Velocity Panama City Beach FL

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.

Jill H.
(877) 231-8505
Punta Gorda Circle
Winter Springs, FL
Subjects
Accordion, Music Theory, Theatrical Broadway Singing, Banjo, Opera Voice, Trumpet, Bass Guitar, Percussion, Ukulele, Harmonica, Piano, Clarinet, Classical Guitar, Singing, Violin, Music Performance, Songwriting, Drums, Music Recording, Speaking Voice, Guitar
Ages Taught
4 to 99
Specialties
My specialty in voice comes from years of lessons and experience. I used many methods and books to bring out various ideas on how to teach voice lessons. I take each individual at his/her level and try to improve breathing technique, posture, enunciation with style and phrasing, depending on the student's aspirations.
Education
Charleston HIgh School - academic diploma - 1971-75 (High School diploma received) Evangel College - music education - 1975-79 (Bachelor's degree received)
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TakeLessons Music Teacher

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Emily R.
(877) 231-8505
Villa View Circle
Tampa, FL
Subjects
Music Theory, Songwriting, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I am partial to hymn arrangements and to the Romantic period composers such as Chopin and Rachmaninoff. I teach music by both detail and big picture; history plays such a part in music, and I teach my students the history along with the music and theory.
Education
University of South Florida - Interpersonal and Organizational Communication - 2004-2008 (Bachelor's degree received) University of South Florida - Minor in Music Academic Studies - 2004-2008 (Degree received)
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TakeLessons Music Teacher

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Theresa S.
(877) 231-8505
SW 89th St
Miami, FL
Subjects
Speaking Voice, Piano, Opera Voice, Music Performance, Singing, Acting
Ages Taught
12 to 40
Specialties
Opera Voice is most certainly my strongest area of instruction. Classical singing, musical theater, pop voice and piano are also areas I feel comfortable teaching. I can also teach early piano as well as music theory, ear training and sight-reading. Furthermore, I can teach acting within the context of singing.
Education
University of Central Florida - Music Education & Spanish - 2004 -2008 (Bachelor's degree received) University of Miami - Vocal Performance - 2009 - present (not complete)
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TakeLessons Music Teacher

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Kellner S.
(877) 231-8505
Northwest 67th St.
Miami, FL
Subjects
Music Performance, Trumpet, Music Theory, Piano
Ages Taught
1 to 99
Education
Senior High - General study - 1998 (High School diploma received) Full Sail University - Music production - 2005 (Associate degree received)
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TakeLessons Music Teacher

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Elk Grove School of Music
Coconut Creek, FL
 
Angela H.
(877) 231-8505
Jettie St. NE
Palm Bay, FL
Subjects
Piano, Singing
Ages Taught
5 to 99
Specialties
I teach all vocal styles, from Classical to Jazz, Music Theater to Pop. Solfege reinforces ear-training and vocal ability. I teach in the piano style that best fits the student. Theory and sight-reading is an important tool that I teach in a fun way.
Education
Florida State University - Music Education- Vocal - August 2002- December 2006 (Bachelor's degree received)
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TakeLessons Music Teacher

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Khelga Link
2633 Pierce street
Hollywood, FL
Instruments
Accordion, Chorus, Concertina, Conducting, Ear Training, Piano, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
30 Years

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Virginia's Music Studio
(561) 747-6878
Jupiter, FL
 
Jacqueline Billiot
123 Bee Street PO Box 995
Tavernier, FL
Instruments
Piano
Styles
Classical, Kids
Experience Levels
Beginner, Intermediate
Rate
$30
Years of Experience
15 Years

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Lisa F.
(877) 231-8505
Lafayette Place
Lutz, FL
Subjects
Music Theory, Piano, Music Performance
Ages Taught
3 to 99
Specialties
I specialize in teaching classical and popular repertoire. I have taught other styles as well as improvisation. I utilize a student centered approach structuring lessons to suit each student's individual goals.
Education
University of Southern Mississippi - Counseling Psychology - 1/88-12/89 (Master's degree received) Loyola University - Music and Psychology - 8/83-5/84 and 8/86-12/87 (Bachelor's degree received) New Orleans Center for the Creative Arts (NOCCA) And Andrew Jackson High School - Piano and College Preparatoy Classes - 8/82-5/83 and 8/79-5/83 (High School diploma received)
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TakeLessons Music Teacher

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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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