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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.
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 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™ !
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Introduction
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
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.
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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!
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Let’s play Venova™ !
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Page 4
Before You Play
Mouthpiece
Ligature
Reed
1
2
Reed
Ligature
screws
Ligature Yamaha
logo
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 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.
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.
* 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.
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Let’s play Venova™ !
Page 5
Let’s Try Playing
1
First, hold the instrument without covering
any of the holes.
2
Upper front teeth
Lower lipLower teeth
Tongue
3
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 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.
Take a deep breath
, and blow into the instrument.
Let’s play Venova™ !
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Page 6
Let’s Try Playing
1
1
2
• 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.
3
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.
* Refer to the illustration on page 15 for proper instrument angle when
holding.
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.
* 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.
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.
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Let’s play Venova™ !
Page 7
Close the Tone Holes and Play Some Notes
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”
• Use the ball of your finger (not the tip) to cover the hole.
• Use your fingers in a relaxed, stress-free form.
Let’s Try Playing
Since lower pitches are hard to produce without good embouchure and sufficient 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.
Let’s play Venova™ !
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Page 8
Let’s Try Playing
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)
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.
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Let’s play Venova™ !
Page 9
Controlling Tone
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.
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.
Let’s play Venova™ !
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Troubleshooting
2
Condition Cause Solution
No sound. The reed is not properly
positioned on the mouthpiece.
Not enough air to make the
reed vibrate.
Biting too hard on the
mouthpiece (too much
lower lip pressure on the
reed).
Mouth is too loose (lower lip
is not sufficiently supporting the reed).
Low-pitch
sounds are
hard to make.
Low-pitch
sounds shake
and waver.
Makes a
squeaking
sound.
The upper front teeth are
not resting firmly on the
mouthpiece.
Lower lip is covering too
much of your lower 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 page 14 and properly position the reed.
Increase the amount of air you
blow into the instrument.
Reduce the amount of pressure
your lower lip is applying to 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.
Use your left thumb to firmly support the instrument so that the
mouthpiece is in firm contact with
the upper teeth.
Reduce the amount of lip covering your teeth.
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.
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Let’s play Venova™ !
Page 11
Troubleshooting
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/
Condition Cause Solution
Water noise
can be heard
while playing.
Overall pitch is
high.*
Overall pitch is
low.*
* The reason the pitch is off is possibly due to a poor embouchure. Refer to the “Getting a Bal-
anced Sound
Moisture has accumulated
in the body, mouthpiece, or
reed.
Biting too hard on the
mouthpiece.
Mouthpiece is positioned
too shallow in the mouth.
Upper front teeth are not
firmly resting on the mouthpiece.
Mouth is too loose or open
(the lower lip is not sufficiently supporting the reed).
” section on page 18 to find a solution that improves your pitch.
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.
Don’t bite too hard on the mouthpiece.
Position the mouthpiece deeper
into your mouth.
Make sure your upper front teeth
are placed firmly on the mouthpiece.
Close your mouth tighter around
the reed (not to the extent that
the sound squeaks) to firmly support the reed with your lower lip.
Let’s play Venova™ !
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運指表
4
3
2
1
8
7
6
5
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
Fingering Chart
Grifftabelle
Tableau des doigtés
Gráfico de digitado
Tabela de digitação
Таблица аппликатуры
指法图
운지법
運指表
/ Fingering Chart / Grifftabelle / Tableau des doigtés / Gráfico de
■ ジャーマン式運指
アルトヴェノーヴァの運指はジャーマン式のみとな
ります。
*F#、G#、Bbなどの半音は音程が高く出やすく、音
色も響きにくくなります。替え指や息の量、アン
ブシュアをコントロールして、より良い音程で演
奏しましょう。
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'AltoVenova 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.
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•
押さえる
•
Close
•
Geschlossen
•
Fermée
•
Cerrado
•
Fechado
•
Закрыто
•
闭孔
•
닫기
•
3/4ふさぐ (キイは押さえない)
•
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)
•
Закрыто на три четверти
(клапаны должны быть открыты)
•
覆盖3/4（音键未闭合）
•
3/4 덮기 (키는 닫혀 있지 않음)
digitado / Tabela de digitação / Таблица аппликатуры /
指法图
/
운지법
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.
Немецкая система
Alto Venova используется только с немецкой системой аппликатуры.
* Полутона, такие как F#, G#, Bb, как правило,
звучат резко и резонируют плохо. Скорректировать звучание можно с помощью аппликатуры, амбушюра и контроля потока воздуха.
德式指法
Alto Venova 只能使用德式指法演奏。
*
F#、G#、Bb 等半音很容易演奏得更为尖
锐，且不易形成共鸣。请通过指法、气流
和口型控制来调整声调。
독일식
Alto Venova는 독일식 운지법만을 사용해 연주합니
다.
*
F#, G#, Bb 등의 반음을 날카롭게 연주하기 용이하
지만 공명시키기 어렵습니다. 운지와 공기 흐름, 암
부슈어 제어를 사용하여 음조를 조절하십시오 .
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サンプル曲集
Sample Songs
Beispiel-Songs
Morceaux échantillons
Canciones de ejemplo
Músicas de amostra
Образцы композиций
示例曲目
サンプル曲集
샘플 곡
/ Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
■ 聖者の行進
難易度：低
左手だけの運指で演奏できますが右手の
親指もしっかり支えて楽器がぐらぐらし
ないように気をつけましょう。
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
Сложность: низкая
При исполнении этой композиции применяется аппликатура лишь для левой
руки, поэтому как следует поддерживайте инструмент большим пальцем
правой руки и не давайте ему шататься.
圣者的行进 - When The Saints
Go Marching In
难度：低
此曲目仅使用左手指法，请确保您的
右手拇指可以支撑乐器让其保持不动。
성자의 행진 (When The Saints
Go Marching In)
난도: 낮음
이 곡은 왼손으로만 운지하므로 악기가 움
직이지 않도록 오른손 엄지로 잘 받쳐주십
시오.
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When The Saints Go Marching In
聖者の行進
American folk song
アメリカ民謡
de ejemplo / Músicas de amostra / Образцы композиций /
示例曲目
/
샘플 곡
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サンプル曲集 / Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
■ 聖者の行進
難易度：高
低いドは難易度の高い音ですが「指の
フォーム」「アンブシュア」「息の入れ方」
のバランスを整えしっかりと鳴らしま
しょう。
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. Equilibre 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.
圣者的行进 - When The Saints
Go Marching In
难度：高
低音“C”难以发声。请确保您指法、
口型和气流的统一。
성자의 행진 (When The Saints
Go Marching In)
난도: 높음
낮은 “C”는 소리를 내기가 어렵습니다. 운
지와 암부슈어, 공기 흐름이 균형을 잘 이
룰 수 있게 하십시오.
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When The Saints Go Marching In
聖者の行進
American folk song
アメリカ民謡
de ejemplo / Músicas de amostra / Образцы композиций / 示例曲目 / 샘플 곡
97
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サンプル曲集 / Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
■ アメージング・グレース
難易度：低
オクターブキー ( またはサミング ) を使っ
た「ミ」がしっかり鳴るように運指を気
をつけましょう。
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
Сложность: низкая
Для исполнения ми нужно использовать октавный клапан (или действовать большим пальцем), поэтому
уделите большое внимание аппликатуре, чтобы получить хороший, чистый
тон.
奇异恩典 - Amazing Grace
难度：低
“E”需要使用八度音键（或大拇指），
请特别注意您的指法，以获得一流音
色。
어메이징 그레이스
(Amazing Grace)
난도: 낮음
“E”는 옥타브 키( 또는 엄지 ) 를 사용해야
하므로 안정적인 소리가 나도록 운지에 주
의를 기울이십시오.
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Amazing Grace
アメージング・グレース
Traditional
伝承曲
de ejemplo / Músicas de amostra / Образцы композиций / 示例曲目 / 샘플 곡
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サンプル曲集 / Sample Songs / Beispiel-Songs / Morceaux échantillons / Canciones
■ アメージング・グレース
難易度：高
低い音をしっかりと鳴らすにはすべての
音孔がきちんと塞がれている事が重要で
す。指の腹の部分で確実に音孔をふさぎ
ましょう。
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
Сложность: высокая
Для хорошего резонирующего тона в
низких нотах важно правильно закрывать все тональные отверстия. Убедитесь, что тональные отверстия
полностью закрыты подушечкой (не
кончиком) пальца.
奇异恩典 - Amazing Grace
难度：高
重要事项：为了在低音上获得良好的
共鸣效果，请以正确的方式按下所有
音孔。 请确保使用指腹（而不是指尖）
完全按住音孔。
어메이징 그레이스
(Amazing Grace)
난도: 높음
낮은 음에서 좋은 공명음을 내기 위해서는
모든 톤 홀을 적절히 덮어야 합니다. 손가
락 (끝이 아니라) 지문 부분으로 톤 홀을
완전히 막으십시오.
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Amazing Grace
アメージング・グレース
Traditional
伝承曲
de ejemplo / Músicas de amostra / Образцы композиций / 示例曲目 / 샘플 곡
101
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4
3
2
1
8
7
6
5
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
付録 実際に出る音(ピアノの音 )の運指表
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)
Дополнение: Таблица аппликатуры в тональности концертного строя (ноты подходят для фортепиано)
补充：音乐会音高指法图（音符与钢琴相匹配）
부록: 연주회용 표준음 운지표(피아노와 음 일치 )
付録 実際に出る音( ピアノの音)の運指表
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)
102
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Anexo: Tabela de digitação em tom de concerto (as notas correspondem a um piano)
•
押さえる
•
Close
•
Geschlossen
•
Fermée
•
Cerrado
•
Fechado
•
Закрыто
•
闭孔
•
닫기
•
3/4ふさぐ (キイは押さえない)
•
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)
•
Закрыто на три четверти
(клапаны должны быть открыты)
•
覆盖3/4（音键未闭合）
•
3/4 덮기 (키는 닫혀 있지 않음)
Дополнение: Таблица аппликатуры в тональности концертного строя
(ноты подходят для фортепиано)
补充：音乐会音高指法图（音符与钢琴相匹配）
부록: 연주회용 표준음 운지표(피아노와 음 일치)
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POPI-D0
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