Velocity Ithaca 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.

Laurie K.
(877) 231-8505
Pulaski Rd
Greenlawn, NY
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Violin, Piano
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6 to 55
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I teach a basic reading of notes and the chord method also.
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Lawrence HS - 1974 (High School diploma received) Shorter College - Piano Performance - 1974-79 (Bachelor's degree received)
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Anne M.
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29th Street
Astoria, NY
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Beginner, Intermediate Voice, Piano, Songwriting, Musicianship Emphasis on jazz techniques, rhythm, theory. Audition prep. Quality popular, standards, American Songbook and Broadway repertoire carefully chosen for each student.
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South Oxford Street
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Singing, Organ, Music Theory, Opera Voice, Music Performance, Piano
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5 to 99
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All, but adept at teaching improvisation
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Cincinnati College-Conservatory of Music - 1982 - 1980 (Bachelor's degree received) The Juilliard School - 1984 - 1982 (Master's degree received) The Manhattan School of Music - 1989 - 1986 (Degree received)
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Mary T.
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West 74th Street
New York, NY
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6 to 65
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I teach several styles of singing, including: classical, jazz, pop, folk, rock, and musical theater. I also teach piano.
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The Juilliard School - Vocal Performance - September 2005- May 2009 (Bachelor's degree received)
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Karen H.
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Riverside Dr
New York, NY
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I specialize in classical music focusing on all levels. I also teach composition lessons and harpsichord lessons.
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University of Utah - piano/composition - 2002-2006 (Bachelor's degree received) University of Utah - piano - 2006-2008 (Master's degree received) Mannes College of Music - piano - 2008-2010 (Degree received)
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Taiwan Green
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St Albans, NY
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$30
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10 Years

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1363 Union Street
Brooklyn, NY
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Guitar, Piano
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Natallia K.
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101 str.,
Brooklyn, NY
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Piano, Violin, Viola
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I am classically trained, but I have studied Suzuki method a lot by myself and I am using Suzuki violin books. I use different methods, though I prefer C.Flesh,I. Galamian and Sevcik the most.
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Belorussian State Academy of Music - Violin Performance - 2007-2009 (not complete) Brest College of Music - Artist of Orchestra, Violin teacher - 2002-2007 (Bachelor's degree received) Brest Music School No 2 - Violin Performance - 1995-2002 (Associate degree received)
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Chris M.
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Riverside Drive
New York, NY
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Specializing in Jazz Improvisation, Composition, and Theory
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University of North Florida - Jazz Performance - 2004-2008 (Bachelor's degree received) SUNY Purchase - Jazz Performance - 2008-2010 (Master's degree received)
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Nina R.
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W 157th
New York, NY
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6 to 85
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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.
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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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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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