Velocity Woodbridge VA

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.

Carol K.
(877) 231-8505
Mallard Pond Ct
Manassas, VA
Subjects
Piano, Music Theory
Ages Taught
1 to 99
Specialties
Mixture of methods, however Alfred, Piano Discoveries, and Faber are the ones I use most often. I teach both classical, pop, and Broadway. I also incorporate music related computer games and for the five and six year olds I use some of the ideas from the Music for Young Children Program
Education
Mary Washington College - Historic Preservation - 1989-1993 (Bachelor's degree received) George Mason Univ. - Music - 1976-1980 (Bachelor's degree received) West Aurora Sr. High - NA - 1968-1971 (High School diploma received)
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TakeLessons Music Teacher

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Wade M.
(877) 231-8505
University Drive
Fairfax, VA
Subjects
Music Performance, Music Recording, Songwriting, Music Theory, Piano
Ages Taught
6 to 99
Specialties
Beginning through Advanced/Professional Level Piano; Classical; Introductory Jazz; Music Theory; Composition; Song Writing; Improvisation; Ear Training; Sight Singing; Conducting; Dalcroze method; Orff method; Suzuki method; Artistry at the Piano;
Education
Stetson University - Bachelor of Music in Piano Performance - 2010 George Mason University - Master of Music in Piano Performance - 2012
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TakeLessons Music Teacher

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Dr. Micheal Simon
306 Tyler Ave 9 Olivene Dr
Newport News, VA
Instruments
Drums, Ear Training, Musicology, Other, Piano, Theory, Voice
Styles
Electronic, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
20 Years

Data Provided by:
Carol K.
(877) 231-8505
Mallard Pond Ct
Manassas, VA
Subjects
Piano, Music Theory
Ages Taught
1 to 99
Specialties
Mixture of methods, however Alfred, Piano Discoveries, and Faber are the ones I use most often. I teach both classical, pop, and Broadway. I also incorporate music related computer games and for the five and six year olds I use some of the ideas from the Music for Young Children Program
Education
Mary Washington College - Historic Preservation - 1989-1993 (Bachelor's degree received) George Mason Univ. - Music - 1976-1980 (Bachelor's degree received) West Aurora Sr. High - NA - 1968-1971 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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Catherine W.
(877) 231-8505
New Rd
Suffolk, VA
Subjects
Music Performance, Guitar, Singing, Songwriting, Piano, Percussion, Music Theory
Ages Taught
12 to 99
Specialties
Ear Training & Chord Theory
Education
Belmont University School of Music - Music Composition - 1992-1996 Tidewater Community College - Prerequisites for Belmont - 1990-1992
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TakeLessons Music Teacher

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Khanh-Vi N.
(877) 231-8505
Sydenstricker Road
Springfield, VA
Subjects
Music Theory, Piano, Songwriting
Ages Taught
5 to 80
Specialties
Classical music/keyboard styles; Piano pedagogy; contempory/jazz composition; Suzuki Method.
Education
Northern Virginia Community College - Annandale Campus - Music Theory, Piano - August 2002-July 2004 (not complete) Virginia Commonwealth University - Music Education - August 2004-Present (not complete)
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TakeLessons Music Teacher

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Ananda N.
(877) 231-8505
Prestancia Pl
Waldorf, MD
Subjects
Music Theory, Percussion, Piano
Ages Taught
6 to 99
Specialties
I use beginner music theory, exercises, scales, arpeggios, sight reading. I like to use books by Bastien and Thompson. I teach classical, jazz and modern piano styles. I personally specialized in Baroque, traditional classical, and modern 20th Century music. I have also used Czerny and Hanon for technique exercises.
Education
Eagan High School - - Sep 1997-June 2001 (High School diploma received) Normandale Community College - Liberal Arts - (Associate degree received)
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TakeLessons Music Teacher

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Phillip H.
(877) 231-8505
Quail Hollow Drive
Hayes, VA
Subjects
Piano, Songwriting, Music Theory, Organ
Ages Taught
10 to 50
Specialties
For beginning piano students, I prefer teaching the Hal Leonard Method.
Education
Moody Bible Institute - Piano Performance - 08/87-05/92 (Bachelor's degree received)
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TakeLessons Music Teacher

Data Provided by:
Khanh-Vi N.
(877) 231-8505
Sydenstricker Road
Springfield, VA
Subjects
Music Theory, Piano, Songwriting
Ages Taught
5 to 80
Specialties
Classical music/keyboard styles; Piano pedagogy; contempory/jazz composition; Suzuki Method.
Education
Northern Virginia Community College - Annandale Campus - Music Theory, Piano - August 2002-July 2004 (not complete) Virginia Commonwealth University - Music Education - August 2004-Present (not complete)
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TakeLessons Music Teacher

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Lori Stevens Piano Studio
(540) 420-4956
205 East 4th Street
Salem, VA
 
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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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