Contents

Yamaha Venova YVS-120 Woodwind Owner's Manual PDF

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Summary of Content for Yamaha Venova YVS-120 Woodwind Owner's Manual PDF

Lets play Venova !12

Contents

Introduction ................................................................13

Before You Play ............................................................14 Setting the Reed and Ligature ....................................................14

Lets Try Playing ...........................................................15 Tips on Making Sound ...............................................................16 Close the Tone Holes and Play Some Notes...............................17 Getting a Balanced Sound ..........................................................18

Controlling Tone ...........................................................19 Inside of Your Mouth .................................................................19 Tonguing....................................................................................19

Troubleshooting............................................................20

Fingering Chart ............................................................92

Sample Songs ..............................................................94 When The Saints Go Marching In...............................................94 Amazing Grace ...........................................................................98

Supplement: Fingering Chart in Concert Pitch (notes match a piano)................................................... 102

Lets play Venova !

This guidebook provides important tips on how to hold and play Yamaha Alto Venova, as well as details on controlling the pitch and timbre. Master the basics and enjoy playing!

* Refer to the Owners Manual (separate booklet) for information regarding the care and handling of the instrument.

The Venova is a branched pipe wind instrument manufactured and sold by the Yamaha Corporation. Venova and  are trademarks or registered trademarks of the Yamaha Corporation.

The illustrations as shown in this manual are for instructional purposes only, and may appear somewhat different from those on your instrument.

Introduction

The Alto Venova is a transposing instrument.

With a transposing instrument, the notes you play sound different than the notes that are written in the score. Many wind instruments work this way, including saxophones, clarinets and trumpets. This makes it very easy to switch from one instrument to another in the same family, because even though the sound is different, the fingerings are all the same.

The Alto Venova works the same way. If you already know the fingerings for the Venova, you can use those same fingerings on the Alto Venova.

In this book, the fingering charts and sample songs have already been transposed to F for the Alto Venova. However, remember that if you play the Alto Venova with other instruments or with background music, it is a transposing instrument in F, so the music you play also needs to be trans- posed to F.

If you would prefer to learn the non-transposed fingerings for the way the notes actually sound, we have provided a concert pitch fingering chart in the supplement at the end of this manual.

Enjoy your new Alto Venova!

q q q q q q qq qq

q q q q q q q q q q

Instrument/scale

Alto Venova in F

Venova in C

Notes written in the score Actual pitch of the notes

C D E F G F G A Bb C

C D E F G C D E F G

Lets play Venova ! 13

14

Before You Play

Setting the Reed and Ligature Slide the mouthpiece onto the bodys neck, turning from side to side. After attaching the mouthpiece, set the reed and ligature onto the mouthpiece.

Slide the ligature onto the mouthpiece from its tapered end.

Position the reed so that the edge of the mouthpiece is slightly visible over the reed tip. Tighten the two screws on the ligature to secure the reed in place.

* The reed tip is delicate so please take care not to damage it with the liga- ture, etc.

* If you are using a reed made from cane rather than the resin reed sup- plied with the instrument, moisten the end of the reed in your mouth (or water) before playing.

* Position the ligature so that the tuning fork logo is centered in the lig- atures open space.

* Tighten the ligature screws just enough to keep the reed from mov- ing. Take care not to over-tighten.

Mouthpiece

Ligature Reed

1

2

Reed

Ligature screws

Ligature Yamaha logo

Lets play Venova !

Lets Try Playing

Hold the instrument as shown in the illustration below, keeping your back straight, shoulders loose, and chin pulled in.

Position the mouthpiece in your mouth with your upper front teeth rest- ing about 1cm from the tip of the mouthpiece. Cover your lower teeth with your lower lip to keep your teeth from coming into direct contact with the reed.

Take a deep breath, and blow into the instrument.

1

First, hold the instru- ment without covering any of the holes.

2

Upper front teeth

Lower lipLower teeth

Tongue

3

Lets play Venova ! 15

Lets Try Playing

16

Tips on Making Sound Holding the Instrument Holding the instrument the wrong way (wrong angle or poor posture) can result in poor tone or difficult fingering. Always be aware of proper playing form when playing the instrument.

Mouth Shape (Embouchure*) With the reed resting on your lower lip, seal your mouth around the mouthpiece to keep air from leaking out of the corners of your mouth when blowing.

Blowing the Instrument Compared to a recorder, the Venova requires more breath to play. Use a lot of air and blow firmly into the instrument.

* Refer to the illustration on page 15 for proper instrument angle when holding.

* The shape of your mouth when playing the instrument is called the embouchure. The embouchure is very important when playing wind instruments. Proper positioning of lips, tongue, teeth, etc., creates an optimum embouchure, which lets you control the pitch and timbre of the instrument.

1

1

2

Do not bite hard on the reed or mouth- piece.

If you are experiencing difficulty get- ting sound from the instrument, refer to the chart on page 18 and check the mouthpiece position.

3

Lets play Venova !

Lets Try Playing

Close the Tone Holes and Play Some Notes Use the ball of your finger (not the tip) to cover the hole. Use your fingers in a relaxed, stress-free form.

Since lower pitches are hard to produce without good embouchure and suffi- cient airflow, lets try playing a G.

Close the tone holes properly to achieve beautiful and stable tone, and good pitch. Fingerings for other pitches are provided from page 92.

Finger Position * The illustration below shows all tone holes being covered.

Octave Key The octave key is used for playing notes above a high D. It is not used for playing any other notes so take care not to press the octave key by mistake.

Put your right thumb under the thumb hook to hold the instrument securely.

Fingering a G

Lets play Venova ! 17

Lets Try Playing

18

Getting a Balanced Sound If you are experiencing difficulty getting sound from your instrument, it might be a good time to review your embouchure. Mouth shape and teeth alignment vary widely among individuals so take time finding an embouchure that works best for you. Refer to the chart below and try varying the position of your teeth, the angle that you hold the instrument, etc., to find a well-balanced tone.

Cause Breath: Too much Mouthpiece position: Shallow + Poor embouchure (Biting the mouthpiece to hard)

Cause Breath: Too much Mouthpiece position: Deep + Poor embouchure (Mouth is loose, open)

Cause Breath: Too little Mouthpiece position: Shallow + Poor embouchure (Biting the mouthpiece too hard)

Cause Breath: Too little Mouthpiece position: Deep + Poor embouchure (Mouth is loose, open)

No sound comes out or squeaks

Dark tone

No sound comes out or squeaks

Squeaks

Bright tone

No sound comes out

Forte (= loud sound)

Piano (= soft sound)

Well- balanced

tone

Amount of breath

Amount of breath

Mouthpiece position

Mouthpiece position

Shallow Deep

Too much air (= loud sound)

Too little air (= soft sound)

Lets play Venova !

Controlling Tone

Inside of Your Mouth When blowing into the instrument, the inside of your mouth should be shaped as if you were pronouncing OH.

Tonguing Tonguing is a technique for dividing a tone by interrupting the air flow with your tongue. It is done by touching the end of the reed with the end of your tongue and releasing.

Tips on creating tone The Venova is compatible with alto saxophone mouthpieces and reeds, so once you are able to produce individual notes smoothly using the supplied mouthpiece (equivalent of Yamaha 4C alto sax mouthpiece) you might want to experiment with different reed/mouthpiece* combinations to change the way the instrument blows and produce different tones (brighter, mellower, clearer).

* The instrument comes with a soft reed making it easier to play for beginners however, higher pitches may be more difficult to articu- late. Once you can blow sufficient amount of air into the instrument, you might want to move to a stiffer reed to play higher pitches more smoothly.

* Stiffer reeds tend to play slightly sharp in pitch. If so, refer to the About Tuning section in the owners manual and adjust the mouth- piece position.

* Some alto saxophone mouthpieces made by other manufacturers may fit poorly or produce poor pitch making them unsuitable for use with the alto Venova. Always consult with your Yamaha dealer before purchasing.

Lets play Venova ! 19

20

Troubleshooting

Condition Cause Solution

No sound. The reed is not properly positioned on the mouth- piece.

Refer to page 14 and prop- erly position the reed.

Not enough air to make the reed vibrate.

Increase the amount of air you blow into the instrument.

Biting too hard on the mouthpiece (too much lower lip pressure on the reed).

Reduce the amount of pressure your lower lip is applying to the reed.

Mouth is too loose (lower lip is not sufficiently support- ing the reed).

Close your mouth tighter around the reed (not to the extent that the sound squeaks) to firmly sup- port the reed with your lower lip.

Low-pitch sounds are hard to make.

The upper front teeth are not resting firmly on the mouthpiece.

Use your left thumb to firmly sup- port the instrument so that the mouthpiece is in firm contact with the upper teeth.

Low-pitch sounds shake and waver.

Lower lip is covering too much of your lower teeth.

Reduce the amount of lip cover- ing your teeth.

Makes a squeaking sound.

Mouthpiece is positioned too deep in the mouth.

Refer to the Getting a Balanced Sound section on page 18 and review your embouchure.

Biting too hard on the mouthpiece.

Refer to the Getting a Balanced Sound section on page 18 and review your embouchure.

Holding the instrument at the wrong angle.

Refer to the Tips on Making Sound section on page 16 and review the angle you hold the instrument.

Not adequately covering the tone holes.

Refer to the Close the Tone Holes and Play Some Notes section on page 17 and firmly cover the tone holes.

2

Lets play Venova !

Troubleshooting

* The reason the pitch is off is possibly due to a poor embouchure. Refer to the Getting a Bal- anced Sound section on page 18 to find a solution that improves your pitch.

Water noise can be heard while playing.

Moisture has accumulated in the body, mouthpiece, or reed.

Remove moisture from inside of the body with the supplied clean- ing swab and also remove mois- ture from inside of mouthpiece and reed with a soft cloth.

Overall pitch is high.*

Biting too hard on the mouthpiece.

Dont bite too hard on the mouth- piece.

Mouthpiece is positioned too shallow in the mouth.

Position the mouthpiece deeper into your mouth.

Upper front teeth are not firmly resting on the mouth- piece.

Make sure your upper front teeth are placed firmly on the mouth- piece.

Overall pitch is low.*

Mouth is too loose or open (the lower lip is not suffi- ciently supporting the reed).

Close your mouth tighter around the reed (not to the extent that the sound squeaks) to firmly sup- port the reed with your lower lip.

Condition Cause Solution

The end section of this guide provides fingering charts (from page 92) and some sample songs (from page 94). You can find more information for the Venova, such as playing tips and performance videos, on the web site listed below.

Yamahas special Venova Site: https://www.yamaha.com/venova/

Lets play Venova ! 21

Fingering Chart Grifftabelle Tableau des doigts Grfico de digitado Tabela de digitao

92

* F#G#Bb

German System The Alto Venova is used only with the German finger- ing system. * Semitones such as F#, G#, Bb tend to easily play

sharp, and are hard to resonate. Use fingering, air- flow, and embouchure control to adjust intonation.

Deutsche Griffweise Das Alto Venova wird nur mit der Deutschen Griff- weise gespielt. * Halbtne wie F#, G#, Bb klingen hufig grell und

sind schwer zu intonieren. Passen Sie die Intona- tion durch Kontrolle von Fingersatz, Luftstrom und Ansatz an.

Systme allemand L'Alto Venova n'est utilis qu'avec le systme de doigt allemand. * Les demi-tons tels que le fa dise, le sol dise et le

si bmol ont tendance devenir facilement stri- dents et rsonnent difficilement. Pour ajuster l'into- nation, contrlez le doigt, le jet d'air et l'embouchoir.

4 3 2 1

8

7 6

5

1

2 3 4

5 6 78

1

2

3

4

5 6 7

8

1

2

3

4

5 6 7

8

/ Fingering Chart / Grifftabelle / Tableau des doigts / Grfico de

93

Sistema alemn El Alto Venova solo se utiliza con el sistema de digi- tado alemn. * Los semitonos como F#, G# y Bb suelen tocarse

sostenidos y difcilmente tienen resonancia. Ponga los dedos en su posicin, sople aire y utilice el con- trol de la embocadura para ajustar la entonacin.

Sistema germnico O Alto Venova usado somente com o sistema de dedilhado germnico. * Semitons como F sustenido, Sol sustenido e Si

bemol tendem a ser reproduzidos mais agudos e so difceis de produzir. Use o dedilhado, o fluxo de ar e o controle de embocadura para ajustar a entonao.

Alto Venova - .

* , F#, G#, Bb, , . - - , .

Alto Venova * F#G#Bb

Alto Venova . * F#, G#, Bb . , .

Close Geschlossen Ferme Cerrado Fechado

3/4() Cover 3/4 (keys are not closed) 3/4 abgedeckt

(die Klappen sind nicht geschlossen) Couverture aux 3/4

(les cls ne sont pas bouches) Cubierto 3/4 (las llaves no estn cerradas) Tapar 3/4 (as teclas no so fechadas)

( )

3/4 3/4 ( )

digitado / Tabela de digitao / / /

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Sample Songs Beispiel-Songs Morceaux chantillons Canciones de ejemplo Msicas de amostra

When The Saints Go Marching In Difficulty: Low This song only requires fingering with the left hand so make sure you provide good support with your right thumb to keep the instrument from moving about.

When The Saints Go Marching In Schwierigkeit: Gering Fr diesen Song bentigen Sie nur die Fin- ger der linken Hand. Dabei sollten Sie das Instrument mit dem rechten Daumen gut sttzen, um zu verhindern, dass es sich unkontrolliert bewegt.

When The Saints Go Marching In Difficult: faible Ce morceau ne ncessite quun doigt la main gauche : vous pouvez par cons- quent tenir linstrument de la main droite afin dviter quil ne bouge.

When The Saints Go Marching In Dificultad: Baja Para tocar esta cancin solo es necesario el digitado con la mano izquierda, de manera que deber asegurar un soporte adecuado con el pulgar derecho para evi- tar que el instrumento se mueva constan- temente.

When The Saints Go Marching In Dificuldade: Baixa Esta cano exige dedilhado apenas com a mo esquerda, portanto, d uma susten- tao firme com o polegar direito para impedir que o instrumento se mova.

When The Saints Go Marching In : - , - - .

- When The Saints Go Marching In

(When The Saints Go Marching In)

: .

/ Sample Songs / Beispiel-Songs / Morceaux chantillons / Canciones

94

When The Saints Go Marching In

American folk song

de ejemplo / Msicas de amostra / / /

95

When The Saints Go Marching In Difficulty: High The low C is difficult to sound. Make sure your fingering, embouchure, and airflow balanced well.

When The Saints Go Marching In Schwierigkeit: Hoch Das tiefe C ist schwierig zu intonieren. Achten Sie darauf, dass Fingersatz, Ansatz und Luftstrom gut ausgewogen sind.

When The Saints Go Marching In Difficult: leve Le do grave est difficile obtenir. Veillez bien quilibrer le doigt, lembouchoir et le jet dair.

When The Saints Go Marching In Dificultad: Alta El Do alto es difcil de tocar. Compruebe que el digitado, la embocadura y el aire estn bien equilibrados.

When The Saints Go Marching In Dificuldade: Alta O C (d) grave difcil de produzir. Equi- libre bem o dedilhado, a embocadura e o fluxo de ar.

When The Saints Go Marching In : . , .

- When The Saints Go Marching In

C

(When The Saints Go Marching In)

: C . , .

/ Sample Songs / Beispiel-Songs / Morceaux chantillons / Canciones

96

When The Saints Go Marching In

American folk song

de ejemplo / Msicas de amostra / / /

97

()

Amazing Grace Difficulty: Low The E requires use of the octave key (or thumbing) so pay close attention to your fingering to get a good, solid tone.

Amazing Grace Schwierigkeit: Gering Fr das E bentigen Sie die Oktavklappe (per Daumendruck), achten Sie also gut auf Ihren Fingersatz, um einen reinen, sta- bilen Ton zu erzeugen.

Amazing Grace Difficult: faible Le mi ncessite lutilisation de la cl doctave : le doigt est donc essentiel pour que le son obtenu soit plein et de bonne qualit.

Amazing Grace Dificultad: Baja Para la nota Mi es necesario utilizar la llave de octava (o el golpe de pulgar), de manera que preste especial atencin al digitado para conseguir un tono bueno y slido.

Amazing Grace Dificuldade: Baixa O E (mi) requer o uso da chave de oitava (thumbing), ento preste ateno ao seu dedilhado para obter um tom slido.

Amazing Grace : - ( - ), - , , .

- Amazing Grace

E

(Amazing Grace)

: E ( ) .

/ Sample Songs / Beispiel-Songs / Morceaux chantillons / Canciones

98

Amazing Grace

Traditional

de ejemplo / Msicas de amostra / / /

99

1

Amazing Grace Difficulty: High It is important that all the tone holes are properly covered in order to get a good resonant tone on the low notes. Make sure the tone holes are completely covered with the ball of your finger (not the tip).

Amazing Grace Schwierigkeit: Hoch Es ist wichtig, dass alle Tonlcher richtig abgedeckt sind, um im tiefen Tonbereich einen guten, klangvollen Ton zu erzeugen. Achten Sie darauf, dass Sie die Tonlcher vollstndig mit den Fingerkuppen abdek- ken (nicht mit den Fingerspitzen).

Amazing Grace Difficult: leve Il est important que toutes les chemines soient correctement couvertes pour que le son des notes basses rsonne correcte- ment. Veillez couvrir compltement les chemines avec la pulpe du doigt (et non avec lextrmit).

Amazing Grace Dificultad: Alta Es importante que todos los agujeros tona- les se cubran correctamente para conse- guir un buen tono resonante en las notas bajas. Asegrese de que los agujeros tona- les queden cubiertos completamente con la yema de los dedos (no con la punta).

Amazing Grace Dificuldade: Alta importante que todos os orifcios de tom sejam tapados adequadamente a fim de obter um tom ressonante nas notas gra- ves. Certifique-se de que os orifcios de tom estejam completamente tapados com a polpa do seu dedo (no a ponta).

Amazing Grace : - . - , ( ) .

- Amazing Grace

(Amazing Grace)

: . ( ) .

/ Sample Songs / Beispiel-Songs / Morceaux chantillons / Canciones

00

Amazing Grace

Traditional

de ejemplo / Msicas de amostra / / /

101

() Supplement: Fingering Chart in Concert Pitch (notes match a piano) Ergnzung: Grifftabelle im Kammerton (Noten fr Klavier geeignet) Supplment : Tableau des doigts au diapason de concert (les notes correspondent celles du piano) Apndice: grfico de digitado en tono de concierto (las notas coinciden con las de un piano)Tabela de digitao

A

102

nexo: Tabela de digitao em tom de concerto (as notas correspondem a um piano) : ( )

: ( )

4 3 2 1

8

7 6

5

1

2 3 4

5 6 78

1

2

3

4

5 6 7

8

1

2

3

4

5 6 7

8

() Supplement: Fingering Chart in Concert Pitch (notes match a piano) Ergnzung: Grifftabelle im Kammerton (Noten fr Klavier geeignet) Supplment : Tableau des doigts au diapason de concert (les notes correspondent celles du piano) Apndice: grfico de digitado en tono de concierto (las notas coinciden con las de un piano)

103

Anexo: Tabela de digitao em tom de concerto (as notas correspondem a um piano) : ( )

: ( )

Close Geschlossen Ferme Cerrado Fechado

3/4() Cover 3/4 (keys are not closed) 3/4 abgedeckt

(die Klappen sind nicht geschlossen) Couverture aux 3/4

(les cls ne sont pas bouches) Cubierto 3/4 (las llaves no estn cerradas) Tapar 3/4 (as teclas no so fechadas)

( )

3/4 3/4 ( )

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