Velocity West Chester PA

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.

Sharon B.
(877) 231-8505
Yorkminster Road
West Chester, PA
Subjects
Piano
Ages Taught
5 to 99
Specialties
I'm a classically trained pianist. I teach students to read music. I teach all kinds of music not just classical.
Education
Loudoun County High - HS Diploma - 1978-81 (High School diploma received) West Chester University - Piano Performance - 1981-85 (Bachelor's degree received) Catholic University of America - Piano Performance - 1981-87 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Allison G.
(877) 231-8505
Ardmore Ave.
Ardmore, PA
Subjects
Music Performance, Piano, Theatrical Broadway Singing, Music Theory, Dance, Singing
Ages Taught
5 to 15
Specialties
I specialize in classical music both piano and voice, and also basic music theory. (Although I could teach more advanced theory if needed). I am very well educated in Vocal Diction for English, Spanish, Italian, Latin, French and German.I also studied Broadway style music shortly and very much enjoy playing/singing in that style and would love to teach it as well.
Education
Eastern University - Music - 2004-2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Susan T.
(877) 231-8505
15th ave
Prospect Park, PA
Subjects
Drums, Flute, Trumpet, Clarinet, Piano, Saxophone, Percussion
Ages Taught
3 to 99
Specialties
Classical and jazz
Education
Interboro High School - - 1985-1989 (not complete) Temple University - Music - 1989-1995 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Candace L.
(877) 231-8505
Birchwood Drive
Norristown, PA
Subjects
Piano, Harp, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
Harp: Salzedo method Piano: Classical, Jazz, and Contemporary
Education
Creat And Performing Arts (CAPA) - Instrumental - 1995-1997 (High School diploma received) Arcadia University - Music Education - 1999-2005 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Justin Jue
177 Arbour Ct
North Wales, PA
Instruments
Composition, Conducting, Ear Training, Electronic, Film Scoring, Piano, Recording, Theory
Styles
Blues, Classical, Electronic, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
7 Years

Data Provided by:
Grace D.
(877) 231-8505
Conestoga Rd
Bryn Mawr, PA
Subjects
Singing, Music Performance, Piano, Opera Voice, Acting, Theatrical Broadway Singing
Ages Taught
4 to 99
Specialties
I am an opera singer- so I specialize in classical singing. However I have also sung jazz and pop and done numerous musical theater productions and I would be willing to teach those as well. I have taken 13 years of piano and I would teach both classical and other more popular techniques including learning chords for lead sheets etc.
Education
St. Stephen's Episcopal School - August 2000-May 2004 (High School diploma received) Rice University - Bachelors in Music, and concentration in Visual Arts - August 2004-May 2008 (Bachelor's degree received) Texas State University - artist diploma - August 2008-jan 2009 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Valerie B.
(877) 231-8505
Denn Place
Wilmington, DE
Subjects
Piano, Violin, Singing
Ages Taught
1 to 16
Specialties
For piano & violin, I specialize in the younger aged students (grades K-8) beginner/intermediate levels. For singing, I specialize in whatever age you at! I am able to train in various styles ranging from Children's songs to Broadway, Contemporary or even the more classical approach necessary for arias and traditional hymns. I also can address specific needs like learning choral music for a student's school choir and preparing a student for auditions or talent shows.
Education
West Chester University - Music Education, K-12 - Fall 1993- Spring 1997 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Amy A.
(877) 231-8505
Pequea Avenue
Honey Brook, PA
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Trumpet, French Horn, Piano, Singing, Music Performance, Speaking Voice
Ages Taught
5 to 99
Specialties
My training is in classical music but I teach other genres as well.
Education
Bucknell University - Music - 1990-1994 (Bachelor's degree received) Cherry Hill HS East - general - 1986-1990 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Nora M.
(877) 231-8505
Thorn Lane,
Newark, DE
Subjects
Flute, Music Performance, Music Theory, Piano, Oboe, Bassoon, Singing
Ages Taught
5 to 40
Specialties
I have used the Gordon Method during my studies at the University of Miami. I use a combination of that method as well as my own depending on the age level of the students.
Education
University of Miami - music education - 08/06-05/10 (Bachelor's degree received) University of Delaware - music performance - 08/10-05/12 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Gavin F.
(877) 231-8505
5th street
Charleroi, PA
Subjects
Piano, Songwriting, Opera Voice, Singing, Music Theory
Ages Taught
5 to 99
Specialties
I sing and teach the bel canto method and classical piano. Music theory I test students in a subjective manor and incorporate it with their major instrument.
Education
Seton hill university - - 08-present
Membership Organizations
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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