Instruction Manual for YAMAHA models including: YVS-120, Alto Venova Wind Instrument, YVS-120 Alto Venova Wind Instrument
venova yvs-120 en started e0
Manual Library - Yamaha - United States
Alto Venova YVS-120 | Yamaha Corporation.
File Info : application/pdf, 24 Pages, 4.65MB
DocumentDocument Let's play VenovaTM !
This guidebook provides important tips on how to hold and play Yamaha Alto VenovaTM, as well as details on controlling the pitch and timbre. Master the basics and enjoy playing!
* Refer to the "Owner's Manual" (separate booklet) for information regarding the care and handling of the instrument.
Contents
Introduction ................................................................ 13 Before You Play ............................................................ 14
Setting the Reed and Ligature ....................................................14 Let's 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
· The VenovaTM is a branched pipe wind instrument manufactured and sold by the
Yamaha Corporation. VenovaTM 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.
12
Let's play VenovaTM !
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.
Instrument/scale
Notes written in the score
Alto Venova in F
qqqqq
C D E F G
Venova in C
qqqqq
C D E F G
Actual pitch of the notes
qqqqq
F G A Bb C
qqqqq
C D E F G
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 transposed 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!
Let's play VenovaTM ! 13
Before You Play
Setting the Reed and Ligature
Slide the mouthpiece onto the body's neck, turning from side to side. After attaching the mouthpiece, set the reed and ligature onto the mouthpiece.
* The reed tip is delicate so please take care not to damage it with the ligature, etc.
* If you are using a reed made from cane rather than the resin reed supplied with the instrument, moisten the end of the reed in your mouth (or water) before playing.
Mouthpiece
Ligature
Reed
1 Slide the ligature onto the mouthpiece from its tapered end.
2 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.
* Position the ligature so that the tuning fork logo is centered in the ligature's open space.
* Tighten the ligature screws just enough to keep the reed from moving. Take care not to over-tighten.
Reed
Ligature
Yamaha logo
Ligature screws
14
Let's play VenovaTM !
Let's Try Playing
1 Hold the instrument as shown in the illustration below, keeping your back straight, shoulders loose, and chin pulled in.
First, hold the instrument without covering any of the holes.
2 Position the mouthpiece in your mouth with your upper front teeth resting 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.
Upper front teeth
Tongue
Lower teeth
Lower lip
3 Take a deep breath, and blow into the instrument.
Let's play VenovaTM ! 15
Let's Try Playing
Tips on Making Sound
1 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. * Refer to the illustration on page 15 1 for proper instrument angle when
holding.
2 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.
· Do not bite hard on the reed or mouthpiece.
· If you are experiencing difficulty getting sound from the instrument, refer to the chart on page 18 and check the mouthpiece position.
* 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.
3 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.
16
Let's play VenovaTM !
Let's 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.
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.
Since lower pitches are hard to produce without good embouchure and sufficient airflow, let's try playing a "G".
Fingering 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.
Let's play VenovaTM ! 17
Let's Try Playing
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)
Too much air (= loud sound)
Amount of breath
Cause Breath: Too much Mouthpiece position: Deep + Poor embouchure (Mouth is loose, open)
No sound comes out or squeaks
Forte (= loud sound)
Squeaks
Mouthpiece position
Shallow
Dark tone
Wellbalanced
tone
Bright tone
Mouthpiece position
Deep
No sound comes out or squeaks
Piano (= soft sound)
No sound comes out
Cause Breath: Too little Mouthpiece position: Shallow + Poor embouchure (Biting the mouthpiece too hard)
Amount of breath
Too little air (= soft sound)
Cause Breath: Too little Mouthpiece position: Deep + Poor embouchure (Mouth is loose, open)
18
Let's play VenovaTM !
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 articulate. 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 owner's manual and adjust the mouthpiece 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.
Let's play VenovaTM ! 19
Troubleshooting
Condition No sound.
Low-pitch sounds are hard to make. Low-pitch sounds shake and waver. Makes a squeaking sound.
Cause
Solution
The reed is not properly positioned on the mouthpiece.
Refer to page 14 2 and prop-
erly position the reed.
Not enough air to make the Increase the amount of air you
reed vibrate.
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 supporting the reed).
Close your mouth tighter around the reed (not to the extent that the sound squeaks) to firmly support the reed with your lower lip.
The upper front teeth are not resting firmly on the mouthpiece.
Use your left thumb to firmly support the instrument so that the mouthpiece is in firm contact with the upper teeth.
Lower lip is covering too Reduce the amount of lip covermuch of your lower teeth. ing your teeth.
Mouthpiece is positioned too deep in the mouth.
Biting too hard on the mouthpiece.
Holding the instrument at the wrong angle.
Not adequately covering the tone holes.
Refer to the "Getting a Balanced Sound" section on page 18 and review your embouchure.
Refer to the "Getting a Balanced Sound" section on page 18 and review your embouchure.
Refer to the "Tips on Making Sound" section on page 16 and review the angle you hold the instrument.
Refer to the "Close the Tone Holes and Play Some Notes" section on page 17 and firmly cover the tone holes.
20
Let's play VenovaTM !
Troubleshooting
Condition
Cause
Solution
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 cleaning swab and also remove moisture from inside of mouthpiece and reed with a soft cloth.
Overall pitch is Biting too hard on the
high.*
mouthpiece.
Don't bite too hard on the mouthpiece.
Mouthpiece is positioned too shallow in the mouth.
Position the mouthpiece deeper into your mouth.
Upper front teeth are not Make sure your upper front teeth
firmly resting on the mouth- are placed firmly on the mouth-
piece.
piece.
Overall pitch is low.*
Mouth is too loose or open (the lower lip is not sufficiently supporting the reed).
Close your mouth tighter around the reed (not to the extent that the sound squeaks) to firmly support the reed with your lower lip.
* The reason the pitch is off is possibly due to a poor embouchure. Refer to the "Getting a Balanced Sound" section on page 18 to find a solution that improves your pitch.
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.
Yamaha's special Venova Site: https://www.yamaha.com/venova/
Let's play VenovaTM ! 21
Fingering Chart
Grifftabelle
Tableau des doigtés
Gráfico de digitado
Tabela de digitação
/
Fingering
Chart
/
Grifftabelle
/
Tableau
des
doigtés
/
Gráfico
de
'#(##b
German System
The Alto Venova is used only with the German fingering 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 Alto Venova wird nur mit der Deutschen Griffweise gespielt. * Halbtöne wie F#, G#, Bb klingen häufig grell und
sind schwer zu intonieren. Passen Sie die Intonation durch Kontrolle von Fingersatz, Luftstrom und Ansatz an.
Système allemand
L'Alto Venova n'est utilisé qu'avec le système de doigté allemand. * Les demi-tons tels que le fa dièse, le sol dièse et le
si bémol ont tendance à devenir facilement stridents et résonnent difficilement. Pour ajuster l'intonation, contrôlez le doigté, le jet d'air et l'embouchoir.
1
2
1
3
2
4
3
5
4
6
7
8
5 6 7 8
1 2 3 4
5
6
21
7
53
64
8
7
8
92
digitado / Tabela de digitação / / /
Sistema alemán
El Alto Venova solo se utiliza con el sistema de digitado alemán. * Los semitonos como F#, G# y Bb suelen tocarse
sostenidos y difícilmente tienen resonancia. Ponga los dedos en su posición, sople aire y utilice el control de la embocadura para ajustar la entonación.
Sistema germânico
O Alto Venova é usado somente com o sistema de dedilhado germânico. * Semitons como Fá sustenido, Sol sustenido e Si
bemol tendem a ser reproduzidos mais agudos e são difíceis de produzir. Use o dedilhado, o fluxo de ar e o controle de embocadura para ajustar a entonação.
Alto Venova .
* , F#, G#, Bb, , . , .
"MUP7FOPWBb
* '#a(#a#b ba b
Alto Venova .
* F#, G#, Bb
. , .
· · Close · Geschlossen · Fermée
· Cerrado · Fechado ·
·
·
·
· Cover 3/4 (keys are not closed) · 3/4 abgedeckt
(die Klappen sind nicht geschlossen) · Couverture aux 3/4
(les clés ne sont pas bouchées) · Cubierto 3/4 (las llaves no están cerradas) · Tapar 3/4 (as teclas não são fechadas) ·
( )
· c
· 3/4 ( )
93
Sample Songs
Beispiel-Songs
Morceaux échantillons
Canciones de ejemplo
Músicas de amostra
/
Sample
Songs
/
Beispiel-Songs
/
Morceaux
échantillons
/
Canciones
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 Für diesen Song benötigen Sie nur die Finger der linken Hand. Dabei sollten Sie das Instrument mit dem rechten Daumen gut stützen, um zu verhindern, dass es sich unkontrolliert bewegt.
When The Saints Go Marching In
Difficulté: faible Ce morceau ne nécessite qu'un doigté à la main gauche : vous pouvez par conséquent tenir l'instrument de la main droite afin d'éviter qu'il ne bouge.
When The Saints Go Marching In
Dificultad: Baja Para tocar esta canción solo es necesario el digitado con la mano izquierda, de manera que deberá asegurar un soporte adecuado con el pulgar derecho para evitar que el instrumento se mueva constantemente.
When The Saints Go Marching In
Dificuldade: Baixa Esta canção exige dedilhado apenas com a mão esquerda, portanto, dê uma sustentação firme com o polegar direito para impedir que o instrumento se mova.
When The Saints Go Marching In
: , .
When The Saints
Go Marching In b
(When The Saints
Go Marching In)
: .
94
de ejemplo / Músicas de amostra / / /
When The Saints Go Marching In
American folk song
95
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
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
Difficulté: élevée Le do grave est difficile à obtenir. Veillez à bien équilibrer le doigté, l'embouchoir et le jet d'air.
When The Saints Go Marching In
Dificuldade: Alta O "C" (dó) grave é difícil de produzir. Equilibre bem o dedilhado, a embocadura e o fluxo de ar.
When The Saints Go Marching In
: . , .
When The Saints
Go Marching In o$p ba b
(When The Saints
Go Marching In)
: "C" . , .
When The Saints Go Marching In
Dificultad: Alta El Do alto es difícil de tocar. Compruebe que el digitado, la embocadura y el aire están bien equilibrados.
96
de ejemplo / Músicas de amostra / / /
When The Saints Go Marching In
American folk song
97
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
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 Für das ,,E" benötigen Sie die Oktavklappe (per Daumendruck), achten Sie also gut auf Ihren Fingersatz, um einen reinen, stabilen Ton zu erzeugen.
Amazing Grace
Difficulté: faible Le mi nécessite l'utilisation de la clé d'octave : le doigté est donc essentiel pour que le son obtenu soit plein et de bonne qualité.
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 atención al digitado para conseguir un tono bueno y sólido.
Amazing Grace
Dificuldade: Baixa O "E" (mi) requer o uso da chave de oitava ("thumbing"), então preste atenção ao seu dedilhado para obter um tom sólido.
Amazing Grace
: ( ), , , .
Amazing Grace
o&p c b
(Amazing Grace)
: "E" ( ) .
98
de ejemplo / Músicas de amostra / / /
Amazing Grace
Traditional
99
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
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 Tonlöcher richtig abgedeckt sind, um im tiefen Tonbereich einen guten, klangvollen Ton zu erzeugen. Achten Sie darauf, dass Sie die Tonlöcher vollständig mit den Fingerkuppen abdekken (nicht mit den Fingerspitzen).
Amazing Grace
Difficulté: élevée Il est important que toutes les cheminées soient correctement couvertes pour que le son des notes basses résonne correctement. Veillez à couvrir complètement les cheminées avec la pulpe du doigt (et non avec l'extrémité).
Amazing Grace
Dificultad: Alta Es importante que todos los agujeros tonales se cubran correctamente para conseguir un buen tono resonante en las notas bajas. Asegúrese de que los agujeros tonales queden cubiertos completamente con la yema de los dedos (no con la punta).
Amazing Grace
Dificuldade: Alta É importante que todos os orifícios de tom sejam tapados adequadamente a fim de obter um tom ressonante nas notas graves. Certifique-se de que os orifícios de tom estejam completamente tapados com a polpa do seu dedo (não a ponta).
Amazing Grace
: . , ( ) .
Amazing Grace
bc b
(Amazing Grace)
: . ( ) .
100
de ejemplo / Músicas de amostra / / /
Amazing Grace
Traditional
101
Supplement: Fingering Chart in Concert Pitch (notes match a piano) Ergänzung: Grifftabelle im Kammerton (Noten für Klavier geeignet) Supplément : Tableau des doigtés au diapason de concert (les notes correspondent à celles du piano) Apéndice: gráfico de digitado en tono de concierto (las notas coinciden con las de un piano)Tabela de digitação
Anexo: Tabela de digitação em tom de concerto (as notas correspondem a um piano) : ( ) c
Supplement: Fingering Chart in Concert Pitch (notes match a piano)
Ergänzung: Grifftabelle im Kammerton (Noten für Klavier geeignet)
Supplément : Tableau des doigtés au diapason de concert (les notes correspondent à celles du piano)
Apéndice: gráfico de digitado en tono de concierto (las notas coinciden con las de un piano)
1
1
2
3
2
4
3
4
5
6
7
5
8
6
8
7
1 2 3 4
5
6
21
7
53
64
8
7
8
102
Anexo: Tabela de digitação em tom de concerto (as notas correspondem a um piano) : ( )
c : ( )
· · Close · Geschlossen · Fermée · Cerrado · Fechado ·
·
·
·
· Cover 3/4 (keys are not closed) · 3/4 abgedeckt
(die Klappen sind nicht geschlossen) · Couverture aux 3/4
(les clés ne sont pas bouchées) · Cubierto 3/4 (las llaves no están cerradas) · Tapar 3/4 (as teclas não são fechadas) ·
( )
· c
· 3/4 ( )
103
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