Velocity Kingsport TN

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.

Judith Bays
Bristol Tennessee City Schools 615 Martin Luther King Junior BLVD 736 Austi
Bristol, TN
Instruments
Chorus, Composition, Conducting, Ear Training, Early Music, Music Therapy, Musicology, Piano, Recording, Suzuki Method, Theory, Voice
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Blues, Classical, Jazz, Kids
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Advanced, Beginner, Intermediate
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$25
Years of Experience
21 Years

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Jeanne M.
(877) 231-8505
Vanosdale
Knoxville, TN
Subjects
Piano, Music Theory, Organ
Ages Taught
1 to 99
Education
Bearden High School - - 1968-1970 (High School diploma received) University of Tennessee - Musicology - 1970-1974 (Bachelor's degree received) University of Tennessee - Musicology - 1974-1977 (Master's degree received)
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TakeLessons Music Teacher

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Kevin F.
(877) 231-8505
Meadow Glade Lane
Memphis, TN
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Music Theory, Theatrical Broadway Singing, Songwriting, Piano, Speaking Voice, Music Performance, Singing, Opera Voice
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10 to 60
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I am much more familiar with classical styles and broadway. My music writing style tends to be somewhere between neo-classical and avant-garde.
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Lincoln HS - n/a - 1996-1999 (High School diploma received) Harding University - music - 1999-2003 (Bachelor's degree received) Azusa Pacific Univ. - music - 2004-2006 (Master's degree received) Union Univ. - teaching - 2008-2009 (not complete)
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TakeLessons Music Teacher

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Owen B.
(877) 231-8505
Angelin Cove
Memphis, TN
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Piano, Music Theory, Music Performance
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5 to 99
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I have been trained in Suzuki and traditional styles. I can teach in either method.
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University of Memphis - Piano Performance - fall 2005 spring 2009 (Bachelor's degree received)
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John S.
(877) 231-8505
West Almadale Ct
Collierville, TN
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Guitar, Piano, Flute, Clarinet, Music Theory, Saxophone, Songwriting, Music Performance
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5 to 99
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I play keyboards professionally in jazz, RnB, rock, reggae, Latin rock and other styles. I can help the student who has only had traditional lessons branch out and learn how to read chord charts, which in turn teaches them theory. I am a certified Orff teacher as well.
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Univ of Memphis - Music Composttion - 1980 - 1983 (Master's degree received) East Texas State Univ - Music Composition - 1977 - 1980 (Bachelor's degree received)
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TakeLessons Music Teacher

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Joshua B.
(877) 231-8505
Benjamin St.
Nashville, TN
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Bass Guitar, Piano, Singing, Songwriting, Guitar, Music Performance
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5 to 99
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I have been trained in classical and contemporary styles. My areas of specialty are in the pop/rock category, with country and soul music as well.
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Belmont University - Music - 8-1996 to 5-1999 (Bachelor's degree received) Muscatine Community College - Music/Arts - 8-1993 to 5-1996 (Associate degree received)
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Amy Frederick
124 Jesse Brown Drive
Goodlettsville, TN
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Ear Training, Piano
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Blues, Classical, Folk - Country - Bluegrass, Jazz, Rock - Alternative
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Beginner, Intermediate
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$0
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15 Years

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Jeanne M.
(877) 231-8505
Larkwood Lane
Knoxville, TN
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Piano, Music Theory, Organ
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1 to 99
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Bearden High School - - 1968-1970 (High School diploma received) University of Tennessee - Musicology - 1970-1974 (Bachelor's degree received) University of Tennessee - Musicology - 1974-1977 (Master's degree received)
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TakeLessons Music Teacher

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Janah W.
(877) 231-8505
Lewisburg Pike
Franklin, TN
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Piano, Singing, Music Recording, Music Performance, Flute
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5 to 99
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I am most experienced in vocal, music performance and recording, piano and flute
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Holly Pond High School - - 1996-2000 (complete) Lee University - Communications/Music - 2000-2004 (Bachelor's degree received)
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TakeLessons Music Teacher

Data Provided by:
Jim Fox
P.O. Box 111665
Nashville, TN
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Piano
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Blues, Classical, Jazz
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Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
25 Years

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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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