Velocity Salinas 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.

Kecia T.
(877) 231-8505
Glacier Creek Way
Elk Grove, CA
Subjects
Piano
Ages Taught
5 to 99
Specialties
I like to incorporate discovery learning and step-by-step teaching methodology in my lessons, where the student has a more successful rate of concept retention. My focus is mostly on building a strong musical foundation where my students will learn to read and play written music proficiently.
Education
CSU, Chico - Communications - 1983-1987 (Bachelor's 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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Patricia M.
(877) 231-8505
W. CAPITOL DR
San Pedro, CA
Subjects
Theatrical Broadway Singing, Music Performance, Singing, Opera Voice, Speaking Voice, Music Theory, Piano
Ages Taught
8 to 50
Specialties
I was trained classically in both piano and voice, but spent many years in musical theater and singing in supper clubs, as well. I am capable of teaching most styles of piano and voice except rock and rap.
Education
Peabody Conservatory ** - Opera/classical music - 1959-62 (Bachelor's degree received) Platt College - Computer Graphics - 1995-96 (Degree received) Hood College for Women - Music & Art - 1958-1962 (Bachelor's degree received)
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TakeLessons Music Teacher

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Brittany M.
(877) 231-8505
Tilden Avenue,
Culver City, CA
Subjects
Music Theory, Theatrical Broadway Singing, Piano, Acting, Singing, Music Performance, Opera Voice
Ages Taught
5 to 85
Specialties
Voice styles: Musical Theater, Jazz and Classical (art song and opera), Pop/Rock Sight-reading, theory and piano Candidate for Master Teacher in Estill Voice training: this vocal technique breaks down the voice muscles and body into 13 structures. Once you have mastered these structures, the voice is free and can be manipulated to whatever sound you want to create with an understanding of the science of the voice.
Education
San Diego State University - Music Education - 1997-1999 (not complete) Manhattan School of Music - Voice - 1999-2002 (Bachelor's degree received)
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TakeLessons Music Teacher

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Alexander M.
(877) 231-8505
W. 24th Street
Los Angeles, CA
Subjects
Music Performance, Songwriting, Bass Guitar, Saxophone, Tuba, Oboe, Bassoon, Trumpet, Clarinet, Piano, French Horn, Music Theory, Trombone, Music Recording, Guitar, Flute, Classical Guitar, Percussion
Ages Taught
8 to 99
Specialties
I teach nearly every style of guitar: classical, jazz, rock, blues, metal, country, pop/contemporary, and folk. I feel that it is important for students to be able to read music, but I also teach students by rote. This improves their ear-training and can make learning songs much easier.
Education
University of Southern California - Music Performance - August 2010-Present (not complete) University of North Texas - Music Education - August 2006- May 2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Sean M.
(877) 231-8505
Donahue St.
Santa Rosa, CA
Subjects
Guitar, Bass Guitar, Classical Guitar, Piano, Music Theory, Music Recording
Ages Taught
1 to 99
Specialties
Visualization, transcribing music
Education
Colfax High School - High School Diploma - 08/1994-06/1999 (High School diploma received) SIerra College - General Education - 09/1999-06/2001 (not complete) CSU Chico - Music/Recording Arts - 08/2001-06/2004 (Bachelor's degree received)
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TakeLessons Music Teacher

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Marc L.
(877) 231-8505
Bellflower Boulevard
Long Beach, CA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Specialties
I am primarily a classical pianist.
Education
University of California, Berkeley - Music - 2006-2010 (Bachelor's degree received) California State University, Long Beach - Piano Performance - 2010-2012 (not complete)
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TakeLessons Music Teacher

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Marisol A.
(877) 231-8505
Hartland Street
North Hollywood, CA
Subjects
Piano, Dance, Songwriting, Singing, Music Performance
Ages Taught
5 to 99
Specialties
Pop music, breathing technique, writing meaningful lyrics that tell a story.
Education
Pitzer College, a member of The Claremont Colleges - B.A. Media Studies - 2003-2007 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Brian J.
(877) 231-8505
37th St.
San Diego, CA
Subjects
Bass Guitar, Saxophone, Piano, Songwriting, Music Theory, Guitar
Ages Taught
6 to 60
Specialties
guitar, bass, sax, beginning to intermediate piano, songwriting, music theory, sight reading Progressive methods for Guitar and Bass. Bastien Methods for Piano. Rock, Pop, Punk, Reggae, Metal, Blues, and Classical. Some Funk, Jazz, and R&B.
Education
Patterson High School - General Education - 1996-2000 (degree received) Point Loma Nazarene University - Music Business - 2000-2005 (not complete)
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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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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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