Velocity Jamaica 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.

Gregory H.
(877) 231-8505
85th rd.
Jamaica, NY
Subjects
Trumpet, Trombone, French Horn, Piano, Music Performance, Music Theory
Ages Taught
5 to 99
Specialties
I specialize in jazz and classical music. I use many common methods depending on how the student tends to learn the best, and will even combine different methods if the student requires it.
Education
Georgia State University - Jazz Studies, Trumpet - 8/05-5/09 (Bachelor's degree received) City University of New York, Queens College - Jazz Trumpet Performance - 8/10-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Sergey D.
(877) 231-8505
Kissena Blvd,
Flushing, NY
Subjects
Piano
Ages Taught
7 to 99
Specialties
classical piano
Education
Manhattan School of Music - piano performance - 2005 - 2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Nino M.
(877) 231-8505
101 street
Richmond Hill, NY
Subjects
Music Theory, Singing, Piano, Music Performance
Ages Taught
5 to 95
Specialties
classical music, popular songs for kids
Education
GIPA - Education Administration - 2002-03 (Master's degree received) Gori Music College - Music, piano - 1990-94 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Juan U.
(877) 231-8505
95th street
Ozone Park, NY
Subjects
Music Theory, Percussion, Piano, Music Performance, Drums
Ages Taught
5 to 99
Specialties
I have been a Latin all-around drummer,and percussionist for the last thirty years. In my private teaching experience I use one to one method. However, nowadays after my recent student teaching experience at Dewitt Clinton High School, I am willing to teach in a classroom as well.
Education
Brooklyn college - music - 1995-05 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Julie H.
(877) 231-8505
212th Street
Queens Village, NY
Subjects
Piano, Songwriting, Singing, Music Performance, Music Theory, Theatrical Broadway Singing
Ages Taught
5 to 99
Specialties
Julie specializes in teaching musical theatre, classical, pop/ rock jazz/ blues, and improvisation styles of voice. Her style of piano pedagogy is a combination of classical study and whatever popular style the student is interested in. In addition, she tutors in jazz and classical music theory/ analysis, and she can help students prepare for AP Music Theory exams. As a composer, she enjoys helping songwriters mold their style, and she works a lot with songwriters within the indie/ pop/ rock/…
Education
Berklee College of Music - Classical Composition - 09/2009-05/2010
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Taiwan Green
120-33 194 St
St Albans, NY
Instruments
Audio Recording, Ear Training, Music Business, Musicology, Other, Piano, Recording, Theory
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
10 Years

Data Provided by:
Gregory H.
(877) 231-8505
Kissena Blvd.
Flushing, NY
Subjects
Piano, Music Theory, Music Performance, Trumpet, Trombone, French Horn
Ages Taught
5 to 99
Specialties
I specialize in jazz and classical music. I use many common methods depending on how the student tends to learn the best, and will even combine different methods if the student requires it.
Education
Georgia State University - Jazz Studies, Trumpet - 8/05-5/09 (Bachelor's degree received) City University of New York, Queens College - Jazz Trumpet Performance - 8/10-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Alex P.
(877) 231-8505
118th street
Kew Gardens, NY
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
I specialize in classical piano and jazz piano. In classical, I teach based on my experience as a classical pianist who has been performing and participating in international competitions and festivals since age 6 and based on various teaching methods and styles I observed in my years of study and taking master-classes with a wide variety of leading teachers in the field of classical performance. In jazz, I used some of the methods I learned from Peter Petruhin, a pioneer of early jazz educat…
Education
The New School for Jazz and Contemporary Music - Jazz piano - 09/2005-12/2008 (Bachelor's degree received) University of Maryland School of Music - Major in Composition, minor in Piano Performance - 09/2001 - 05/2003
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jed L.
(877) 231-8505
68th Avenue,
Forest Hills, NY
Subjects
Music Theory, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
Difficult question, since I use so many methods including some that I developed myself. But I sometimes use Bastien, Music for Little Mozarts, Hanon Jr., flash cards, and Finale Allegro (music notation software to create individualized sheet music for my students) for sight-reading. I also effectively utilize technology such as mp3 players, YouTube, and digital recording devices for ear training purposes. As for genres, you name it: Classical, popular, jazz, showtunes, movie and TV themes.
Education
Queens College - Sociology and Music - 2003 - 2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Brian K.
(877) 231-8505
162nd Street
Fresh Meadows, NY
Subjects
Piano, Classical Guitar, Music Performance, Music Theory, Guitar
Ages Taught
1 to 99
Specialties
I like to use a developmental lesson, with a clear aim for each lesson. Instead of giving the information to a student, I use questions to lead the students to the answer.
Education
Paqe University - Business - 9/97-5/08 (not complete) Manhattanville College - Music Education - 9/98-5/02 (Bachelor's degree received) Lehman College - Music Education - 9/05-1/07 (Master's degree received)
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

Local Events

Jenny's Penny Musical
Dates: 11/19/2019 – 11/19/2019
Location:
Riverdale Y Bronx
View Details
 
 
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