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Let’s play Venova™ !
2
Let’s 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 “Owner’s Manual” (separate booklet) for information regarding
the care and handling of the instrument.
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Let’s play Venova™ ! 3
Contents
Before You Play ............................................................. 4
Setting the Reed and Ligature ......................................................4
Let’s 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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Let’s 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-
ature’s 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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Let’s play Venova™ ! 5
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.
1
First, hold the instrument
without covering any of
the holes.
2
Upper front teeth
Lower lipLower teeth
Tongue
3
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Let’s Try Playing
Let’s 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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Let’s play Venova™ ! 7
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 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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Let’s Try Playing
Let’s 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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Let’s 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 owner’s 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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Let’s 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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Let’s 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.
Don’t 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.
Yamaha’s special Venova Site:
https://www.yamaha.com/venova/
tenorvenova_started_en.book Page 11 Thursday, September 17, 2020 4:39 PM
12
Fingering Chart
Grifftabelle
Tableau des doi-
gtés
Gráfico de digit-
ado
Tabela de digi-
tação
Таблица
аппликатуры
##b
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.
* 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
Le Tenor 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 diffi-
cilement. Pour ajuster l'intonation, contrôlez le doigté, le jet
d'air et l'embouchoir.
Sistema alemán
El Tenor Venova solo se utiliza con el sistema de digi-
tado alemán.
* Los semitonos como F#, G# y Bb suelen tocarse sostenidos y difí-
cilmente tienen resonancia. Ponga los dedos en su posición, sople
aire y utilice el control de la embocadura para ajustar la entonación.
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
4
3
21
8
7
6
5
1
2
3
4
5
6
7
8
/
Fingering Chart
/
Grifftabelle
/
Tableau des doigtés
/
Gráfico de digitado
/
• 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 inférieur d'une octave à cette notation.
• En realidad, el sonido del Tenor Venova es una octava inferior que esta notación.
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13
Sistema germânico
O Tenor Venova é usado somente com o sistema de
dedilhado germânico.
* Semitons como Fá sustenido, Sol sustenido e Si bemol ten-
dem a ser reproduzidos mais agudos e são difíceis de produ-
zir. Use o dedilhado, o fluxo de ar e o controle de embocadura
para ajustar a entonação.
Немецкая система
Tenor Venova используется только с немецкой
системой аппликатуры.
* Полутона, такие как F#, G#, Bb, как правило, зву-
чат резко и резонируют плохо. Скорректировать
звучание можно с помощью аппликатуры, амбу-
шюра и контроля потока воздуха.
*
# #b
Ѥࢇݢ
7HQRU 9HQRYDЕ ѧࢊݥ ࡋएئփࡶ یࡈଥ ࠉ࣯ଢТЬ
*
)#*#%bҟࢂ؆ࡸࡶΤՀʯࠉ࣯ଜ̛ࡈࢇଜएփ˓
ָݤੁ̛߭ԳݡТЬࡋएࠪ˓̛ஐղߎٕݕ߭ࢿ߭ձ
یࡈଜࠆࡸ࣏ձ࣏ࢸଜݫݤࠝ
*
##b
•
•
Close
•
Geschlossen
•
Fermée
•
Cerrado
•
Fechado
•
Закрыто
•
•
а̛
•
•
•
Cover 3/4 (octave key is not closed)
•
3/4 abgedeckt (die Oktavklappe ist nicht geschlossen)
•
Couverture aux 3/4 (la clé d'octave n'est pas couverte)
•
Cubierto 3/4 (la llave de octava no está cerrada)
•
Tapar 3/4 (as teclas não são fechadas)
•
Закрыто на 3/4 (октавный клапан не закрыт)
•
•
৲؟ࠞٱੁɼаए߉ࡸ
•
Tabela de digitação
/
Таблица аппликатуры
/
/
ࡈऌأ
/
• O Tenor Venova soa uma oitava mais grave do que esta notação.
• Реальное звучание Tenor Venova — на октаву ниже указанного в данной записи.
•
•
7HQRU9HQRYDЕݨࢿԻЕࢇ̛ئؿЬଞࠞٱάࡵܕչԻҚվТЬ
•
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14
Sample Songs
Beispiel-Songs
Morceaux
échantillons
Canciones de
ejemplo
Músicas de
amostra
Образцы
композиций
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 Fin-
ger 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 consé-
quent 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 evi-
tar que el instrumento se mueva constan-
temente.
When The Saints Go Marching In
Dificuldade: Baixa
Esta canção exige dedilhado apenas com
a mão esquerda, portanto, dê uma susten-
tação firme com o polegar direito para
impedir que o instrumento se mova.
When The Saints Go Marching In
Сложность: низкая
При исполнении этой композиции при-
меняется аппликатура лишь для левой
руки, поэтому как следует поддержи-
вайте инструмент большим пальцем
правой руки и не давайте ему
шататься.
When The Saints
Go Marching In
ۺࡿପऎ (When The Saints
Go Marching In)
ΟѣΩࡵ
ࢇˉࡵ࠻ܘࡳԻփࡋएଜװԻ߆̛ɼࡏ
ऐࢇए߉ѦԼࠝհܘߵएԻ࢚؇ঙ࣯ݫ
ݤࠝ
(When The Saints
Go Marching In)
/
Sample Songs
/
Beispiel-Songs
/
Morceaux échantillons
/
Canciones de ejemplo
/
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15
When The Saints Go Marching In
American folk song
Músicas de amostra
/
Образцы композиций
/
/
ۛˆ
/
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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
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
Dificultad: Alta
El Do alto es difícil de tocar. Compruebe
que el digitado, la embocadura y el aire
están bien equilibrados.
When The Saints Go Marching In
Dificuldade: Alta
O “C” (dó) grave é difícil de produzir. Equi-
libre bem o dedilhado, a embocadura e o
fluxo de ar.
When The Saints Go Marching In
Сложность: высокая
Нижнее до сложно извлечь. Хорошо
сбалансируйте аппликатуру, амбушюр
и воздушный поток.
When The Saints
Go Marching In
ۺࡿପऎ (When The Saints
Go Marching In)
ΟѣϦࡵ
άࡵę&ĚЕܕչձΰ̛ɼ߭ԳݡТЬࡋ
एࠪߎٕݕ߭˓̛ஐղࢇ̎ࡶ࢚ࢇ
ܹʯଜݫݤࠝ
(When The Saints
Go Marching In)
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones de
tenorvenova_started_02.fm Page 16 Wednesday, June 9, 2021 5:54 PM
17
When The Saints Go Marching In
American folk song
ejemplo / Músicas de amostra / Образцы композиций / /
ۛˆ
/
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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
Für das „E“ benötigen Sie die Oktavklappe
(per Daumendruck), achten Sie also gut
auf Ihren Fingersatz, um einen reinen, sta-
bilen 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
Сложность: низкая
Для исполнения ми нужно использо-
вать октавный клапан (или действо-
вать большим пальцем), поэтому
уделите большое внимание апплика-
туре, чтобы получить хороший, чистый
тон.
Amazing Grace
ߪ֦ࢄक̍ԣࢄݘ
Amazing Grace
ΟѣΩࡵ
ę(ĚЕࠞٱੁӖЕߵएձیࡈଥߞ
ଜװԻ߇ࢽࢶࢉܕչɼΟѦԼࡋए߾࣯
ࢂձ̛ࡌࢇݫݤࠝ
(Amazing Grace)
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones de
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19
Amazing Grace
Traditional
ejemplo / Músicas de amostra / Образцы композиций / /
ۛˆ
/
tenorvenova_started_02.fm Page 19 Wednesday, June 9, 2021 5:54 PM
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 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 abde-
cken (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 correcte-
ment. 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 tona-
les se cubran correctamente para conse-
guir un buen tono resonante en las notas
bajas. Asegúrese de que los agujeros tona-
les 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 gra-
ves. Certifique-se de que os orifícios de
tom estejam completamente tapados com
a polpa do seu dedo (não a ponta).
Amazing Grace
Сложность: высокая
Для хорошего резонирующего тона в
низких нотах важно правильно закры-
вать все тональные отверстия. Убеди-
тесь, что тональные отверстия
полностью закрыты подушечкой (не
кончиком) пальца.
Amazing Grace
ߪ֦ࢄक̍ԣࢄݘ
Amazing Grace
ΟѣϦࡵ
άࡵ ࡸ߾۰ ࣚࡵ ˓ָࡸࡶ ΰ̛ ࡢଥ۰Е
ֻҘࡶࢶࢸѕ߭ߞଢТЬܘɼ
ԃΖࢇ߅ТԂएחٕٗࡳԻࡶ
ࠬࢷւࡳݫݤࠝ
(Amazing Grace)
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones de
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dans d''autres langues
- English: Yamaha YVS-140 User manual
- português: Yamaha YVS-140 Manual do usuário
- 日本語: Yamaha YVS-140 ユーザーマニュアル
Documents connexes
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Yamaha YVS-120 Manuel utilisateur
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Yamaha YVS-140 Manuel utilisateur
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Yamaha Venova Manuel utilisateur
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Yamaha YDS-150 Le manuel du propriétaire
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