WO2020161681A1

WO2020161681A1 - A chordophone instrument

Info

Publication number: WO2020161681A1
Application number: PCT/IB2020/051002
Authority: WO
Inventors: Debashish Bhattacharya; Tiffany CHIN
Original assignee: Debashish Bhattacharya
Priority date: 2019-02-10
Filing date: 2020-02-10
Publication date: 2020-08-13

Abstract

The present invention comprises of a chordophone instrument with two distinct headstocks, the major headstock and the minor headstock. The major headstock is associated with the main set of strings. The minor headstock is associated with a set of additional plucking strings. Separate sets of resonating strings and rhythm strings are also provided. There is a fretted neck, with separate sets of tuning pegs for each set of strings as mentioned above. There is a soundboard with a flat back to enable it to sit on the lap. The top sound board is made of animal skin/ hide and a sound hole is present on the top.

Description

A CHORDOPHONE INSTRUMENT

TECHNICAL FIELD OF THE INVENTION: The present invention relates generally to a chordophone instrument. Particularly, the present invention relates to a new variant of the chordophone instrument.

BACKGROUND AND THE PRIOR ART:

A chordophone is a musical instrument that makes sound by way of a vibrating string or strings stretched between two points. The veena consists of a family of chordophone instruments belonging to India. It has two primary variants: the North Indian and the South Indian. Traditionally the instrument is about 1.0 to 1.2 meters long, has a hollow neck with 24 frets, four melody strings and three drone strings. The difference between the North and South Indian variants is that the North Indian variant has two large resonating gourds under each end, while in the South Indian variant the lower gourd is replaced by a pear shaped wooden part.

Being a generic name for any string instrument, there are numerous types of veena. Some significant ones are Rudra veena, Saraswati veena, Vichitra veena, Sitar, Sarod, Sarangi, Chitra veena, Ranjan Veena, Sagar veena, Triveni veena etc. Rudra veena is a fretted veena, with two large equal size tumba (resonators) below a stick zither. This instrument is played by laying it slanting with one gourd on a knee and other above the shoulder. Saraswati veena is another fretted veena, and one highly revered in Indian traditions, particularly Hinduism. This is often pictured, shown as two resonators of different size. This is played by holding it at about a 45degree angle across one's body, and the smaller gourd over the musician's left thigh. Vichitra veena and Chitra veena or gottuvadhyam do not have frets. It sounds close to humming human singer. The Vichitra veena is played with a piece of ovoid or round glass, which is used to stop the strings to create delicate musical ornaments and slides during a performance. A sitar can have 18, 19, 20, or 21 strings. Six or seven of these are played strings which run over curved, raised frets, and the remainder are sympathetic strings (icirb. also known as taarif or tarafdaar) which run underneath the frets and resonate in sympathy with the played strings. The sitar is balanced between the player's left foot and right knee. The hands move freely without having to carry any of the instrument's weight. The player plucks the string using a metallic pick or plectrum called a mizraab. The thumb stays anchored on the top of the fretboard just above the main gourd.

On the other hand, the guitar, another variant of chordophone instruments, is a fretted musical instrument that usually has six strings. It is typically played with both hands by strumming or plucking the strings with either a guitar pick or the finger(s)/fingemails of one hand, while simultaneously fretting (pressing the strings against the frets) with the fingers of the other hand. The sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar (for an acoustic guitar), or through an electrical amplifier and a speaker different types of guitars have different sound aesthetics, e.g. different colour-spectrum characteristics (the way the sound energy is spread in the fundamental frequency and the overtones), different response, etc. These differences are due to differences in construction; for example, modem classical guitars usually use a different bracing (fan-bracing) from that used in earlier guitars (they had ladder-bracing); and a different voicing was used by the luthier.

The classical guitar (also known as the nylon-string guitar or Spanish guitar) is a member of the guitar family used in classical music. An acoustic wooden string instrument with strings made of gut or nylon, it is a precursor of the acoustic and electric guitars which use metal strings. Classical guitars are derived from the Spanish vihuela and gittem in the fifteenth and sixteenth century, which later evolved into the seventeenth and eighteenth century Baroque guitar and later the modem classical guitar in the mid nineteenth century. For a right-handed player, the traditional classical guitar has twelve frets clear of the body and is properly held on the left leg, so that the hand that plucks or strums the strings does so near the back of the sound hole (this is called the classical position). The modem steel string guitar, on the other hand, usually has fourteen frets clear of the body and is commonly played off the hip.

Steel guitar is a type of guitar or the method of playing the instrument. Developed in Hawaii by Joseph Kekuku in the late 19th and early 20th centuries, a steel guitar is usually positioned horizontally; strings are plucked with one hand, while the other hand changes the pitch of one or more strings with the use of a bar or slide called a steel (generally made of metal, but also of glass or other materials).

All of the above mentioned instruments have animal hide/ skin and / or wood as a top of the sound box and played holding and plucking with one hand from top and gliding or finger fretting holding the neck from behind.

Reference has been made to CN202008818 (U) which relates to a two-side string instrument with two gourd sound boxes. The string instrument comprises two instrument heads, two instrument necks, the two gourd sound boxes, and a rotary button at the bottom of the sound boxes. The sound boxes adopt natural gourds; painting is coated on the inner walls of the sound boxes to reinforce and polish the sound boxes and improve volume; two vibrating plates are arranged on each sound box, wherein one is located outside the sound box, connected with the sound box, and connected with a Hophombeam of the sound box; disconnected position of an annual ring edge of the vibrating plate in each sound box is not connected with the sound box and is only connected with the Hophombeam of the sound box, because a gap is formed between the disconnected position and the sound box, and between the disconnected position and the outer vibrating plate, thereby playing a maximal vibration effect; and two ends of a bridge are propped against the inner vibrating plate and the outer vibrating plate respectively so as to generate stereo tone. The other side of the string instrument is the same in structure. The two gourd sound boxes of the two-side string instrument are back-to-back arranged, and are connected with the two instrument necks and the two instrument heads, two different strings are mounted on the two instrument necks respectively, and the two strings can be alternately used in playing process to generate different tones through randomly rotating the rotary button which is shared by the two sound boxes, arranged at the bottom, and can be rotated by 360 degrees.

Reference has been made to US3636809A which discloses a stringed musical instrument comprising one sound box having two sound boards each provided with a sound hole and a sidewall joining the sound boards, two necks provided for the sound boards respectively, two heads connected to the necks, two seal caps for closing the sound holes, and strings stretched between the heads and the sound boards, whereby musical tones having a variety of tone colors can be produced on both sides of the sound box.

Reference has also been made to US542788A wherein a musical instrument the combination of a body, a double neck consisting of a single piece with a part of its middle portion removed and provided with two sets of strings, the body and neck provided with dove-tailed interlocking portions by which they are re movably connected together, so that one portion of the double neck is on each side of the center line of the instrument, a screw adapted to pass through the body of the instrument and into the dovetailed portion of the neck to hold the two together, the head of said screw projecting within the hollow of the body, whereby no part of the outside of the neck or body is mutilated by the fastening device, and a removable bridge placed equidistant from the sides of the instrument so as to bring the two sets of strings over the sound hole, said bridge attached to said body by screws having removable heads or nuts located within the hollow of the body of the instrument.

Other patent documents such as Indian patent application 2480/CHE/2014, IN 2479/CHE/2014, IN 2478/CHE/2014 and Indian Patent No 206685 also discloses modification over Veena designs.

However, none of the above mentioned instruments discloses a presence of sound hole in the soundboard made of animal skin/ hide because a hole on top sound board made of hide is considered death of sound. Further, all previous designs and existing Guitars of the world are played holding and plucking with one hand from top and gliding or finger fretting holding the neck from behind are made of different woods with bridges and nuts and metal strings.

The present invention provides a new variant of the chordophone instrument, with a unique combination of hide and hole on the top sound board, two headstocks, and separate sets of strings.

OBJECTS OF THE INVENTION:

A fundamental object of the present invention is to provide a new variant of chordophone instrument. Another object of the present invention is to provide a chordophone instrument which provides a good tonal quality.

Yet another object of present invention is to provide a chordophone instrument with a soundboard made of animal skin/ hide. Yet another unique object of present invention is to provide a chordophone instrument with a soundboard made of animal skin with a hole present at the center of the sound board on the small sound box.

Further, the object of present invention is to provide a chordophone instrument which is held and plucked putting both hands on strings from the top. Another object of the present invention is to provide a chordophone instrument with major and minor headstock.

Another object of the present invention is to provide a chordophone instrument with a set of main strings, resonating strings, rhythm strings and a set of additional plucking strings.

Y et another object of the invention is to allow easy handling of the chordophone instrument. These and other advantages and features of the present invention will become clear from a study of the following detailed description and associated diagrams.

SUMMARY OF THE INVENTION:

The invention describes a version of a chordophone instrument.

The first aspect of present invention discloses a chordophone instrument comprising plurality of hollow different sized sound boxes formed of two sound boards, said sound boards being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a sound hole positioned in the center of top sound board, a neck extending from the predetermined part of the sidewall of the sound boards; two distinct headstocks, a major headstock and a minor headstock connected to the neck, wherein the major headstock is attached to the minor headstock by means of a hollow neck extension; finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece attached at the end of the sound board; a removable bridge placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings stretched between major headstock and tail piece going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings; wherein the top sound board is made of animal skin/ hide.

The second aspect of present invention comprises of a chordophone instrument with two distinct headstocks, the major headstock and the minor headstock. The major headstock is associated with the main set of strings. The minor headstock is associated with a set of additional plucking strings. Separate sets of resonating strings and rhythm strings are also provided. There is a fretted neck, with separate sets of tuning pegs for each set of strings as mentioned above. There is a soundboard with a flat back to enable it to sit on the lap.

The third aspect of the present invention has only the major headstock from which the set of main strings is connected. There is a fretted neck. There are also rhythm strings and resonating strings, along with separate sets of tuning pegs for each set of strings. The soundboard is flat so that it may easily sit on the lap.

BRIEF DESCRIPTION OF THE DRAWINGS:

The above and other features, aspects, and advantages of the subject matter will be better understood with regard to the following description and accompanying drawings. The figures are illustrated for simplicity and clarity and may have not been drawn to scale.

Fig land 3 illustrates the first embodiment of present invention. It shows a sound board made of animal skin/ hide with a sound hole in the center of small sound box in the top sound board.

Fig. 2 (1), (2) and (3) illustrates the posture and positioning of prior instruments wherein one hand of a player/ artist plucks the strings from the top and other hand holds and glides and finger frets tipping on the strings coming around the neck. Fig. 2(4) and (5) illustrates the posture and positioning of present instrument which shows both the hands are resting on the top of the instruments. Fig. 4 illustrates the second embodiment of the invention. It shows the soundboard, major and minor headstocks, sets of strings, neck etc.

Fig. 5 illustrates the reverse side of the invention showing the flat back of the soundboard and the curved neck. Fig. 6 illustrates the inside of the invention, showing the two pegs and curved body.

Fig. 7 illustrates the third embodiment of this invention, without the minor headstock.

Fig. 8(a), (b), (c) illustrate the sonogram reports of the Traditional Hawaiian Guitar, the Chaturangui (Indian Classical Guitar) and present invention (Pushpaveena), respectively according to one of the embodiment of present invention. Fig. 9(a)-(c) illustrates Open strumming of the Traditional Hawaiian Guitar, the Chaturagui and the Pushpaveena (present invention) respectively, according to one of the embodiment of present invention.

Fig. 10(a)-(c) illustrates Short passage of melody in every octave of the Traditional Hawaiian Guitar, the Chaturagui and the Pushpaveena (present invention) respectively, according to one of the embodiment of present invention.

Fig. l l(a)-(c) illustrates Range of Octave of the Traditional Hawaiian Guitar, the Chaturagui and the Pushpaveena (present invention) respectively, according to one of the embodiment of present invention.

Fig. 12(a)-(c) illustrates Long passage of melody of the Traditional Hawaiian Guitar, the Chaturagui and the Pushpaveena (present invention) respectively, according to one of the embodiment of present invention.

Fig. 13(a)-(b) illustrates Long Passage with dynamic modulation and effect on the sympathetic strings of the Chaturagui and the Pushpaveena (present invention) respectively, according to one of the embodiment of present invention. DETAILED DESCRIPTION OF THE INVENTION

The following description with reference to the drawings is provided to assist in a comprehensive understanding of exemplary embodiments of the invention. It includes various specific details to assist in that understanding but these are to be regarded as merely exemplary.

Accordingly, those of ordinary skill in the art will recognize that various changes and modifications of the embodiments described can be made without departing from the scope of the invention. In addition, descriptions of well-known structure and method are omitted for clarity.

The terms and words used in the following description and claims are not limited to the bibliographical meanings, but, are merely used by the inventor to enable a clear and consistent understanding of the invention. Accordingly, it should be apparent to those skilled in the art that the following description of exemplary embodiments of the present invention are provided for illustration purpose only and not for the purpose of limiting the invention as defined by the appended claims and their equivalents.

Features that are described and/or illustrated with respect to one embodiment may be used in the same way or in a similar way in one or more other embodiments and/or in combination with or instead of the features of the other embodiments.

It should be emphasized that the term“comprises/comprising” if used in this specification is taken to specify the presence of stated features, integers, steps or component but does not preclude the presence or addition of one or more other features, integers, steps, components or groups thereof.

The present invention describes a new variant of chordophone instrument.

The first embodiment of the present invention is shown in FIG. 1 and 3.

The first embodiment of present invention discloses a chordophone instrument comprising plurality of hollow different sized sound boxes (1) formed of two sound boards (2), said sound boards being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a sound hole (3) positioned in the center of top sound board (2), a neck (8) extending from the predetermined part of the sidewall of the sound boards; two distinct headstocks, a major headstock (6) and a minor headstock (7) connected to the neck (8), wherein the major headstock is attached to the minor headstock by means of a hollow neck extension (9); finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece (5) attached at the end of the sound board; a removable bridge (4) placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings (10) stretched between major headstock and tail piece going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings; wherein the top sound board (2) is made of animal skin/ hide.

The present instrument has a typical length of 34-40 inches and the big sound box is 8-12 inches whilst the small sound box is 4-6.5 inches and the depth of the instrument is 4 to 8 inches.

The first embodiment has a minor headstock with 9 to 10 tuning pegs. To the minor headstock is attached 6 to 15 additional plucking strings. The strings descend and are attached to an additional construction designed to hold the additional plucking strings. The minor headstock is attached to the major headstock by means of a hollow neck extension. The major headstock has 8 to 10 tuning pegs and a raised nut. From the major headstock a set of 8 to 10 main strings descend and go on top of the bridge. The invention has a hollow or solid fretted neck. Additional constructions outside the main structure hold additional tuners.

Another embodiment discloses that the instrument may comprise a set of 15-20 resonating strings which go underneath through the holes of the bridge and connect to the tailpiece at the end of the soundboard.

Another embodiment discloses that the instrument may comprise 2 to 4 rhythm strings and additional tuning pegs for the same. The bottom soundboard may also be made of animal skin. The soundboard has a bridge made of animal bone or other material, and has a tailpiece attached at the end.

Yet another embodiment of present invention may also comprise a sound hole in the center of the second/bottom sound board, which is unseen in any skin top instrument. Fig. 2 (1), (2) and (3) shows the posture and positioning of prior instruments wherein one hand of a player/ artist plucks the strings from the top and other hand holds and glides and finger frets tipping on the strings coming around the neck. Fig. 2(4) and (5) illustrates the posture and positioning of present instrument which shows both the hands are resting on the top of the instruments. Figure 4 shows second embodiment of present invention. A chordophone instrument comprising a hollow sound box (1) formed of two sound boards (2), said sound boards (2) being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a neck (8) extending from the predetermined part of the sidewall of the sound boards; two distinct headstocks, a major headstock (6) and a minor headstock (7) connected to the neck, wherein the major headstock (6) is attached to the minor headstock (7) by means of a hollow neck extension (9); finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece (5) attached at the end of the sound board; a removable bridge (4) placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings (10) stretched between major headstock and tail piece going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings. FIG. 5 shows the reverse side of the instrument. Here the soundboard has a flat back to enable it to sit on the lap of the player. The rounded back neck of the invention is also shown in Fig. 5.

FIG.6 shows the inside of the instrument. The instrument has a curved hollow body made of wood or other material, and under the covering of the soundboard there are posts to hold the bridge. The curved inner neck of the instrument, without the top and frets, is also shown in Fig. 6.

The third embodiment of the present invention is shown in FIG.4.

The third embodiment has a single major headstock (6) with a raised nut (13). A set of 8- 10 main strings attached to the headstock descend along the neck of the instrument. There is a set of 7 to 15 resonating strings which go under the bridge (4) and are connected to the tailpiece (5). The second embodiment also has a set of 2-4 rhythm strings. There are separate sets of tuning pegs for each of the sets of main string, resonating strings and rhythm strings. There is a hollow or solid fretted neck (8). The third embodiment also has a soundboard which can be made of solid wood or other material. The soundboard is covered by animal skin or some other material. The bridge is made of animal bone or other material. The end of the soundboard has a tailpiece.

The chordophone instrument of the present invention is played, referring Figure 2(4) and (5) by gliding on the string in one hand and plucking in other, both the hands resting on the top of the instruments; while keeping the body on the lap.

Comparative analysis of Traditional Hawaiian guitar, Chaturangui (Indian classical guiter) and present invention (Pushpa veena):

Recording Process:

A Neumann U87 mic connected to a Universal Audio 6176 Preamp had been used for recording the tunes from these three string instruments without using any equalization on the preamp. The preamp was connected to tire Apogee Symphony soundcard and recorded in Nuendo. ^"fire entire process has no change or use of any other signal processor to alter the sound. All the equipment used are industry standard recording instalments. Tire recordings were sent for analysis and comparative studies as discussed below: Experiment 1:

A forensic analysis of three discreet audio recordings made of the open strings of three different guitars; The Traditional Hawaiian Guitar, The Chaturangui (Indian classical guiter), and the present invention (Pushpaveena) were performed. The performance of these measurements and analysis of harmonic content was conducted at AudioGabriel LLC, using iZotope RX software which generated sonograms indicating the harmonic content produced by each instrument. The intent of these measurements was to demonstrate that these three instruments are fundamentally different in their construction, and sonic characteristics from each other. These differences are easily identifiable through visual comparison of the sonograms presented herewith.

Source Material:

All files were supplied as uncompressed stereo.wav files recorded at 44.1kHz Sample Rate and at a Bit Depth of 16Bits. These files were loaded directly into the iZotope RX software without sample/bit conversion, and without the loss of any data. In sonograms generated by the RX software, the Left/Right information displayed; Left- Top, Right- Bottom can be observed. The x axis depicts the passage of time, while the Y axis indicates a frequency range from 20Hz to 40kHz. The energy present in each note will be represented as a solid area of orange/yellow shading. The more energy present, the more yellow the shading. This will be referred to as“a measurement of acoustic intensity”.

Results and Discussion:

The sonogram (Fig. 8 (a)) of the Traditional Hawaiian Guitar demonstrates a series of fundamental notes consistent with standard Hawaiian tuning. The overtone series of harmonics suggests that there are a limited number of sympathetically vibrating strings as the space between harmonics is relatively open— especially as notes increase in their pitch. In higher pitches, there are limited harmonics near the fundamental, indicating that this instrument does not have any sympathetic, non-struck strings. The intensity of the lower harmonics suggests that the size of the instrument is consistent with the size of a traditional - bodied acoustic guitar. The close spacing between lower harmonics suggests a rich, low frequency resonance that extends through the first three strings.

The Chaturangui (Indian Classical Guitar) sample (Fig. 8(b)) is significantly more complicated that the Hawaiian guitar it is clear from Figure 8(b) that the number of sympathetically vibrating strings has increased significantly as the harmonics are more closely spaced together in each note. This can be noticed in the 2-7kHz range in the first three notes. Similar to the Hawaiian guitar, the lower harmonic intensity suggests a body slightly larger than the traditional sized acoustic guitar. The density of harmonics in this lower octave also suggests a significantly richer timbre that gradually dissipates into a clearly articulate higher octave as the notes ascend.

In the Pushpaveena (present invention) recordings (refer Figure 8(c)) the harmonics seem to be far different than either the Hawaiian guitar or the Chaturangui. These images indicate that the frequency range of the instrument is less rich in the lower harmonics nearest the fundamentals. This suggests a smaller bodied instrument by comparison. Additionally, the space between the harmonics appears to be far more distinct in this instrument, which suggests that the instrument uses thinner strings, and that there are a significantly higher number of strings than the Hawaiian guitar. Another facet is the presence of lower, sympathetic harmonics when higher notes are played. In the previous images of the Chaturangui and Hawaiian instruments, one can clearly see the lack of lower harmonics present in the highest notes. The shift in harmonics in the lower octaves also indicate that the resonant chamber of the instrument is likely significantly different in material composition than a traditional guitar. While it is impossible to ascertain exactly what this material may be, this sonogram is similar to the sort of harmonic separation present in mebraphonic stringed instruments such as the banjo, which utilizes a stretched skin around a frame to resonate.

Experiment 2:

Open strumming (illustrated in Figures 9(a)-(c))

The Hawaiian Guitar projects a balanced sound from low to high. The fundamental frequency starts from 105 Hz to 8khz in harmonies (refer Figure 9(a)). Chaturangui (Indian Classical Guitar) projects a similar graph and sound, however it has added resonance and harmonics because of the sympathetic strings. The fundamental frequency starts from 140 Hz and ends up to 16Khz because of added harmonic response. The mid response for this instrument is better than Hawaiin Guitar (refer Fig. 9(b)). The lower frequency response for a Pushpaveena (present invention) is less Tire fundamental starts from 401Hz but the harmonics range is similar to Chaturangui for the presence of sympathetic strings. Hence the range of the open strum in terms of frequency is 401 Hz to 16Khz. It should be noted that Pushpaveena present invention) has an added sustain in the open strum compared to others (refer Figure 9(c)).

Short passage of melody in every octave (illustrated in Figures 10 (a)-(c))

Hawaiian Guitar has good mid presence and creates a balanced sound in even' octave and a shorter sustain than the rest (refer Figure 10(a)).

Chaturangui has a better presence than a Hawaiin guitar in terms of the passage. It also has higher harmonics because of sympathetic strings. It has a longer sustain than a Hawaiian guitar (refer Fig 10(b)).

Pushpaveena (present invention) has less impact on legato playing compared to rest. However, it has a more presence of sympathetic strings and a unique longer sustain than the others. The sustain increase as the playing is stopped and gently fades away (refer Fig. 10(c)).

Range of Octave (illustrated in Figure 11 (a)- (c))

In terms of range, Hawaiian guitar shows a range from D1 to D5 (refer figure 1 1(a). Chaturangui shows a range from Di to D3 (refer 11(b)), however, with higher harmonic content sonically because of the sympathetic strings. Pushpaveena (present invention) has a different tuning to it. The notes are tuned to G and C however the octave range is similar to the instrument which is from Octave 1 to 5 in spite of the fundamental frequency being much higher (refer Fig. 11(c)). This makes this instrument again unique as one can achieve the same octave ranges like the other instalments . Please note the octaves are explained in the audio as per as tuning of the instalment - C. This instalment uses Fifth note timing low' G.

Long passage of melody (illustrated in figure 12 (a)-(c))

The Hawaiian guitar show's a very stable lower frequency response. The transient response of the higher harmonics is less (refer Fig. 12(a)) The Chaturangui show_'s much better transient response in the higher harmonics while maintaining the depth of lower frequencies (refer fig. 12(b)). The sympathetic strings also add a bit of sustain to the sound. The most unique point of Pushpaveena (present invention) is that it adds a natural reverb to the sound and hence a much longer sustain (refer fig. 12(c)). This instrument has an advantage in the low midsection and has a boost in 158Hz naturally.

Long Passage with dynamic modulation and effect on the sympathetic strings (illustrated in fig, 13(a)-(b))

Here the instruments Chaturangui and Pushpaveena are used because they both have sympathetic strings and while playing more of dynamic modulation were used to emphasis on the sympathetic strings.

Chaturangui - There is a lot of presence of the sympathetic strings in every octave of the melody. The transients are more present in 3khz to 8 kHz (refer fig. 13(a)).

Pushpaveena --- Pushpaveena shows higher frequency response in the area of ikhz to 5 kHz (refer fig. 13(b)). The sympathetic strings show a subtle effect on the melody. Its adds some sustain and reverb as for the construction of the instrument. Overall the notes are more resonating.

Construction of Pushpaveena (present invention)-

In spite of having a smaller body Pushpaveena shows more sustain and low frequency presence in around 158Hz. Through comparison of these three recordings, it is apparent that these recordings are made by very different instruments. The harmonic intensity of each recording illustrates the variety in physical size, the number of strings, and the material composition of each instrument. Listening to these recordings in an acoustically treated space through high- definition loudspeakers confirms the sonic differences in these instruments. When combined with the visual measurements provided in the drawings section, it is clear that the Pushpaveena is a totally different type of instrument having better tonal quality compared to others. Some of the non-limiting advantage of present invention are as follows:

1. The first advantage that Pushpaveena has is long sustentation of single notes. The Pushpaveena has a sustain and a smooth decay up to 2 secs more than other instruments.

2. The body of the Pushpaveena is smaller in terms of the sound cavity compared to others. Yet Pushpaveena adds more sustain to the sound. Each phrases in the instruments tends to fade gently and has a lush of reverb.

3. The tone of the Pushpaveena varies because of the volume factor of the harmonics. The first three harmonics of Pushpaveena has moderately equal level in Decibels. As you can see in the graph the levels of all harmonics are equal to the fundamental frequency. 4. In the Pushpaveena (present invention) recordings (refer Figure 8(c)) the harmonics seem to be far different than either the Hawaiian guitar or the Chaturangui. These images indicate that the frequency range of the instrument is less rich in the lower harmonics nearest the fundamentals. This suggests a smaller bodied instrument by comparison. Additionally, the space between the harmonics appears to be far more distinct in this instrument, which suggests that the instrument uses thinner strings, and that there are a significantly higher number of strings than the Hawaiian guitar. Another facet is the presence of lower, sympathetic harmonics when higher notes are played. In the previous images of the Chaturangui and Hawaiian instruments, one can clearly see the lack of lower harmonics present in the highest notes. The shift in harmonics in the lower octaves also indicate that the resonant chamber of the instrument is likely significantly different in material composition than a traditional guitar. While it is impossible to ascertain exactly what this material may be, this sonogram is similar to the sort of harmonic separation present in mebraphonic stringed instruments such as the banjo, which utilizes a stretched skin around a frame to resonate. 5. Each note has more clear tone and longer reverse generated from its body.

6. The hide/skin creates an extra twang and high resonance because of the combination of small and big sound boxes related to the neck angle and skin on top followed with a hole in the centre, and angel of resonating strings. 7. The pressure on the skin from the bridge, and mixed materials used to make special set of string together also create a universal sound in heard on a slide instrument before.

Although a new variant of a chordophone instrument has been described in language specific to structural features, it is to be understood that the embodiments disclosed in the above section are not necessarily limited to the specific features described above.

Claims

1. A chordophone instrument comprising plurality of hollow different sized sound boxes (1) formed of two sound boards (2), said sound boards being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a sound hole (3) positioned in the center of top sound board (2), a neck (8) extending from the predetermined part of the sidewall of the sound boards; two distinct headstocks, a major headstock (6) and a minor headstock (7) connected to the neck (8), wherein the major headstock is attached to the minor headstock by means of a hollow neck extension (9); finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece (5) attached at the end of the sound board; a removable bridge (4) placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings (10) stretched between major headstock and tail piece going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings; wherein the top sound board (2) is made of animal skin/ hide.

2. The instrument as claimed in claim 1, comprising a typical length of 34-40 inches and the big sound box is 8-12 inches whilst the small sound box is 4-6.5 inches and the depth of the instrument is 4 to 8 inches.

3. The instrument as claimed in claim 1, wherein the major headstock has 8 to 10 tuning pegs (13) and a raised nut and a set of 8 to 10 main strings (10) descend from the major headstock and go on top of the bridge (4).

4. The instrument as claimed in claim 1, wherein the minor headstock has 9 to 10 tuning pegs (14) and 6 to 15 additional plucking strings (15) attached to the minor headstock.

5. The instrument as claimed in claim 1, wherein the fretted neck (8) is hollow or solid.

6. The instrument as claimed in claim 1 comprising a set of 15-20 resonating strings (11) which go underneath through the holes of the bridge and connect to the tailpiece at the end of the soundboard.

7. The instalment as claimed in claim 1 comprising 2 to 4 rhythm strings (12) and additional tuning pegs for the same.

8. The instrument as claimed in claim 1, wherein the bottom soundboard is made of animal skin, solid wood or other material.

9. The instrument as claimed in claim 1, wherein a sound hole is positioned in the center of bottom sound board.

10. The instrument as claimed in claim 1, wherein the bridge is made of animal bone or other material.

11. The instrument as claimed in claim 1, wherein the soundboard has a flat back to enable it to sit on the lap of the player and both the hands of a player rests on top of the instrument.

12. A chordophone instrument comprising a hollow sound box (1) formed of two sound boards (2), said sound boards (2) being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a neck (8) extending from the predetermined part of the sidewall of the sound boards; two distinct headstocks, a major headstock (6) and a minor headstock (7) connected to the neck, wherein the major headstock (6) is attached to the minor headstock (7) by means of a hollow neck extension (9); finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece (5) attached at the end of the sound board; a removable bridge (4) placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings (10) stretched between major headstock and tail piece going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings.

13. The instrument as claimed in claim 12, wherein the minor headstock has 9 to 10 tuning pegs (14) and 6 to 15 additional plucking strings (15) attached to the minor headstock and the major headstock has 8 to 10 tuning pegs and a raised nut and a set of 8 to 10 main strings descend from the major headstock and go on top of the bridge.

14. The instrument as claimed in claim 12 comprising a set of 7 to 15 resonating strings which go underneath through the holes of the bridge and connect to the tailpiece at the end of the soundboard and 2 to 4 rhythm strings and additional tuning pegs for the same.

15. The instalment as claimed in claim 12, wherein the soundboard is made of solid wood or other material, and is covered by animal skin or other material and the bridge is made of animal bone or other material.

16. A chordophone instrument comprising a hollow sound box (l)formed of two sound boards (2), said sound boards being disposed at a predetermined space in substantially parallel relationship, and a sidewall fixedly coupling said sound boards, said sound boards and sidewall defining a sound chamber common to both of said sound boards; a neck (8) extending from the predetermined part of the sidewall of the sound boards; a single major headstock (6) with a raised nut (13), connected to the neck; finger boards fixed at least on outer surface of the neck and provided with a plurality of frets thereon; a tailpiece (5) attached at the end of the sound board; a removable bridge (4) placed at the rear end of the instrument above the tailpiece so as to bring a plurality of main strings stretched between major headstock and tail piece (5) going through holes of the bridge and a plurality of additional plucking strings stretched between minor headstock and an additional construction outside the main structure to hold the additional plucking strings.

17. The instrument as claimed in claim 16, wherein the major headstock has 8 to 10 tuning pegs and a raised nut and a set of 8 to 10 main strings descend from the major headstock and go on top of the bridge.

18. The instrument as claimed in claim 16 comprising a set of 7 to 15 resonating strings which go underneath through the holes of the bridge and connect to the tailpiece at the end of the soundboard and a set of 2 to 4 rhythm strings and additional tuning pegs for the same.

19. The instrument as claimed in claim 16, wherein the soundboard is made of solid wood or other material, and is covered by animal skin or other material and the bridge is made of animal bone or other material.

20. The instrument as claimed in claim 16, wherein the soundboard has a flat back to enable it to sit on the lap of the player and both the hands of a player rests on top of the instrument.