GB2445242A

GB2445242A - Musical instrument support dynamically conforming to a players body movements

Info

Publication number: GB2445242A
Application number: GB0724504A
Authority: GB
Inventors: Helen Billing
Original assignee: Individual
Current assignee: Individual
Priority date: 2006-12-18
Filing date: 2007-12-17
Publication date: 2008-07-02
Also published as: GB0724504D0; GB0625170D0; GB2444972A

Abstract

A rest for a musical instrument, such as a shoulder rest for a violin or viola, includes a substantially rigid support 2 securable to the instrument and bears a resilient pad 1 between the player's body and the rest, wherein the resilient pad 1 dynamically conforms to the player's body movements while maintaining substantially constant pressure over the contact area between the player and the pad. Preferably the resilient pad 1 comprises a visco-elastic polyurethane flexible foam exhibiting a shape memory effect, which will soften, compress and mould to the individual player and reflect the body contours in response to the player's natural body heat. At the same time the pad 1 dynamically maintains substantially constant pressure over substantially the whole area of the pad, thereby obviating localised pressure points.

Description

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INSTRUMENT SHOULDER REST

Field of the Invention

This invention relates to body rests for musical instruments and in particular to shoulder rests for a violin or viola.

Background of the Invention

Musical instruments, and particularly bowed instruments, may need to be supported by the player's body while leaving both hands free to play the instrument. In particular, a violin or viola is normally held between the player's chin or jaw and their left shoulder, with the neck of the instrument resting in the player's left hand, while the right hand holds the bow. Thus, the player can freely shift their left hand the full length of the finger board in order to stop any string at any position. One or more rests may be secured to the instrument as a support and to provide a suitably shaped surface which the player can conveniently hold. One or more rests may be padded to provide cushioning between the instrument and the player's body. The player's method of holding the instrument depends on their individual technique and varies dynamically throughout the performance.

For example, at appropriate intervals some violin or viola players may increase the grip of their left hand or even lift their chin off the chin rest. Particularly while playing in one position, this allows the weight of the instrument to be taken by their left hand and shoulder. In contrast, the instrument is held between the chin and shoulder without using the hand when shifting position.

In order to reduce muscle strain and to improve support of the instrument, it is desirable for the rest to remain in continuous contact with the player's body over as wide an area as possible while enabling relative movement between the player and the instrument. At the same time, the rest bears the weight of the instrument to a greater or lesser extent. It is therefore important that the rest does not move relative to the instrument.

Typical rests, and particularly shoulder rests, comprise a rigid frame or shell, with or without padding, detachably secured to the instrument. At the same time, shoulder rests and pads may damp down the natural tone of a io violin or viola, which is to be avoided. Contact area between the rest and the instrument should be minimised.

Players' requirements are individual. The positioning and configuration of the rest should be adjustable, in order to be adapted to the particular player.

US Patent 4951541 dated 28 August 1990 of Steven McMillan describes an adjustable rest for a stringed instrument such as a violin comprising a rigid, plastic support at least partially covered with an open-cell foam backing and bearing an adjustable, multi-piece open-cell foam pad supported by wedge-shaped members which wedge-shaped members provide a selected contour particularly comfortable and pleasing to the player. The support or base plate is elastically secured to the instrument. It is not apparent from that patent whether the overall arrangement is sufficiently stable or provides firm enough support.

Summary of the Invention

According to an aspect of the present invention, there is provided a rest for a musical instrument including a substantially rigid support securable to the instrument and bearing a resilient pad, preferably a foam pad, between the player's body and the support, wherein, in use, the resilient pad dynamically conforms to the player's body movements while maintaining substantially constant pressure over the contact area between the player and the pad.

Preferably, the resilient pad is shaped generally to engage the player independently of such conformity.

The invention is primarily applicable to a violin or viola, and especially as a shoulder rest providing support and cushioning between the back of the instrument and the player's shoulder. The invention is applicable to other stringed or other musical instruments to the extent that the instrument is supported, wholly or partially, by the player's body without encumbering the player's hands or fingers.

It is a necessary feature of the present invention that all or nearly all of one face of the resilient pad remains in continuous contact with the player's body notwithstanding movements of the player and the instrument, while simultaneously maintaining substantially constant pressure over substantially the whole area of the pad and thereby obviating localised pressure points. In other words, the resilient pad continuously moulds to the shape of the player's body. Preferably, the resilient pad is visco-elastic, whereby the rate of deformation varies with the applied load in such a manner as to spread the pressure evenly.

Visco-elastjc polymers may exhibit a shape memory effect, whereby a shaped article may be deformed and then held in the deformed shape, for example by cooling below a transition temperature. The article then reverts to its original configuration on warming it above its transition temperature. When such a shape memory polymer is visco-elastic, it will be comparatively rigid below the transition temperature and resilient above the transition temperature.

This property provides a further benefit of a rest according to the present invention. If the transition temperature of the resilient pad is chosen to be at or slightly below body temperature, the pad will soften, compress and mould to the individual player and reflect the body contours in response to the player's natural body heat, in a manner of a pressure-reducing mattress. In use, therefore, the rest constitutes a resilient cushion between the player and the instrument while maintaining continuous contact with the player's body over all or nearly all the face of the resilient pad during movements of the player and the instrument. At the same time the pad dynamically maintains substantially constant pressure over substantially the whole area of the pad, thereby obviating localised pressure points.

Particularly advantageous materials for the resilient pad comprise polyurethane flexible foams, as supplied, for example, by Carpenter Plc, Glossop, Derbyshire; Vitafoam Limited, Middleton, Manchester; or Dan-Foam ApS, Aarup, Denmark. In order to provide sufficient grip between the player's body and the instrument and to maximise relaxation time from any particular moulding shape, higher density visco-elastic foams are preferred and particularly those grades with higher consistency throughout the body of the foam.

In order to increase player comfort, a soft layer or cover such as a natural or synthetic fabric, for example shammy (chamois) leather, may be interposed between the resilient pad and the player's body. The soft layer or cover may be chosen to increase friction in order to reduce displacement of the pad from a chosen position. As with pressure-reducing mattresses or cushions, the resilient pad may comprise different layers, each with its own properties and characteristics, provided that the layer adjacent to the player conforms at all times to the player's body contours while uniformly distributing pressure on the player.

Preferably, the rigid support is spaced away from the instrument in order to minimise damping effects.

Conveniently, the support is secured to the instrument by at least one engagement member including a hook or clasp engaging a periphery of the instrument. The engagement members may be detachable from the support, for example by being unscrewed from threaded sockets To facilitate adjustment, the support may bear a plurality of mounting points for the or each engagement member spaced at different locations, and the engagement members may be positioned according to the size of the instrument. Preferably, the mounting points are spaced along a face of the support which, in use, is inclined relative to a corresponding surface of the instrument. The inclined face may be plane or curved.

The tilt of a violin or viola, for example, relative to the player's shoulder in the normal playing position means that there is less range of displacement of one end of a shoulder rest than the other. Advantageously, the support includes two inclined faces with different numbers of mounting points on each face in order to accommodate this asymmetry.

The size and shape of the rest and particularly of the rigid support may be selected approximately in accordance with the dimensions of the associated instrument.

Advantageously, dimensions of the rigid support relative to each other substantially accord with the golden ratio.

Thus, to the extent that a face of the support is quadrilateral it will tend towards a golden rectangle.

Brief description of the drawings

The invention will now be described further, by way of example, with reference to the accompanying drawings, in which:-Figure 1 is a perspective view, part disassembled, of a shoulder rest for a violin or viola according to the present invention; and Figure 2 is an exploded view of a resilient pad for the shoulder rest, and its cover.

Conventionally, a violin or viola is played using the right hand for the bow, with the instrument supported on the player's left shoulder and their left hand fingering the strings. The following description accords with that convention but it will be apparent that left and right can readily be transposed if appropriate.

Description of a Preferred Embodiment

By way of non-limiting example, a shoulder rest for a violin or viola may comprise a resilient pad 1 mounted on a shaped wooden base block 2 bearing two engagement members 3.

The resilient pad 1 is carved from or moulded from a visco-elastic memory foam such as the high density, pressure-relieving polyurethane foam supplied by Dan-Foam ApS (Tempur UK Ltd.) for support mattresses, cushions and pillows under the registered trade mark TENPUR. Fig. 2 shows resilient pad 1 and a pouch or cover 10 of hardwearing natural or synthetic sharniny (chamois) leather. In use, the cover 10 is glued or otherwise permanently bonded to the base block 2 so that the face of the base block 2 overlies the opening of the pouch 10.

The dimensions of the visco-elastic polyurethane foam pad 1 will vary depending on the size of the instrument.

For a full size violin, for example, the pad 1 will be no longer than the widest part of the violin and will measure approximately 20 cm. (All instruments are subject to slight variability of size as there are no exact standards.) Again, for a full size violin the width of the foam will be no greater than 7 cm and no smaller than 3.5 cm at any one point and the depth will be no greater than 6 cm and no smaller than 3 cm and can vary along the length of the pad.

The foam may be wider at one end than the other. With the pad 1 on the shoulder of the violinist and the violin in normal playing position, the widest part of the foam pad will be to the left hand side and the narrower part to the right. The pad may have a slight curve of no more than 20 degrees arching away from the player. For a smaller violin or a larger viola these measurements will be either sized down or up in proportion to the size of the instrument. The face of the resilient pad 1 attached to the base block 2 is preferably slightly larger than the corresponding face of the base block 2.

As shown in Fig. 1, wooden base block 2 bears a series of blind mounting holes 20 for the engagement members 3. A tapped (threaded) brass or brass-plated socket (not shown) is imbedded into each mounting hole 20. An externally threaded rod or shaft 30 forming part of engagement member 3 can be screwed into mounting holes 20. Optionally, brass or brass-plated escutcheon plates 21 surmount mounting holes 20. Escutcheon plates 21 are held in rebates in base block 2 by small screws (not shown) so that the face of the escutcheon plate 21 is essentially flush with the surface of the base block 2. Escutcheon plates 21 are hinged or folded to follow the contour of the base block 2. Escutcheon plates 21 may provide some support for the engagement members 3.

Ease block 2 is made from a piece of solid wood.

Pearwood, palisander, maple, box wood, olive, plum tree or rosewood are preferred because of their acoustic properties.

Base block 2 may be finished (sanded and stained) and polished as appropriate for the particular instrument.

The two engagement members 3 are made of brass or plated brass. They are essentially T-shaped, with the threaded rod or shaft 30 forming an upright. A cross piece 31 bears two hooks 32 shaped to grip the back and side of the instrument in conventional manner and hold the shoulder rest in place. Conveniently, the two sections are made separately and then joined together, for example by soldering or brazing. Preferably an end of threaded rod or shaft 30 engages a hole 33 in cross piece 31. Optionally, shaft 30 may be screwed into hole 33.

It will be apparent that mounting holes 20 are at different positions along a sloping surface 22 of base block 2. The displacement of the shoulder rest from the instrument may be altered by engaging the threaded rod or shaft 30 in different holes according to the size of the instrument. In particular, as the rods 30 are moved inwards to fit a smaller instrument they also move downwards along the slope 22 so that the range of movement becomes lower for a smaller instrument. Additionally, altering the extent to which the threaded rod or shaft 30 is screwed into the mounting hole may adjust displacement of the shoulder rest from the instrument as required by a particular player. The threaded rod or shaft 30 may incorporate a stop or shoulder (not shown) bearing against the wooden base block 2 or an escutcheon plate 21.

The tilt of a violin or viola relative to the player's shoulder in the normal playing position means that there is less range of displacement of one end of the shoulder rest than the other. This is reflected in the different numbers of mounting holes 20 in the two ends of base block 2 shown in Fig. 1.

Preferably, hooks 32 are snugly covered with rubber or closed cell ethylene-vinyl acetate foam in order that they grip the instrument and hold the shoulder rest in place.

Additionally, such covers serve to protect the instrument from scratches and to prevent staining of the instrument.

The component parts can be assembled by hand or machine. The threaded rod or shaft 30 is inserted into the mounting holes 20 in the wooden base block 2 by screwing.

If required, brass escutcheon plates 21 are placed into the rebates in base block 2 and screwed into place with small screws. An engagement member cover is placed over the crosspiece 31 (leaving a hole for the threaded rod or shaft 30) and the rod or shaft 30 is fastened into place, for example by soldering or brazing, or by screwing an end of threaded rod or shaft 30 into a tapped hole 33 in crosspiece 31. Alternatively, crosspiece 31 and rod or shaft 30 are assembled first and then two rubber or EVA covers are pushed over the hooks 32. A visco-elastic memory foam moulded pad 1 is placed inside a pouch or cover 20 and strong glue applied around the edge of one side. This is then clamped to the wooden base block 2 until the glue is dry. The engagement members 3 are detachable and can be dissembled and reassembled by the manufacturers and the player.

Claims

-10 - CLAIMS

1. A rest for a musical instrument including a substantially rigid support securable to the instrument and bearing a resilient pad between the player's body and the support, wherein, in use, the resilient pad dynamically conforms to the player's body movements while maintaining substantially constant pressure over the contact area between the player and the pad.

2. A rest as claimed in Claim 1 wherein the resilient pad is a foam.

3. A rest as claimed in Claims 1 or 2 wherein the resilient pad exhibits a shape memory effect.

4. A rest as claimed in Claim 3 wherein the shape memory of the resilient pad is temperature-related and the transition temperature is at or slightly below the player's body temperature.

5. A rest as claimed in any one of the preceding claims wherein the resilient pad is visco-elastic.

6. A rest as claimed in Claim 5 comprising a polyurethane flexible foam.

7. A rest as claimed in any one of the preceding claims wherein the resilient pad comprises different layers.

8. A rest as claimed in any one of the preceding claims wherein a soft layer is interposed between the resilient pad and the player's body.

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9. A rest as claimed in any one of the preceding claims wherein the resilient pad is shaped generally to engage the player.

10. A rest as claimed in any one of the preceding claims wherein the support comprises a block, frame or shell.

11. A rest as claimed in any one of the preceding claims wherein, in use, the rigid support is spaced away from the instrument.

12. A rest as claimed in Claim 11 wherein the support is secured to the instrument by at least one engagement member including a hook or clasp engaging a periphery of the instrument.

13. A rest as claimed in Claim 12 wherein the engagement member is detachable from the support.

14. A rest as claimed in Claim 13 wherein the support bears a plurality of mounting points for the or each engagement member spaced at different locations, and the engagement members may be positioned according to the size of the instrument.

15. A rest as claimed in Claim 14 wherein the mounting points are spaced along a face of the support which, in use, is inclined relative to a corresponding surface of the instrument.

16. A rest as claimed in Claim 15 wherein the support includes two inclined faces with different numbers of mounting points on each face.

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17. A rest as claimed in any one of the preceding claims wherein the mounting points comprise threaded sockets.

18. A rest as claimed in any one of the preceding claims wherein dimensions of the rigid support relative to each other substantially accord with the golden ratio.

19. A rest as claimed in any one of the preceding claims for a stringed instrument.

20. A rest as claimed in Claim 18 for a violin or viola.

21. A rest as claimed in any one of the preceding claims comprising a shoulder rest.

22. A rest substantially as described and with reference to the attached drawing.