Velocity Mc Kinney TX

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.

Maestro J. Rand Certain
825 Bellflower Dr. Certain Music
Plano, TX
Instruments
Composition, Conducting, Ear Training, Musicology, Piano, Theory, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
40 Years

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Christina L.
(877) 231-8505
Greenstone Trail
Carrollton, TX
Subjects
Songwriting, Piano, Singing
Ages Taught
1 to 30
Specialties
Classical and Contemporary/Modern music
Education
Hebron High School - - August 2003 - May 2007 (not complete) University of North Texas - Jazz Studies - August 2007 - 2008 (not complete) Collin County Community College - Associate of Arts - August 2009 - present (not complete)
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TakeLessons Music Teacher

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Susanna S.
(877) 231-8505
A Jane Austen Trail
Pflugerville, TX
Subjects
Singing, Music Performance, Music Theory, Theatrical Broadway Singing, Acting, Opera Voice, Piano
Ages Taught
5 to 99
Specialties
classical, pop, r&b
Education
C.E. Ellison HS - - 96-97 (High School diploma received) Berklee Collage of Music - voice - 98-99 (not complete) UT Austin - piano - 2000-03 (Bachelor's degree received)
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TakeLessons Music Teacher

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Karen G.
(877) 231-8505
Sherwood. Dr.
Arlington, TX
Subjects
Piano
Ages Taught
4 to 99
Specialties
Classical, Praise Music, Pop/Rock, Some Blues and Jazz. I teach both how to play by ear and how to read sheet music.
Education
Texas Wesleyan University - Music - Aug. 2005-Aug.2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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Kal M.
(877) 231-8505
Paisley Street
Houston, TX
Subjects
Cello, Piano
Ages Taught
5 to 75
Specialties
Alfred, Bastien, Suzuki, Thompson Classical
Education
Univ of Vermont - Music Theory & Comp - 1982-1986 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Marilyn S.
(877) 231-8505
Merrell Lane
The Colony, TX
Subjects
Music Theory, Piano
Ages Taught
4 to 99
Specialties
Piano, Handbells, Music Theory, Sight reading I can teach from any series, have tended to specialize more with beginning and intermediate students. I have taught from almost every series over the years. Right now I have students in Faber & Faber, Bastien, John Thompson, Schaum, David Carr Glover, Hal Leonard, FJH, Dozen a Day, and Alfred series. When students begin lessons with me and have a music series with which they have started, we can stay with that series. I think that breaking skills …
Education
University of North Texas - Educational Mid-Management Administrative Certification - 1981-1983 University of North Texas - Master of Music/Piano Performance - 1973-1977 University of North Texas - Bachelor of Music Education - 1969-1973 Sunset HS/Dallas - General - 1969
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TakeLessons Music Teacher

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Kathy Hutton Stallbaumer Piano Studio
(325) 653-3490
San Angelo, TX
 
Lorena B.
(877) 231-8505
Hot Wells Blvd.
San Antonio, TX
Subjects
Singing, Opera Voice, Piano, Music Theory
Ages Taught
5 to 99
Specialties
Classical, Hymns, Inspirational, Contemporary, Gospel and Christian
Education
Our lady of the Lake University - Music/Vocal Performance - 2007-2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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Paul David F.
(877) 231-8505
Elmside Dr
Houston, TX
Subjects
Music Theory, Piano, Music Performance
Ages Taught
7 to 40
Specialties
I like to teach out of many method books, such as Faber and Alfred's.
Education
Hardin-Simmons Univ. - Music-Business - 1989-1994 (Bachelor's degree received) Texas Tech Univ. - Music Marketing - 1994-1996 (Master's degree received) Univ. of Houston - Music Education - 2002-2003 (Degree received)
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TakeLessons Music Teacher

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Elsie Barba Piano Studio
Houston, TX
 
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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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