Velocity Lancaster CA

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.

Britany B.
(877) 231-8505
Fremont Ave
South Pasadena, CA
Subjects
Violin, Piano
Ages Taught
5 to 16
Specialties
I have only taught in the Alfred Teaching Method for piano, but am going to research some other methods that I might consider adapting into my personal teaching method. I also took violin lessons for six years in the Suzuki Method and would probably teach any private violin lessons using that particular method.
Education
Loma Linda Academy - N/A - 1998-2001 (not complete) La Sierra University - Music - 2001-2002 (not complete) Azusa Pacific University - Graphic Design - 2002-2005 (Bachelor's degree received)
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TakeLessons Music Teacher

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Inna G.
(877) 231-8505
Rocklin rd
Rocklin, CA
Subjects
Music Theory, Theatrical Broadway Singing, Piano, Singing, Music Performance
Ages Taught
5 to 99
Education
Moldova Music School - Music - 1993-2000 (High School diploma received) Sierra College - Music - 2004-2008 (Associate degree received) Academy of Spiritual Music of Moskow - Conducting - 2007-2009 (Associate's degree received)) Sierra College - Music teacher /Transfer to SacState - 2004-2008 (Bachelor's degree received)
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TakeLessons Music Teacher

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Sandra M.
(877) 231-8505
17th Street
San Francisco, CA
Subjects
French Horn, Music Theory, Trumpet, Piano
Ages Taught
6 to 99
Specialties
I am classically trained, but well-versed in many styles.
Education
Fairborn High School - College prep - 1981-1985 (not complete) Wright State University - Music education - 1985-1990 (degree received)
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TakeLessons Music Teacher

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Donna D.
(877) 231-8505
San Clemente Dr.,
Corte Madera, CA
Subjects
Music Theory, Opera Voice, Piano, Singing, Music Performance
Ages Taught
8 to 99
Specialties
For voice, I teach classical style, including posture, breathing, tone production, vowel production, phrasing, diction, appropriate style and performance practice, and music reading. Materials I use include everything from folk songs to arias, and 16th century to contemporary compositions, in English, Italian, Latin, French and German. Voice is my primary interest. I am also competent to teach beginning theory, and beginning piano, both classical and standard popular, including improvization …
Education
Pepperdine University - Educational Computing, Administration - 1983-1987 (degree received) Occidental College - Music - 1964-1968 (degree received) UC, Berkeley - Poli Sci/Music - 1958-1963 (degree received) Marlborough School - college prep - 1952-1958 (degree received)
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TakeLessons Music Teacher

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Inna G.
(877) 231-8505
Cedar Dr
Citrus Heights, CA
Subjects
Music Theory, Theatrical Broadway Singing, Piano, Singing, Music Performance
Ages Taught
5 to 99
Education
Moldova Music School - Music - 1993-2000 (High School diploma received) Sierra College - Music - 2004-2008 (Associate degree received) Academy of Spiritual Music of Moskow - Conducting - 2007-2009 (Associate's degree received)) Sierra College - Music teacher /Transfer to SacState - 2004-2008 (Bachelor's degree received)
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TakeLessons Music Teacher

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Micah Mata
5400 Clark Ave
Lakewood, CA
Instruments
Composition, Ear Training, Early Music, Guitar, Music Business, Musicology, Other, Piano, Theory, Voice
Styles
Blues, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
10 Years

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Mary O.
(877) 231-8505
Friars Road,
San Diego, CA
Subjects
Piano, Violin
Ages Taught
5 to 99
Specialties
I was trained as a classical violinist, but I have experience with several types of music, including Blues, Rock 'n Roll, Irish, Country music.
Education
Oregon State University - General Science & Counseling Psychology - 1983-1986 (Bachelor's degree received) Oregon State University - Elementary & Special Education - 1987-1989 (Bachelor's degree received) National University - Level II Teaching Credential - 2009 (Degree received)
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TakeLessons Music Teacher

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L.A.K. Music Services
Lincoln, CA
 
Joy A.
(877) 231-8505
Rosemont Ave
Los Angeles, CA
Subjects
Piano
Ages Taught
5 to 18
Specialties
I specialize in working with children, but I have also taught at an advanced level preparing students for college auditions, and other classical assignments.
Education
University of Washington - Music - 2001-2006 (Bachelor's degree received)
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TakeLessons Music Teacher

Data Provided by:
Karen Magruder
9086 Whirlaway Court
Rancho Cucamonga, CA
Instruments
Ear Training, Early Music, Other, Piano, Recorder, Theory
Styles
Classical, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
27 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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