JP2006308837A - Assisting device for holding musical instrument for practicing classical guitar - Google Patents
Assisting device for holding musical instrument for practicing classical guitar Download PDFInfo
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- JP2006308837A JP2006308837A JP2005130855A JP2005130855A JP2006308837A JP 2006308837 A JP2006308837 A JP 2006308837A JP 2005130855 A JP2005130855 A JP 2005130855A JP 2005130855 A JP2005130855 A JP 2005130855A JP 2006308837 A JP2006308837 A JP 2006308837A
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- G10G—REPRESENTATION OF MUSIC; RECORDING MUSIC IN NOTATION FORM; ACCESSORIES FOR MUSIC OR MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR, e.g. SUPPORTS
- G10G5/00—Supports for musical instruments
- G10G5/005—Supports for musical instruments while playing, e.g. cord, strap or harness
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Abstract
Description
本発明は、クラシックギター演習時に着用、演奏を司る両手の、楽器の荷重負担と姿勢保持拘束を解放し、手を使わずに、安定した楽器姿勢の確保と保持調整が出来、離着脱と携行が簡易で、使用感の目立たない、装着型吸盤吊上げ式楽器保持補助具に関するものである。 The present invention releases the load and posture holding restraint of both instruments that are worn and played during classical guitar exercises, and can secure and maintain a stable musical instrument posture without using hands, and can be detached and carried This is a simple, inconspicuous feeling of use, and relates to a mounting-type sucker lifting instrument holding aid.
近代に入って、楽器全般に、エレクトロニクスの影響が始まり、シンセサイザーなどの合成音源時代を迎えて、ギターも電子化して大きく変貌した。そうした激動の流れの中にあっても、変革することなく、美術工芸品の楽器を愛好し、従来の演奏スタイルを守り、アコーステックな弦音の響きに愛着する、いわゆる古典派のクラシックギターの存在がある。然し、長いネックで大きい共鳴胴の、華麗な仕上げの芸術品的楽器を両手で保持しながら、同時にそれぞれ音程を定め、撥弦するに当たって直面する、演奏に絡む克服し難い、物理的課題があった。 In the modern era, the influence of electronics began to affect all musical instruments, and with the era of synthesized sound sources such as synthesizers, guitars also became electronic and changed dramatically. Even in such a turbulent flow, there is a so-called classical guitar that loves art and craft instruments, protects traditional performance styles, and loves acoustic string sounds without changing. There is. However, while holding a brilliantly finished artistic instrument with a long neck and large resonance barrel with both hands, there is a physical problem that is difficult to overcome and that is confronted by the performance that is faced when setting the pitch and plucking each string at the same time. It was.
即ち、両手で楽器を保持しながら、同時に両手でそれぞれ、フレットの弦を抑え、弦を弾くことの難しさである。同じ撥弦楽器の三味線や、三線(蛇皮線)も同様の課題を抱えているが、殆どの奏者が楽器を、体の前面に、縦位置に構え、左手掌には、親指と人差し指に跨る[指伽半]を着けて、左手の棹を上下する際の、汗による指使いの障害を防いでいる。然し、その様な手立ての、全く無いクラシックギター演奏者は、厳しい修練を積み重ねてこの課題を克服し、ピアノ演奏等には思いも付かない、楽器を保持しながら、音程を作り、音を出す三つの障壁を、乗り越えなければならない。楽器を支えながらの左手の運びは、儘ならない、更に掌の汗が手の動きを妨害する等、ギター演習の最初からの妨げとなる、この異質で無駄な労力の原因の、楽器の不安定、という根源的な欠点の解消が望まれるのである。 That is, it is difficult to hold a musical instrument with both hands and simultaneously hold down the fret string with both hands and play the strings. The shamisen of the same plucked string instrument and sanshin (snake skin) have the same problem, but most players hold the instrument in the vertical position on the front of the body, and straddle the thumb and forefinger on the left palm [finger Wearing a [half] half, it prevents fingers from obstructing when sweating up and down the left hand heel. However, a classical guitar player who has no such technique, overcomes this problem by accumulating rigorous training, creating a pitch and producing a sound while holding a musical instrument that is unthinkable for piano performance etc. We must overcome three barriers. Carrying the left hand while supporting the instrument does not hesitate, and the instrument's instability is the cause of this extraordinary and wasteful effort that interferes with the guitar exercise from the beginning, such as palm sweat obstructing hand movements. It is desirable to eliminate the fundamental drawbacks.
クラシックギターのオーソドックスな演奏マナーは、1.必ず椅子に腰掛けて演奏する(立ち姿勢、座位、あぐら、で演奏しない。・難しい)2.演奏のためギターを抱える時、脚を組むか、3.左右どちらかの足を足台に乗せて、ボデイを太腿に乗せて、右腕肘で抱える姿勢にする。等の、美しい古典的スタイルが求められている。然しこの2.の姿勢は、演奏時に確たる楽器保持が難しい上、体勢が苦痛などの難点があり、3.は足台の常時携行が煩わしい。次第に、両股を大きく開き、股間でギターを挟む姿勢や、横抱き前屈みの無粋なスタイルも見られる様になり、ギターの品位や魅力も冷めて、人気が落ち、女性層に特に疎んじられてきた。処が、この技法習得上の課題は通常、入門者の当然の試練とみなし、練習の過程で次第に練磨克服され、上達すると消えてしまう問題、と考えられて来た。然し、この楽器を容易に確保できないことは、目的の演奏とは異質な、習得を妨げる無駄な役務に、労することであり、ギターを学ぶ初心者の入り口の障壁であるので、なんとかうまく解決したい、根源的な欠点であった。 The orthodox performance manners of classical guitar are: Be sure to sit on the chair and play (do not play in the standing position, sitting position, cross-legged, difficult). 2. When you hold the guitar for performance, do you cross your legs? Place your left or right foot on the footrest, put your body on your thigh, and hold it with your right arm and elbow. A beautiful classic style is required. However, this 2. As for the posture of, it is difficult to hold the instrument to be sure at the time of performance, and there are difficulties such as painful posture. Is troublesome to always carry a footrest. Gradually, the crotch is wide open, the posture of sandwiching the guitar between the crotch, and the unconventional style of bending forward is also seen, the quality and charm of the guitar cools down, the popularity declines, and it has been particularly distracted by the female group It was. However, this technique acquisition problem is usually regarded as an introductory trial for beginners, and has been thought of as a problem that is gradually overcome in the course of practice and disappears as it progresses. However, the fact that this instrument cannot be secured easily is to work on a useless service that hinders acquisition, which is different from the intended performance, and is a barrier for beginners learning guitar, so I want to solve it somehow It was a fundamental drawback.
従来の改善策として既にいくつかの、商品開発もあり、また、技術公開の例が挙げられる。タイプ別に分類して(1)ハードタイプの例として、ギターを定位に固定する為の架台を構築し、演奏席に連結する等の据え置き型。(2)ソフトタイプの例として、ギターの躯体下辺外周に滑落防止目的の、粘質ゴム製、或いはラバホームなどの粘着シールを貼り付ける等のスリップ防止型。(3)中間タイプの、アタッチメント仕様の、太股に接地して、保持する腕木をギターのネック下部周辺位置に取り付け固定する等のユニット型。(4)その他、同様の市販商品が、ギターレスト等の品名で提供されている。然し、(1)は完全固定になり物理的に充足される事になるが、これでは和琴の変形になり、ギターの持つ柔らかい雰囲気に馴染まない硬さがある。(2)は若干の効果が期待できる程度で、依然課題は残る。(3)は既にリサイタルで実用化されているが、バイオリンのサーバーに比べ目立ち過ぎ、視覚的に馴染まない異物感がある。等それぞれ不満があげられる。
解決しようとする問題点は、演奏する時、両手でそれぞれが、楽器の保持をしながら、同時に演奏に関るため、楽器が不安定となり、演奏が意のままにならない等、運指上において障害となる、楽器の安定確保が出来ない点である。 The problem to be solved is that when playing, each hand holds the instrument while holding it, and it is related to the performance at the same time. The obstacle is that it is impossible to ensure the stability of the instrument.
本発明は、手を使わずに演奏する楽器を保持し、両手の意図した運指や演奏専念を可能とするため、吊り受口付複数の軟質吸盤を搭載した透明樹脂性肉厚シートを扇形状ベース(基盤)に組成。重複吸盤吸引力によって楽器に吸着合体するベース(基盤)に、吊り口接続端子を持つネックループタイ式の吊り上げ紐を連結し、吸着合体した楽器を首からループで牽引、吊り上げて、体側の演奏適宜の位置に保留せしめ、拠って、両手が完全に解放され、演奏に専念できることを最も主要な特徴とする。 The present invention holds a musical instrument to be played without using a hand and allows a transparent resin thick sheet equipped with a plurality of soft suckers with suspension receptacles in order to enable fingering and playing dedication that are intended for both hands. Composition on shape base. Connect a neck loop tie-type lifting string with suspension connection terminals to the base (base) that is attached to the musical instrument by the suction force of the overlapping suction cups, and pull and lift the combined musical instrument with a loop from the neck. The main feature is that both hands are fully released and can be dedicated to the performance.
本発明の楽器保持補助具は、両手が解放され演奏に専念できる最大の利点の他、疲労感が著しく改善、軽減され、その効果は子供や初心者ほど顕著である。透明無色の軟質吸盤使用と独自扇型ベース(基盤)の外縁周ヒレのプロテクター効果(ループと楽器のかど縁との擦れ損傷防止用)等により、1・楽器の接触、こすれ、による損傷や、痕跡残置の恐れないこと。着脱簡易でコンパクトな造りから、2・携行容易、目立たず、抵抗感がないこと。3・複数の軟質吸盤仕様で脱落予防し楽器の安定保持を確保したこと。4・楽器に全く加工、変形せずに現状のままで課題の保持目的を達成。5・保持という労務から開放され演奏が楽しめ、習得し易くする等、多くの利点がある。
The instrument holding auxiliary tool of the present invention has the greatest advantage that both hands can be released and can concentrate on the performance, and the feeling of fatigue is remarkably improved and reduced, and the effect is more remarkable for children and beginners. Due to the use of a transparent and colorless soft sucker and the protector effect of the fin on the outer edge of the original fan base (base) (to prevent rubbing damage between the loop and the corner of the musical instrument), etc. 1. Damage due to contact or rubbing of the instrument, Do not be afraid of leaving traces. Easy to put on and take off,
楽器の演奏の為の両手の解放と、現状の楽器のままで、手を使わずに、安定した楽器保持し、演奏に専念するという目的を、複数の軟質吸盤を扇形に集約、ブロックベース化して、吸引確実性を強化し、ネックループタイによる吸着合体物掲揚を可能とし、楽器とそのイメージを損なわずに、安定保持を実現した。 With the aim of freeing both hands for playing the instrument and keeping the current instrument without using hands, keeping the instrument stable and devoting itself to the performance, a number of soft suction cups are consolidated into a block shape and made into a block base As a result, the suction reliability has been strengthened, and adsorbed coalesced materials can be displayed using a neck loop tie, ensuring stable holding without damaging the instrument and its image.
図2は、本発明の実施例の見取り図である。本体の吸盤搭載扇型ベース(基盤)を、ギター裏面の鏡面部(肩円縁周辺部位)に添付圧着して吸着固定し、予め、首に装着してあるネックループタイの吊り具に連結し、ギターを引揚げ、体側前面に収容する。両手は即、演奏に専念でき、自由な姿勢が可能で、無駄なエネルギーロスが無い。 FIG. 2 is a sketch of an embodiment of the present invention. The fan-shaped base (base) with suction cup mounted on the main body is attached and fixed to the mirror surface part (periphery of the shoulder circle) on the back side of the guitar by adhering and fixing, and connected to the neck loop tie hanger attached to the neck in advance. Lift the guitar and place it on the front side. Both hands can devote themselves to the performance immediately, free attitude is possible, and there is no useless energy loss.
本発明の機能を仕様が吸盤3個のタイプに基づき説明する。
1、ネックループタイの吊り具を4に接続する。
2、ネックループタイの吊り具を5に接続する。
3、ネックループタイの吊り具を5のC型吊口を通して、4のO型吊口に接続する。効果は、1、は首両端と、吸盤の3点支持となり、重心が左に寄り楽器が立ち上がり、2、は重心が右に寄り楽器が横になり、それぞれ吸盤を支点として楽器が浮動廻旋し、保持者のスエー(体の揺らぎ)にフイット(順応)する利点があり、3、は吸盤4、5と首両端の4点支持となり、その姿勢を安定持続する効果が生まれる。意図的に、ベースを右側、或いは左側の位置に寄せて張付け調整する操作ができる。
The function of the present invention will be described based on the type having three suction cups.
1. Connect the neck loop tie hanger to 4.
2. Connect the neck loop tie hanger to 5.
3. The neck loop tie hanger is connected to the 4 O-shaped hanger through the 5 C-shaped hanger. The effect is that 1, the neck ends and the suction cups are supported at three points, the center of gravity rises to the left and the instrument rises, and the center of gravity stands to the right and the instrument lies side by side. There is an advantage of fitting (adapting) to the holder's sway (fluctuation of the body), and 3 is supported at 4 points on the
ギターの保持姿勢は演奏者によって違いがあり、左上がりの斜めを中心に、それぞれ、好みにより傾斜角度の差異がみられる。エレキや、フオークギターの演奏スタイルは、殆ど横位置が主流である。然し、巨匠と言われたギター演奏家達は、縦位置に近い、いわば、上半身に平行に、左肩に寄せてギターを抱えて演奏している。この違いは、前者が、和音コード主体の伴奏が主目的であるのに対し、後者は、ソロ演奏運指上、フレットの指板(ネック、棹)が左手の可動範囲内にある事、即ち、手首を返して押さえる6弦の1フレットから、12フレット迄が容易自由に、指運びのできる、手の届く位置にある事が求められるからである。本発明は、ネック基部の洋梨形ボデイの肩を中心にリフトされるので、体の前面に、丁度この位置に定着することが出来る。体勢はリラックスした姿勢で自由に演奏でき、脚は組んでも組まなくとも、足台は有っても無くても可。極端に、あぐらでも、寄り掛っても演奏に専念できるギターの保持が可能である。 The holding posture of the guitar varies depending on the performer, and there is a difference in the inclination angle depending on the preference, centering on the diagonal to the left. The playing style of electric and fork guitars is mostly horizontal. However, the guitar performers who are said to be masters play with the guitar close to the vertical position, in other words, parallel to the upper body and close to the left shoulder. This difference is that the former is mainly intended for accompaniment of chord chords, whereas the latter is that the fret fingerboard (neck, heel) is within the movable range of the left hand on the solo performance fingering. This is because it is required that the 6th-string 1st fret to which the wrist is returned and pressed down to the 12th fret can be easily and freely carried by the finger and within reach. Since the present invention is lifted around the shoulder of the pear-shaped body at the neck base, it can be fixed at this position on the front of the body. The posture can be played freely in a relaxed posture, with or without legs, with or without a footrest. Extremely, it is possible to hold a guitar that can be devoted to playing even if crossed or leaned.
軟質吸盤複数をブロック化して吸引力集約強化が図られたので、鏡面部があれば何でも吸着牽引リフトが可能であり、他の器物や楽器等の利用可能である。また、鏡面部の無い場合は、一部分に粘着式鏡面シートの貼り付け補充策による利用用途もある。 Since a plurality of soft suction cups are made into a block and the suction force is intensively strengthened, if there is a mirror surface portion, any suction pulling lift can be used, and other instruments and instruments can be used. Moreover, when there is no mirror surface part, there also exists a use application by the sticking replenishment measure of the adhesion-type mirror surface sheet in part.
1吊り上げループ紐
2ループ紐の長さ調整留め具
3吊上げ接続金具
4O型口金具付軟質塩ビ吸盤
5C型口金具付軟質塩ビ吸盤
6軟質塩ビ吸盤大型
7吸盤搭載軟質肉厚塩化ビニル製扇形状成型ベース(基盤)
1 Lifting
7 Suction cup mounted soft thick vinyl chloride fan-shaped molded base (base)
Claims (1)
When playing a classical guitar, a transparent resin soft vinyl chloride thick sheet is used as a fan-shaped base (7 in Fig. 1) for a musical instrument holding aid that frees both hands from the burden of holding the instrument and maintaining its posture and can concentrate on the performance. The material of the base is cut into plastic material, its molding, leather, wood material, etc.), molded into a bowl-shaped punch hole on the upper surface of the base, with two hanging receptacles (retrofitting), In addition, a total of three circular transparent soft resin adsorbing boards are arranged in parallel, and their heads are inserted and mounted, and they are integrated to form a foundation for strengthening the suction force (4, 5, 6, and 7 in FIG. 1). A neck loop tie with a separate hand-released clasp (Fig. 1, 2, 3) A holding aid for guitar playing, characterized by a combination of an adsorbing unit sucker lifting and tethered holding, which includes a combination of leather, nylon, transparent PVC belt, and jewelry lace materials.
Priority Applications (1)
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JP2005130855A JP4221528B2 (en) | 2005-04-28 | 2005-04-28 | Instrument support tool for classical guitar exercises |
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JP2005130855A JP4221528B2 (en) | 2005-04-28 | 2005-04-28 | Instrument support tool for classical guitar exercises |
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JP2006308837A true JP2006308837A (en) | 2006-11-09 |
JP4221528B2 JP4221528B2 (en) | 2009-02-12 |
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Cited By (1)
Publication number | Priority date | Publication date | Assignee | Title |
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FR2940709A1 (en) * | 2008-12-31 | 2010-07-02 | Yahia Dikes | Stringed instrument e.g. acoustic guitar, holding and positioning device for use by musician, has bearing part bearing weight of instrument at level of hip of musician, and suction cup permitting maintenance of instrument on device |
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2005
- 2005-04-28 JP JP2005130855A patent/JP4221528B2/en not_active Expired - Fee Related
Cited By (1)
Publication number | Priority date | Publication date | Assignee | Title |
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FR2940709A1 (en) * | 2008-12-31 | 2010-07-02 | Yahia Dikes | Stringed instrument e.g. acoustic guitar, holding and positioning device for use by musician, has bearing part bearing weight of instrument at level of hip of musician, and suction cup permitting maintenance of instrument on device |
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