JPS6084597A - Shoulder pad for stringed instrument - Google Patents

Abstract

(57) [Summary] This bulletin contains application data before electronic filing, so abstract data is not recorded.

Description

DETAILED DESCRIPTION OF THE INVENTION The present invention relates to a shoulder rest for playing a stringed instrument, such as a violin.0 When playing a stringed instrument such as a violin, the player must move the body of the violin 1 as shown in FIG. 2 is held between the clavicle 3 and chin 4 of the player during the performance. In this case, a shoulder rest (not shown) is usually attached between the back shell 5 and the clavicle 30 of the violin. This shoulder rest allows the player to support the instrument reliably, and also allows the player to hold, for example, a violin in a desired position by only the clavicle region 3 and chin 4, without causing fatigue, while simultaneously playing the instrument. It is used for the purpose of freeing the left hand of a person to perform music easily. Therefore, the shoulder rest used for this purpose must (1) be able to securely hold the instrument during performance and have a structure that is easy to hold, and (2) support the player's clavicle area even during long performances. It should be something that protects the instrument and allows you to play comfortably without causing fatigue or other burdens.
(3) The structure does not impose a weight burden on the instrument or the player, nor does it cause damage to the instrument; (4) The structure does not adversely affect the sound emitted by the instrument, and does not have a negative effect on the sound emitted by the instrument, such as the resonance of the back of the instrument. (5) The structure is such that the vibrations emitted by the instrument are faithfully transmitted to the player via the shoulder rest, allowing the player to play with a sense of unity with the instrument.
6) It is desirable to have a device that satisfies performance requirements such as being easy to use even for beginners of performance.

Over the years, this shoulder rest has been devised and used as a supporting device for various types of violins, as a playing support, or as a shoulder pad, but in general none of the devices has been satisfactory. do not have.

Here, to explain an example that has been implemented conventionally, the second
Figures (8), (5), and (C) relate to a waste support device for violins and violas, and are comprised of a flexible, inflatable self-made bag body 10 having an air inflow and outflow device. This device uses a flexible and extensible elastic attachment band 12 that is slidably attached through a slot 11 and is locked to the horizontal plate 6 of the body 2 of a violin or viola. This device is intended to reduce the burden on the shoulder of the player by making the bag 10 elastic with air, but when used on a violin or the like, it is too soft and causes pain in the collarbone of the player. In addition, the vibrations generated by the violin are absorbed into the bag body through the back of the bag, reducing the resonance and not only making it impossible to perform well, but also causing air to be trapped in the middle due to air leakage when used for a long time. It has drawbacks such as the need to be repaired.

Figures 3 (A) and 3 (B are related to a violin playing support), which is made of a relatively hard and flexible plate 1.
3 has finger-like means at both ends of the instrument 14, and a soft pad 15 is attached to the surface of the board 13. This device is used by being attached to the horizontal plate part 6 of the player, but this device also has poor stability in the performer's shoulders, and is not compatible with the performer's body due to the player's skeletal structure and personal weakness. It was difficult to install, and I felt pain in the shoulder bone.
The sound quality changes due to the tightening of the back shell 5 and side plate 6 of the violin, and the vibrations generated by the violin are not easily transmitted to the player, making it difficult to feel a sense of unity between the player and the violin. This method has the disadvantage that the tool 14 touches the violin's side plate 6 and damages the painted part.

FIG. 4(A), (t3 relates to the violin support, and lrl, II'i The shoulder rest and attachment part of the support are integrally constructed with a flexible metal band 16, and the shoulder rest The shoulder rest is covered with velvet or soft leather 17, and the attachment parts 18 provided at both ends of the shoulder rest are elastically clamped to the violin's horizontal plate part 6, thereby providing a support for attachment to the violin. However, like the violin playing support shown in Figure 3, this support does not stabilize the player's shoulders, does not fit well with the player's body, causes pain to the bones of the shoulder, and may become detached. Being easy to use also has the disadvantage that it is difficult to achieve a sense of unity between the violin player and the violin, and furthermore, it can damage the end of the back shell 5 and the side plate 6 of the violin.

Figure 5 (A), (13, (Q is a shoulder pad, Figure 5 is a perspective view of the whole, Figure 5 (G) is a sectional view taken along line a-a of Figure (A), Figure (Q) is a state diagram in which this pad is installed on a violin.Instead of the support device K illustrated in Figures 2 to 4, it is made of a soft elastic material such as foam rubber. It is attached tightly to the back part 5 of the violin by the mounting bracket of the pad 8, which consists of two parts 19 and 19'. However, since this pad is attached closely to the back shell 5, it suppresses the vibration of the back shell during performance, which has a negative impact on the sound quality, and also causes problems during the performance. The foamed rubber contains hot air due to the sweat of the person, and this has the disadvantage that it can cause damage to the musical instrument because it is constantly attached to the musical instrument.

As explained above in connection with the conventional embodiments, none of the devices (6) are satisfactory as shoulder rests for playing stringed instruments and have many drawbacks.

The present invention solves the above-mentioned drawbacks of the shoulder rest, allows the instrument to be easily held, allows the player to play comfortably without putting any strain on the player, and allows the player to feel one with the instrument without diminishing the acoustic effect produced by the instrument. It was designed to provide a shoulder rest for stringed instruments that can be played with ease and is also easy for beginners to use.It is made of an orthogonal weave on the half circumference of a cylindrical body made of an elastic and soft material. Cover half of the circumferential surface of the cylindrical body with a diagonal weave cloth, and sew this along the ridgeline of the cylindrical body on all four sides, and on one side of the sewing line along the ridgeline. This shoulder rest for a stringed instrument is constructed by attaching a flat valve body to form six shoulder rests, covering the six bodies with a bag body, and sewing the bag bodies together, and all embodiments thereof. To explain the drawings in Figure 6 (A), (B, (C), ([
) is a drawing showing the configuration of the six bodies 50 including the shoulder rests, Figure 6 (N is a plan view of the six bodies 50, Figure 6) is its rear view, Figure 6 (Q is its side view, Figure 6 (G) is a b-bi view of Figure 6. 51 is a cylindrical body, which is made of an elastic and soft material, such as synthetic resin such as foamed polyurethane. Foamed rubber etc. may also be used.52
53 is an orthogonal weave cloth, and 53 is an oblique weave cloth. These cloths 52 and 53 are attached to the orthogonal weave cloth 52 on the half circumferential surface of the cylindrical body 51.
In addition, the half circumferential surface of the other force is covered with a diagonal weave cloth 53,
This is sewn along the ridgeline of the cylindrical surface of the cylindrical body 51 along the four circumferences at the sewing lines 54a, 54b, 55a, and 55b.
Here, when covering the cylindrical body 51, the cylindrical body 51 is covered with a cloth 52.
and 53 to compress and cover as much as possible,
In this case, the slant weave cloth 53 is cut into slightly smaller pieces, stretched sufficiently, and sewn. Note that the diagonal weave cloth 53 is the orthogonal weave cloth 52.
A cloth of the same quality is cut diagonally and used. By compressing in this way, the cloths 52 and 53 are sufficiently stretched by the restoring force of the elasticity of the cylinder body 510 after sewing. Since a sufficiently stretched diagonal weave cloth 53 is used on the half circumferential surface of the cylindrical body 51, the degree of stretch of the fabric due to the restoring force due to the elasticity of the cylindrical body 51 after sewing differs depending on the half circumferential surface and the other half circumferential surfaces. The side surface of the cylindrical body 51 after sewing takes on an arched shape as shown in FIG. The other half circumferential surface using No. 53 is sufficiently stretched, and since the four circumferences are sewn, it is difficult to stretch, thus forming an arched lower surface.

Next, a flat valve body 56 is attached to one side of the sewing line 54a or 54b along the ridgeline of the cylindrical body 51. The flat valve body 56 may be constructed by layering soft cloth, but may also be constructed from synthetic resin or rubber. Further, in order to attach the flat valve body 56 to the cylindrical body 51, the flat valve body 56 may be sewn directly to the sewing line 54b, but it is also possible to sew the flat valve body 56 directly to the sewing line 54b, or by extending the orthogonal weave cloth 52 as illustrated in FIG. There is no problem even if the flat valve body 56 is wrapped around the flat valve body 56 and sewn together with the cylindrical body 51 at the sewing line 54b. Also, the flat valve body 56
The end of is shown in Figure 6 (N.

(9) (It is convenient for the flat valve body 56 to maintain its flat shape if it is sewn along the sewing lines 57a and 57b as shown in at.The six bodies 50 of the shoulder rest are constructed as described above. .

Next, as shown in FIG. 7 (N, ■, (Q, CD), the entire core body 50 is covered with a leather sheet 58 to form a bag. FIG. 7 (4) shows the shoulder rest 70. , FIG. 7 is a rear view of the seagull, FIG. 7 is a side view of the flat body 56, and FIG. 70 is an enlarged sectional view taken along line ce in FIG. 58 is a leather sheet, and when wrapping this, the six bodies 50 are pasted so as to be compressed as much as possible. The shoulder rest 70 is attached so as to be firmly fixed to the body 50.A mounting string 61 and a replaceable elastic string 62 are attached to the shoulder rest 70.These are used when the shoulder rest 70 is attached to a musical instrument. Mounting string 61
Since the distance between the neck and collarbone differs from person to person, the length of the
Install it according to your own dimensions.

(10) For the leather sheet 58, a suede lining portion may be used as the surface of the shoulder rest, or a velvet cloth may be used instead of the leather sheet. Considering its strength, feel against human skin, and friction between the skin and the musical instrument, it is not preferable to use a material that is too hard or too slippery.Next, when using this shoulder rest 70, for example, As shown in Figures (AI, (B), (Q), the attachment string 61 is fastened to the backrest 8 of the back shell 5 of the violin 1, and the elastic string 62 is tied to the side plate protrusion 7 of the violin 1.
By hooking the shoulder rest 70 onto the violin, the shoulder rest 70 can be securely attached to the violin. When performing, by placing the shoulder rest 70 on the shoulder, the flat solid body 56 covers the clavicle of the player, and the cylindrical body 51 fills the depression under the clavicle. Further, the arched curved portion of the shoulder rest 70 linearly abuts against the curved surface of the back shell 5 of the violin.
The leather and the back part 5 do not easily shift, so the violin can be held securely by simply pressing the violin and the shoulder rest 70 lightly with the player's shoulder as shown in FIG. 1. In addition, compared to conventional shoulder rests, it does not put undue stress on the collarbone area and is very light, so it does not cause fatigue or other burdens on the performer even when playing for a long time, making it easy to use even for beginners. The shoulder rest is made of a soft material such as cloth or leather, so it will not damage the musical instrument.

Another feature of this shoulder rest is that the vibrations generated by the violin are faithfully transmitted to the player through the shoulder rest due to the effect of the soft material, allowing the player to play with a sense of unity with the instrument, and the back of the violin. This shoulder rest can make full use of the acoustic effects of the musical instrument without reducing the resonance of the instep, and can bring out the effects of playing. Note that this shoulder rest is applicable not only to the violin described in the above embodiment, but also to the viola.

[Brief explanation of drawings]

Fig. 1 is a diagram showing how the violin is held, Figs. 2 to 5 are explanatory diagrams of the use of the shoulder rest of the conventional embodiment, and Fig. 6 is a structural diagram of the core body inside the shoulder rest of the present invention. , FIG. 7 is an external view of the shoulder rest of the present invention, and FIG. 8 is an explanatory diagram of how the shoulder rest is worn. l...Violin 2...Body 5...Back shell part 6...Horizontal plate part 7...Horizontal plate protrusion 8...Chinrest 50...6 bodies 51...Cylindrical body 52... Orthogonal weave cloth 53... Oblique weave cloth 54 a * 54
b 155&, 55b, 57a, 57b, 59.59'
, 60a, 60b... Sewing line 56... Flat valve body
58...Leather seat 61...Mounting string 62...
Elastic cord 70...Shoulder rest Applicant Mako Kajiwara (13) No. 1 ■ (Y) (Y) No. 711 (C) 111711 (D) 59” Oj No. 811(A)

Claims (1)

[Scope of Claims] (1) Half the circumference of a cylindrical body made of an elastic and soft material is covered with orthogonal weave cloth, and the other half of the circumference is covered with oblique weave cloth. This is sewn along the ridgeline of the cylindrical body on all four sides, and a flat material is attached to one side of the sewing line printed on the ridgeline to form six shoulder rests, and a bag body is attached to the six bodies. Shoulder rest for a stringed instrument constructed by wrapping 0 (2) Shoulder rest for a stringed instrument according to claim 1 (1), constructed by wrapping 6 bodies with a leather sheet 0 (3)
Shoulder rest for a stringed instrument according to claims (1) and (2), which is constructed by wrapping suede around six bodies (4) Composed by wrapping velvet cloth around six bodies Shoulder rest for a stringed instrument according to claim @(1)