GB2107572A - Variable and multidimensional shoulder-pad for the violin - Google Patents

Abstract

A shoulder pad to support a violin and to be worn under a user's shirt comprises a pad 1 formed by a hollow pouch which may be fitted to the required thickness and closed by a zip fastener. The pad may be held in place by means of cards I, II, III and leather strips 5, 6 having press studs which allow for adjustable location thereof on the pad and on a similar arrangement positioned on the shoulder straps of a wearer's vest by means of paper clips. <IMAGE>

Description

SPECIFICATION Variable and multi-dimensional shoulderpad for the violin The invention relates to a shoulder-pad for the violin, comprising of four parts.

(i) The pad itself is shown in Fig. 1, with one side zipped (2). The container of the pad which is made of cotton fabric and is 1 3cm X 1 3cm. can contain from 1 upto 5 handkerchiefs. Two sides of the pad (3) and (4) have leather strips stitched on it, and each strip has 4 rivets on it. Two holes are made on-strip 3, one at the middle point between the first and second rivets and the other at the mid-point between the third and the fourth rivets. Two holes are made at the corresponding points on strip (4) also.

(ii) The fastening cord (7) is made of wool and synthetic fibre of diameter 3m.m. It is tied on the shoulder-pad cross-wise firmly. Cords I, II and Ill are ordinary shoe-laces of the soft and flat type, with their metallic points cut off.

(iii) Two thin leather strips (5) and (6) of dimensions 6cm. x 22cm., each strip having two press-fasteners at its ends.

(iv) A vest equipped with 3 rivets on each of two separate locations on the left suspension.

Two leather strips, each of 4cm. and having 3 rivets on it, get attached on the suspension by two paper-clips. Each of the leather strips (3) and (4) has a V-shaped cut in the middle, through which cord (7) passes. After several handkerchiefs have been inserted into the pad, and the zip closed, this cord is firmly tied on the pad cross-wise, passing from the middle of each side. The cord forms a knot at the centre of gravity of the upper surface of the pad. Each one of the two short leather strips (5) and (6) has two press-fasteners at its ends.

One end of the strip (35) can be engaged with any one of four rivets on the leather strip (33) of the pad, while the other end can be engaged with any one of 3 rivetsbon the vest suspension (21). Similarly, one end of the short strip (36) can be engaged with anyone of the four rivets on the leather strip (34) of the pad, while the other end is engaged with anyone of the 3 rivets on the vest suspension (22). When the violinist has determined the most suitable position of the centre of gravity of the pad in relation to his shoulder, and also the most suitable orientation of the pad in relation to the centre of gravity of the pad, and when all the fasteners are properly engaged, the three cords I, II and Ill are fastened as explained below.

One end of cord I which is tied at the rivetfastener connection-point of the leather strip (3), after going through the hole between the third and fourth rivets, is passed over the left shoulder-blade and then underneath the shoulder. Similarly, one end of the other cord I, is tied at the predetermined rivet-fastener connection-point of the leather strip (4), and goes through the hole between the third and the fourth rivets of (4). The pair of cords I, get tied firmly under the left shoulder. While cords I are actually being tied, the part of the left limb between the shoulder and the elbow should be parallel to the floor. Cord II is a cord which is tied firmly at the geometrical centre of that face of the shoulder pad which is to establish contact with the violinist's shoulder. This cord, goes round the lowest part of the violinist's neck and gets tied in front of the neck.Cord ill is tied at the geometrical centre of the upper-face of the pad and after going through the holes beween the first and the second rivets of leather strips (3) and (4) respectively, and round the lowest part of the violinist's neck, gets tied in front of the neck. The cords I, II and Ill if of the proper material, do not in any way hurt the neck or the shoulder of the violinist. In fact, they can hardly be felt. To make sure that the pad is fixed firmly on the shoulder at its chosen position on the shoulder, cord I should be untied and tied firmly once again, keeping the portion between the left shoulder the elbow parallel to the floor. After this is done, cords II and Ill should be untied and tied again firmly; the tying of cord II preceding that of cord Ill.When this is completed, the shoulder pad would be firmly fixed on the shoulder, with the centre of gravity of the pad exactly above the chosen point of the shoulder, and the orientation of the shoulder-pad relative to its centre of gravity, would be as required.

When the violin is held in the usual way, it will be found that the system provides the player with security (the violin will not move under the chin, once the chin is placed on the chin-rest), multidimensionality, comfort and adaptability. Multidimensionality is provided and preserved at all times. This means that the violinist can change the following angles instantaneously to his satisfaction, while playing.

(i) The angle the violin makes with the horizontal plane; axis of rotation, being the neck of the violin.

(ii) The angle the violin makes with the horizontal plane in the vertical direction i.e. lifting or lowering the neck of the violin.

(iii) The angle the violin makes with a fixed line on the horizontal plane.

In addition, because only a small area of the back of the violin makes contact with the shoulder-pad, the vibrations of the violin are not interfered with, the sound of the violin is natural and undamped. All the known different types of shoulder-pads which are attached on the violin in some manner, and which make contact either with the back or the sides of the violin, interfere with the natural vibrations of the violin in varying degrees and hence product damped oscillations. Further more, these devices, also destroy in varying degrees, the multidimensionality, when actually playing. Furthermore, the pressure of the chin on the chin-rest of the violin, can be adjusted from very slight to higher and higher pressures without the player becoming uncomfortable and without the risk of the violin slipping down or to the sides.Thus, chinpressure sensitivity, which is a very important facet of the technique of violin-playing is enchanced. Position shifts become easier and much more accurate. For violinists with short arms and fingers, it becomes possible to press the little-finger on the strings at almost rightangles to the fingerboard. Bow control of the right-hand is enchanced to an amazing degree. Because of the general security and comfort gained, it becomes possible to concentrate on the music one is making, rather than on technique. It becomes possible for each violinist to make must more rapid progress technically and also to develop his talents to its maximum level possible.

With all the different types of shoulder-pads which are attached on the violin, there is always the risk of the pad separating itself from the violin, when playing. With this system, this problem is also solved. This shoulder-pad facilitates the peformance of the virtuoso violinist as well as the performance of the orchestral violinists. In orchestras, where two violinists use one music-stand jointly, the adjustment of the angles of the violin as the situation requires while playing, makes it much easier for the violinist to concentrate on the music. This type of shoulder-pad, can be used to great advantage by all violinists whether they are tall or short, with long or short necks, arms and fingers.Broadly speaking, all that has to be done in the case of tall violinists, with long necks, arms and fingers, is simply to use thicker shoulder-pads [5 or 6 handkerchiefs inside the container] and/or move the shoulder-pad closer to the neck.

Chin-rests of greater height can also be utilised. Every violinist, could determine the thickness of the shoulder-pad most suited to him, together with its position and orientation on the shoulder. Violinists with extremely short necks, would find it advantageous to reduce the number of handkerchiefs to 3 or 2, together with chin-rests that should be comparatively low. Further adjustments can be made by moving the pad further away from the neck.

The type of chin-rest that would give comfort and security to violinists to be used together with this shoulder-pad, would be the type which is concave i.e. the edges of the chin-rest in front and rear, are higher than in the middle part of the chin-rest.

After the shoulder-pad has been properly placed and secured, a comfortable shirt with long sleeves could be worn.

The sleeves of the shirt, should be about 2 in. longer than the sleeves of the shirt normally worn by the violinist, when not playing the violin. It is important that trousers which are comfortably tight [not too tight and not too slack around the waist] should be worn. A normal trouser-belt around the waist would help. This is to keep the vest in position, and hence the shoulder-pad. The jackets that the violinists use, should be very comfortable (never tight) and very lightly padded. In the case of violinists with short necks, the padding of the jacket should indeed be very slight.

It is recommended that jackets which have three buttons in front be utilised with this shoulder-pad. While trying to determine the height, position and orientation of the shoulder-pad, only short-sleeved shirts should be worn while these experiments are being carried out, it is recommended that a folded handkerchief be opened once from its middle, and placed on the chest immediately under the neck of the violinist. This will prevent the rear of the violin from giving pain to the violinist on his chest, while playing the violin.

This type of shoulder-pad, makes it possible for a handkerchief to be placed on the chinrest, whenever one is required.

It is quite possible that Paganini's secret was in his use of a shoulder-pad, of similar design.

Claims (5)

1. Variable and multi-dimensional shoulder-pad for the violin has the following components: A container (1) which is zipped (2) on one side, made of cottonfabric of 1 3cm. by 1 3 cm. and which can contain from one up to five handkerchiefs. Two sides of the pad (3) and (4) have leather strips on it, and each strip has four rivets on it. Two holes are made on strip (3), one at the middle-point between the first and the second rivets and other at the mid-point between the third and the fourth rivets. Two holes are made at the corresponding points on strip (4) also. The fastening cord (7) is made of wool and synthetic fibre of diameter 3mm. It is tied on the shoulder-pad crosswise firmly. Cords I, II, and Ill, are ordinary shoe-laces of the soft and flat type, with their metallic points cut off. Two thin leather strips (5) and (6) of dimensions 6cm.

by 2.5cm. each strip having two press-fasteners at its ends. Two leather strips (21) and (22) of 4cm. in length and having three rivets on it, get attached on the left suspension by two paper-clips. Each of the leather strips (3) and (4) has a V-shaped cut in the middle, through which cord (7) passes.

After several handkerchiefs have been inserted into the pad, and the zip closed, this cord is firmly tied on the pad crosswise, passing from the middle of each side. The cord forms a knot at the centre of gravity of the upper surface of the pad. Each one of the two short strips (5) and (6) has two pressfasteners at its ends.

One end of the strip (35) can be engaged with any one of four rivets on the leather strip (33) of the pad, while the other end can be engaged with any one of three rivets on the vest suspension (21). Similarly, one end of the short strip (36) can be engaged with any one of four rivets on the leather strip (34) of the pad, while the other end is engaged with any one of the three rivets on the vest suspension (22).When the violinist has determined the most suitable position of the centre of gravity of the pad in relation to his shoulder, and also the most suitable orientation of the pad in relation to the centre of gravity of the pad, and when all the fasteners are properly engaged, the three cords I, II and Ill, are fastened as explained below: One end of cord I, which is tied at the rivetfastener connection-point of the leather strip (3), after going though the hole between the third and the fourth rivets, is passed over the left shoulder-blade and then underneath the shoulder. Similarly, one end of the cord I, is tied at the predetermined rivet-fastener connection-point of the leather strip (4), and goes through the hole between the third and the fourth rivets of (4). The pair of cords I, get tied firmly under the left shoulder.While cords I are actually being tied, the part of the limb between the shoulder and the elbow should be parallel to the floor. Cord II is a cord which is tied firmly at the geometrical centre of the shoulder-pad which is to establish contact with the violinist's shoulder. This cord, goes round the lowest part of the violin ist's neck and gets tied in front of the neck.

Cord III, is tied at the geometrical centre of the upper face of the pad and after going through the holes between the first and the second rivets of leather strips (3) and (4) respectively, and round the lowest part of the violinist's neck, get tied in front of the neck.

The cords I, II, and Ill if of the proper material, do not in any way hurt the neck or the shoulder of the violinist. In fact, they can hardly be felt. To make sure that the pad is firmly fixed on the shoulder at its chosen position on the shoulder, cord I should be untied and tied firmly once again, keeping the portion between the left shoulder and the elbow parallel to the floor. After this is done, cords II, and Ill, should be untied and tied again firmly; the tying of cord II preceding that of cord Ill. When this is completed, the shoulder-pad would be firmly fixed on the shoulder, with the centre of gravity of the pad exactly above the chosen point of the shoulder, and the orientation of the shoulder-pad relative to its centre of gravity, would be as required.

2. The chin-rest should be concave i.e. the front and the rear edges should be higher than the middle part.

3. The sleeves of the shirt, should be about 2in. longer than the sleeves of the shirt normally worn by the violinist when not playing the violin,

4. It is important that trousers which are comfortably tight (not too tight and not too slack around the waist) should be worn. A normal trouser-belt around the waist would help. This is to keep the vest in position, and hence the shoulder-pad.

5. The jackets that the violinists use, should be very comfortable (never tight) and very lightly padded. It is recommended that jackets which have three buttons in front be utilised with this shoulder-pad.