Velocity Springfield IL

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.

Jennifer H.
(877) 231-8505
Harrison St
Glenview, IL
Subjects
Music Theory, Piano, Music Performance
Ages Taught
5 to 99
Specialties
Baritone/Euphonium I prefer the Faber and Faber series for beginner piano teaching. I also have used the Alfred music theory game tools.
Education
Chicago School for Piano Technology - Piano Technician - 2010-2011 (not complete) Kent State University - BA in music, piano focus - 2002-2005 (&2007) (Bachelor's degree received) Lakeland Community College - Music-transfer - 2001-2002 (not complete)
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TakeLessons Music Teacher

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Tessa H.
(877) 231-8505
South Street
Dundee, IL
Subjects
Cello, Music Theory, Piano
Ages Taught
5 to 99
Specialties
I teach in a slower method so everyone can understand the instrument. If the student wants to go faster, I have no problem with that. I teach for mostly cello in the classical style, but can also teach in other different styles. When it comes to genres the sky is the limit.
Education
Elgin Community College - Music Education - 2007-2010 (Associate degree received)
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TakeLessons Music Teacher

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Paul R.
(877) 231-8505
W Roscoe St.
Chicago, IL
Subjects
Speaking Voice, Music Theory, Singing, Dance, Songwriting, Piano, Acting, Trumpet, Music Performance, Theatrical Broadway Singing
Ages Taught
5 to 99
Specialties
I am primarily a musical theatre pianist, so that is my forte. Fortunately, that encompasses many styles and requires knowledge of different playing methods. I also play and instruct classical, and many styles of jazz.
Education
SUNY New Paltz - Theatre, music - 8/2006-5/2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Val K.
(877) 231-8505
S. Michigan Avenue
Chicago, IL
Subjects
Singing, Music Theory, Theatrical Broadway Singing, Opera Voice, Piano
Ages Taught
7 to 99
Specialties
voice, singing, music, theatrical singing, Broadway singing, music theory, opera voice, Jazz, POP, RNB, Theory of Music, Ear Training, Piano for Beginners. Opera (Classical), Musical Theatre (Broadway), Jazz, POP, RNB. Sight-Reading Special Coaching, Russian Classical Repertoire, Russian Diction.
Education
Tomsk Music College Tomsk, Russia - Music Education, Chorus Conducting - 1990 Music College by Moscow Conservatory Moscow, Russia - Voice - 1992 Russian Academy of Music (Gnessin Institute) Moscow, Russia - Voice and Vocal Pedagogy - Unfinished (1994) Roosevelt University Chicago, IL - Voice and Vocal Pedagogy - 1998
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TakeLessons Music Teacher

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Daniel K.
(877) 231-8505
N Janssen Ave
Chicago, IL
Subjects
Bass Guitar, Piano, Guitar, Saxophone, Flute, Dance, Music Theory, Singing, Songwriting, Music Recording, Trumpet, Music Performance
Ages Taught
8 to 60
Specialties
Customized approach to the individual based on needs and goals.
Education
Argo Community H.S. - Academic - 1974-1977 (High School diploma received) Columbia College - Music Composition - 1987-1990 (Bachelor's degree received) DePaul University - Music Education - 2001-2001 (not complete)
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TakeLessons Music Teacher

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Judy Lei
9500 S Avers
Evergreen Park, IL
Instruments
Cello, Guitar, Piano, Viola, Violin, Voice
Styles
Classical, Kids, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
20+ Years

Data Provided by:
Mick A.
(877) 231-8505
S. Michigan Avenue
Chicago, IL
Subjects
Guitar, Percussion, Piano, Acting, Bass Guitar, Speaking Voice, Music Theory, Singing, Music Recording, Drums, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
Formerly certified Zuzuki instructor, good with very young children Excellent with professional and serious adult students
Education
American Conservatory Of Music - piano - 1964-72 (not complete) City Colleges of Chicago - education - 1984-86 (not complete) U.of I. Chicago - music/English - 1972-76 (Bachelor's degree received)
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TakeLessons Music Teacher

Data Provided by:
Jeanne Slatkay
Carpenter Drive Near Palatine HS
Palatine, IL
Instruments
Ear Training, Horn, Piano, Theory
Styles
Classical, Jazz, Kids, Other
Experience Levels
Beginner, Intermediate
Rate
$40
Years of Experience
20+ Years

Data Provided by:
Akilah W.
(877) 231-8505
Clarendon Ave
Richton Park, IL
Subjects
Music Theory, Trombone, Piano
Ages Taught
5 to 40
Specialties
Classical Piano/ Classical Trombone
Education
University of Arkansas at Pine Bluff - Music Education - 08/2005-12/2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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J. Andrew D.
(877) 231-8505
W Belden Ave,
Chicago, IL
Subjects
Music Theory, Songwriting, Piano
Ages Taught
7 to 65
Specialties
I majored in Jazz Studies with an emphasis on piano performance, composition, and arranging. My early training, however, was in classical -- and I've taken a number of courses in pop, classical, 20th century, and rock-based theory/arranging.
Education
Pasadena City College - General / Music - 2002-2006 (not complete) Sonoma State University - Jazz Studies (Piano) - 2006-2009 (Bachelor's degree received)
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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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