Yamaha Venova YVS-140 Woodwind Owner's Manual PDF

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Summary of Content for Yamaha Venova YVS-140 Woodwind Owner's Manual PDF

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Lets play Venova !2

Lets play Venova !

This guidebook provides important tips on how to hold and play Yamaha

Tenor 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.

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Lets play Venova ! 3

Contents

Before You Play ............................................................. 4 Setting the Reed and Ligature ......................................................4

Lets Try Playing ............................................................ 5 Tips on Making Sound .................................................................6 Close the Tone Holes and Play Some Notes.................................7 Getting a Balanced Sound ............................................................8

Controlling Tone ............................................................ 9 Inside of Your Mouth ...................................................................9 Tonguing......................................................................................9

Troubleshooting............................................................10

Fingering Chart ............................................................12

Sample Songs ..............................................................14 When The Saints Go Marching In...............................................14 Amazing Grace ...........................................................................18

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.

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Lets play Venova !4

Before You Play

Setting the Reed and Ligature Twist the mouthpiece from side to side as you slide it onto the neck joint .

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.

Ligature Reed

Mouthpiece

1

2

Reed

Ligature

screws

Ligature Yamaha

logo

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Lets play Venova ! 5

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 instrument

without covering any of

the holes.

2

Upper front teeth

Lower lipLower teeth

Tongue

3

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Lets Try Playing

Lets play Venova !6

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 5 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 8 and check the

mouthpiece position.

3

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Lets play Venova ! 7

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 12.

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

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Lets Try Playing

Lets play Venova !8

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)

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Lets play Venova ! 9

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 tenor saxophone mouthpieces and reeds, so

once you are able to produce individual notes smoothly using the supplied

mouthpiece (equivalent of Yamaha 4C tenor saxophone 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 tenor saxophone mouthpieces made by other manufacturers

may fit poorly or produce poor pitch making them unsuitable for use

with the Tenor Venova. Always consult with your Yamaha dealer

before purchasing.

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Lets play Venova !10

Troubleshooting

Condition Cause Solution

No sound. The reed is not properly

positioned on the mouth-

piece.

Refer to page 4 and properly

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 8 and

review your embouchure.

Biting too hard on the

mouthpiece.

Refer to the Getting a Balanced

Sound section on page 8 and

review your embouchure.

Holding the instrument at

the wrong angle.

Refer to the Tips on Making

Sound section on page 6 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 7 and firmly

cover the tone holes.

2

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Lets play Venova ! 11

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 8 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 12)

and some sample songs (from page 14). 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/

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12

Fingering Chart

Grifftabelle

Tableau des doi-

gts

Grfico de digit-

ado

Tabela de digi-

tao

* F#G#Bb

German System The Tenor Venova is used only with the German fin- gering system.

* Semitones such as F#, G#, Bb tend to easily play sharp, and are hard to resonate. Use fingering, airflow, and embouchure control to adjust intonation.

Deutsche Griffweise Das Tenor 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 Intonation durch Kontrolle von Fingersatz, Luftstrom und Ansatz an.

Systme allemand Le Tenor 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 stridents et rsonnent diffi- cilement. Pour ajuster l'intonation, contrlez le doigt, le jet d'air et l'embouchoir.

Sistema alemn El Tenor Venova solo se utiliza con el sistema de digi- tado alemn.

* Los semitonos como F#, G# y Bb suelen tocarse sostenidos y dif- cilmente tienen resonancia. Ponga los dedos en su posicin, sople aire y utilice el control de la embocadura para ajustar la entonacin.

1 2 3

4

5 6 7

8

1 2 3

4

5 6 7

8

4 3 2 1

8

7 6

5

1

2 3 4

5 6 7

8

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

Tenor Venova1 The Tenor Venova actually sounds an octave lower than this notation. Das Tenor Venova klingt in Wirklichkeit eine Oktave tiefer als in dieser Notation. Le Tenor Venova est infrieur d'une octave cette notation. En realidad, el sonido del Tenor Venova es una octava inferior que esta notacin.

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13

Sistema germnico O Tenor Venova usado somente com o sistema de dedilhado germnico.

* Semitons como F sustenido, Sol sustenido e Si bemol ten- dem a ser reproduzidos mais agudos e so difceis de produ- zir. Use o dedilhado, o fluxo de ar e o controle de embocadura para ajustar a entonao.

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

. , - .

Tenor Venova * F#G#Bb

* # # b

Tenor Venova * F#G#Bb

Close

Geschlossen

Ferme

Cerrado

Fechado

3/4() Cover 3/4 (octave key is not closed)

3/4 abgedeckt (die Oktavklappe ist nicht geschlossen)

Couverture aux 3/4 (la cl d'octave n'est pas couverte)

Cubierto 3/4 (la llave de octava no est cerrada)

Tapar 3/4 (as teclas no so fechadas)

3/4 ( )

3/4

3/4

Tabela de digitao / / / /

O Tenor Venova soa uma oitava mais grave do que esta notao. Tenor Venova .

Tenor Venova Tenor Venova

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14

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)

(When The Saints

Go Marching In)

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

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15

When The Saints Go Marching In

American folk song

Msicas de amostra / / / /

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16

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)

(When The Saints

Go Marching In)

C

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

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When The Saints Go Marching In

American folk song

ejemplo / Msicas de amostra / / / /

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18

()

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

(Amazing Grace)

E

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

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19

Amazing Grace

Traditional

ejemplo / Msicas de amostra / / / /

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20

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 abde-

cken (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

(Amazing Grace)

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

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21

Amazing Grace

Traditional

ejemplo / Msicas de amostra / / / /

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JA EN DE FR ES PT RU ZH-CN ZH-TWKO

Manual Development Group

2021 Yamaha Corporation

Published 10/2021

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