Velocity Long Island City 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.

Doran D.
(877) 231-8505
Provost St
Brooklyn, NY
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Music Theory, Piano, Singing, Music Performance, Songwriting, Music Recording
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3 to 99
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Piano Pedagogy: Classical, Jazz, Blues, Modern, etc, Music Theory Music History: All Levels (High School - Masters degree) Basic Musicianship: Ear-Training, Rhythmic Training, Harmonic, Melodic Theory Composition: Classical, Contemporary, Jazz composition, arrangement, notation
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New York University - Music Composition, Music Theory - Sept. 2007 - May 2009 (Master's degree received) Columbia Univeristy - Music Composition, Music Theory - Sept. 2006 - May 2007 (Bachelor's degree received) Kenyon College - Music Theory, Piano Performance, English - Sept. 1999- May 2003 (Bachelor's degree received) Harvard-Westlake School - - 1995-1999 (High School diploma received)
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Natalia H.
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E.35th Street
New York, NY
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Piano, Music Theory
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4 to 99
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music, music theory, piano Although I was classically trained, I do not limit my students to Classical music. I encourage all genres of music.
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Manhattan School of Music - Piano Performance - 2000-2004 Los Altos High School - - 1996-2000
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John L.
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E 28th St.
New York, NY
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Bass Guitar, Piano, Upright Bass, Ukulele, Guitar, Music Recording
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6 to 99
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I have been lucky to play tons of different types of music. I believe I can give musicians and aspiring musicians a deep understanding of what is most important in many different styles of music. Music I have been lucky enough to study and play professionally: Jazz, Rock, Funk, Afro-Cuban, Brazilian, Blues, Classical, Pop. I'm also a very good transcriber, so if there is a song you heard on the radio we can definitely play it! Ear training could be an area in which I could be of service to yo…
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Grove School Of Music - Bass - 1990-1991 (Degree received) San Diego State - Jazz Performance - 1992-1995 (Bachelor's degree received)
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Matthew O.
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11th st
Astoria, NY
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music, Guitar and Piano I begin with meeting the student where they are in relation to their musical experience. After establishing trust, through encouragement I empower students to recognize their potential with out pre-determined expectations or limits. I am comfortable in various genres from classical to punk.
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Flushing - - 1979 -1981 Queensborough - music - 1993-1995
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Adam C.
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E. 40th St
New York, NY
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Guitar, Piano, Classical Guitar, Songwriting, Bass Guitar, Music Theory, Music Performance
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5 to 99
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I specialize in a diverse variety of styles on the acoustic and electric guitar, bass, and piano, and am particularly skilled at communicating and applying theoretical and musical knowledge in a simplified manner. I am particularly capable in rock guitar, and have performed regularly in a rock band over the last 10 years as well as the University of Rochester's popular music performance group No Jackets Required, where I served as the group's president. I also specialize in classical guitar, …
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University of Rochester - Music & Psychology - Fall, 2006-Spring, 2010 (Bachelor's degree received)
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Natalia Huang
Murray Hill
New York, NY
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12 Years

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James R.
(877) 231-8505
42nd St
Sunnyside, NY
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pop, musical theater, classical
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Belmont University - Music Business - 08/05-05/08 (Bachelor's degree received)
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Joshua K.
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E 76th St,
New York, NY
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5 to 99
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Jazz, classical, R+B, blues, virtually any genre (as I've performed them all) Highly studied and accomplished in music theory, composition, and orchestration, ear training and arranging
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New School for Jazz and Contemporary Music - Jazz Performance - 9/06-5/10 (not complete)
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Eric Roberts
48-36 41st Street
Queens, NY
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Advanced, Beginner, Intermediate
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$60
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Anne M.
(877) 231-8505
29th Street
Astoria, NY
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Singing, Songwriting, Piano, Music Performance, Music Theory
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7 to 99
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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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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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