Pottag-Hovey, Maxime-Alphonse, etc. for French Horn.
Education
Central Washington University - Bachelor of Arts in Music - Spring 2003-Fall 2007 (Bachelor's degree received) George R. Curtis Senior High School - High School Diploma - 1993-1996 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jolinda C.
(877) 231-8505
196th St SW
Edmonds, WA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Faber and Faber, Celebration Series, Music for Little Mozarts, Alfred
Education
Seattle Pacific University - Communication - 1989-1993 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Benjamin Gessel
19321 36th Ave W #44
Lynnwood, WA
Instruments
Composition, Ear Training, Horn, Piano, Theory
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
3 Years

Data Provided by:
Charles Hiestand
1136 N 115th Apt A202
Seattle, WA
Instruments
Composition, Electric Bass, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
32 Years

Data Provided by:
Sophia P.
(877) 231-8505
N 80th St.
Seattle, WA
Subjects
Music Theory, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I use a combination of method books, including Alfred's Piano Library, Edna Mae Burnam's technique books, various duet books, and supplement the method book learning with sheet music and other fun pieces from other books. I mainly teach kids so I usually teach styles that kids are into, which includes a combination of classical works, pop music, movie themes, and some jazz and rock music.
Education
Harvard University - social sciences and psychology - 2007-present (not complete) Washington State University - Piano Performance and Pedagogy - 1999-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Benjamin Gessel
19321 36th Ave W #44
Lynnwood, WA
Instruments
Composition, Ear Training, Horn, Piano, Theory
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
3 Years

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...

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