Yamaha Alto Venova YVS-120 Bedienungsanleitung

Let’s play Venova™ !

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

Let’s 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 “Owner’s 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.

Let’s play Venova™ ! 13

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 Ffor 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!

qqqqqqq

qqqqqqqqqq

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

C D E F G C D E F G

Let’s play Venova™ !

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.

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-

ature’s open space.

* Tighten the ligature screws just enough to keep the reed from mov-

ing. Take care not to over-tighten.

Mouthpiece

Ligature Reed

Reed

Ligature

screws

Ligature Yamaha

logo

Let’s play Venova™ ! 15

Let’s 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.

First, hold the instru-

ment without covering

any of the holes.

Upper front teeth

Lower lipLower teeth

Tongue

Let’s Try Playing

Let’s play Venova™ !

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.

• 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.

Let’s play Venova™ ! 17

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.

Since lower pitches are hard to produce without good embouchure and suffi-

cient airflow, let’s 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”

Let’s Try Playing

Let’s play Venova™ !

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)

Let’s play Venova™ ! 19

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 owner’s 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.

Let’s play Venova™ !

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.

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