Music instruction apparatus

A music instruction apparatus includes a string adapted to be wound into a tuning peg of a string instrument, a tension indicator disposed on the string proximate to an end of the string, the tension indicator representing a predetermined level of tension in the string when the end of the string is wound into the tuning peg up to the position of the tension indicator, and a note indicator disposed on the string, the note indicator representing a musical note.

BACKGROUND

String instruments include instruments such as the violin, viola, cello, double bass (sometimes called the contrabass), and harp. String instruments can be very challenging to learn and to teach, in part because mastery of string instruments requires knowledge of and experience with all of their interconnected components.

The violin, viola, cello, and double bass all consist of a body, a curved, hollow section made of wood where the sound resonates, and a neck, a straight piece that extends from the body with four strings stretched along it, attached to tuning pegs at the end. For example,FIG. 1illustrates a diagram of violin and its component parts.

Part of learning to play these instruments involves learning how to string and tune each of the musical strings. A string is made from a core, and then layers of a synthetic material or metal compound is wrapped around the core to make the string. After the string is made, a “silking” is applied. This “silking” is comprised of a colored wrapping made out of fine fibers. These fibers are wrapped at the upper and lower ends of the strings. The silking can be used to identify the brand, and to make the upper portion of the string sturdy by absorbing tension as the string is initially threaded through the hole inside of each peg and wrapped in the peg box to a desired pitch.

Frequently, when strings are purchased in a set, there are no instructions as to how to differentiate one string from the next. An experienced musician would understand that he or she would have to separate all strings and then place them in order from thinnest to thickest in order to figure out where each string should be placed inside the peg box. However, the inexperienced musician would not know to do this without help.

Since each peg on a fretless instrument, such as a violin, receives a specific string, a string may break because a consumer may be unfamiliar of where to place a string inside the peg box.FIG. 2illustrates an example peg box containing the four pegs used in violins, along with the corresponding strings. Each string is a specific length and width. For example, the G string on the violin is the thickest string. The D string on a violin is wider than an A string, but an E string on the violin is the thinnest string of all four strings. If a consumer does not know how to distinguish the differences between each string, he or she may place the strings in the wrong pegs. This will cause strings to pop or break prematurely.

Tuning the instrument can also be difficult, as a string may also break when a user turns the peg past its tension point when trying to tune the string. Even when a string does not break, tuning string instruments is a problem for novice instrumentalists and to those who have difficulty with pitch recognition.

Further complicating the learning process is the fact that fretless instruments are unlike most other instruments because each string contains a variation of intervals and overtones. For example, on a piano keyboard, the keys are spaced in intervals consisting of either whole steps or half steps. There is no interval lower than a half step. Unlike the piano, the strings on fretless instruments contain intervals that can be played lower than half steps. The reason is because each pitch on a string is relative to where an instrumentalist places his or her fingers on the fingerboard of the instrument. Without frets, there is no guarantee that an instrumentalist will place his or her finger on the fingerboard exactly one whole step or exactly one half step from the starting pitch.

DETAILED DESCRIPTION

While apparatuses are described herein by way of examples and embodiments, those skilled in the art recognize that apparatuses for music instruction are not limited to the embodiments or drawings described. It should be understood that the drawings and description are not intended to be limited to the particular form disclosed. Rather, the intention is to cover all modifications, equivalents and alternatives falling within the spirit and scope of the appended claims. Any headings used herein are for organizational purposes only and are not meant to limit the scope of the description or the claims. As used herein, the word “may” is used in a permissive sense (i.e., meaning having the potential to) rather than the mandatory sense (i.e., meaning must). Similarly, the words “include,” “including,” and “includes” mean including, but not limited to. Although many of the examples used throughout this application refer to a violin, the apparatus can be used with any string instrument, including a viola, cello, bass, guitar, double bass, fiddle, and the like.

Applicant has discovered an apparatus for music instruction which reduces the likelihood of broken strings, provides indicators which aid users in stringing and tuning instruments, allows users to easily differentiate between strings, and aids users in correct finger placement when playing fretless instruments.

FIG. 3shows a violin,300, including the peg box end310and the tail piece end320of the violin. The neck301carries the fingerboard, typically made of ebony, but often some other wood stained or painted black. At the peg box end310of the fingerboard sits a small nut, infrequently called the upper saddle, with grooves to position the strings as they lead into the pegbox. The scroll313at the end of the pegbox provides essential mass to tune the fundamental body resonance of the instrument, and provides a convenient grip for spare fingers to brace against when tuning one-handed, with the violin on the shoulder. Each of the pegs314a,314b,314c, and314dare tuning pegs which correspond to different musical strings. In this case,314a,314b,314c, and314dcorrespond to D, G, A, and E, respectively. On the tail piece end, the bridge312forms the lower anchor point of the vibrating length of the strings, and transmits the vibration of the strings to the body of the instrument. Its top curve holds the strings at the proper height from the fingerboard, permitting each to be played separately by the bow. The four violin strings run from the tailpiece attached to the base, across the bridge312, continue towards the neck301of the instrument running parallel to the fingerboard, and connect to the pegbox located at the very top of the violin300. The bridge312of the violin helps to hold the strings in place, while the pegs314a,314b,314c, and314dmaintain the tension necessary to produce vibration.

Due to the degree of variations in overtones that can be heard while playing open strings, many fretless instruments are built with fine tuners323located on the top of the tail piece of the instrument. Fine tuners323allow for the pitch of the open string to be adjusted when the string is off pitch by intervals lower than a half step. Sometimes the pitch is only slightly sharp or flat, and a peg turn is not needed.

An apparatus will be described according to an exemplary embodiment.FIG. 4Ashows a depiction of a string400adapted to be wound into a tuning peg of a string instrument. Of course, the depiction is not to scale, and is shown with exaggerated dimensions for the purpose of explanation and clarity. Proximate to an end of the string400that is wound into the tuning peg is a tension indicator401. The tension indictor401is represented as a symbol for the purpose of explanation only. The tension indicator401can be implemented as a colored section of the string, a strip of color, a special texture, a ribbon attached to the string, a colored sleeve which surrounds the string, or any other visual or tactile indicator.

The tension indicator401is used to represent a predetermined level of tension in the string when the end of the string is wound into the tuning peg up to the position of the tension indicator. For examples of this position,FIG. 4Bshows four strings wound into a peg box410. The A string is wound into the corresponding tuning peg up to the point shown at symbol412, and the D string is wound into the corresponding tuning peg up to the point shown at symbol411.

The tension indicator can be used to display to a novice user of the string instrument information about the tension of the string that is not otherwise easily ascertainable. For example, to help reduce the number of strings that are broken by students winding the string too tightly around a peg, the tension indicator can act as a failsafe, representing that the student should not wind the string past the point of the tension indicator, at the increased risk of the string snapping. In other words, the tension indicator can be used to represent a “very high tension” level for the particular string. Of course, this tension level can vary depending on the musical string, as each of the musical strings varies in terms of length and thickness.

The tension indicator does not have to be a discrete point, and can span a predetermined distance of the string, for example, a strip of color that spans some distance of the string. In this case, the tension indicator can represent a predetermined level of tension in the string when the end of the string is wound into the tuning peg up to a position within the span of the tension indicator.

Also shown inFIG. 4A, a note indicator402is disposed on the string400. Similar to the tension indicator401, the note indicator is represented as a symbol for the purpose of explanation only, and can be implemented as a colored section of the string, a strip of color, a special texture, a ribbon attached to the string, a colored sleeve which surrounds the string, or any other visual or tactile indicator. For example, a special texture can be used as a note indicator for users who are visually impaired.

The note indicator402can be used to aid users in distinguishing between different strings. For example, the G string may have a note indicator in the form of a section that is colored yellow, the D string may have a section that is colored blue, the A string may have a section that is colored green, and the E string may have a section that is colored red. Of course, a violin is presented only as an example, and the string400and indicators401and402may be used with other string instruments. For example, a cello or viola can have a note indicator for a C string that is a section of string that is colored purple. Additionally, the note indicator can be integrated within the tension indicator, for example, by using striped colors. Many variations are possible, and these examples are not intended to be limiting.

The tension indicator can be made up of a plurality of sub-indicators, with each of the sub-indicators representing a predetermined level of tension when the end of string is wound into the tuning peg up to position of the sub-indicator.FIG. 5shows a string500with three sub-indicators501A,501B, and501C, which each span a predetermined distance of the string. Although the sub-indicators are shown as different patterns, this is for explanation only, and the sub-indicators can be implemented using colors, such that each of the sub-indicators501A-501C is a different color, or by using any of the visual or tactile features previously discussed.

The three sub-indicators501A,501B, and501C can be used to represent a low level of tension, a medium level of tension, and a high level of tension, respectively. So, for example, when the peg end of the string500is wound into a peg in the peg box up to a point such that the first sub-indicator501A is not yet completely wrapped around the peg, the level of tension in the string would be low. This is referred to as the flat zone. If the user continues to wind the string500into the peg such that it is wound up to a position that falls on the second sub-indicator501B, then the string will have a medium level of tension. This is referred to as the tuning zone, and means that the string is tuned to the correct pitch for that note. For example, winding an A string into the tuning zone would result in a pitch of approximately 440 Hz. If the string500is further wound into the tuning peg up to a position on the third sub-indicator501C, then the string will have a high level of tension. This is referred to as the sharp zone. If the user continues to wind the string500past the third sub-indicator501C, then they risk breaking the string. Of course, the sub-indicators do not have to be sharply divided, and can be implemented as an integrated sleeve or strip of colors. For example, the colors on the sleeve can transition from yellow to red to show the transition from flat to sharp.

Also shown inFIG. 5is the note indicator502, which can be implemented as a colored strip proximate to the opposite end of string500. Of course, the note indicator does not have to be proximate to an end and can be placed anywhere on the string500where it can be seen or felt by the user. The violin510inFIG. 5is provided for reference to show approximately where the sub-indicators501-501C and the note indicator502would lie on a string that has been attached to the violin510.

FIG. 6shows an example of three different strings600,610, and620which correspond to different musical strings. String600has tension sub-indicators601A-601C and note indicator602. String610has tension sub-indicators611A-611C and note indicator612. String620has tension sub-indicators621A-621C and note indicator622. As shown in the figure, each of the strings can be different lengths and widths, as is usually the case with musical strings. Additionally, the tension sub-indicators are not identical across each of the strings. For example, the sub-indicator611C corresponding to the sharp zone on string610is much smaller than the other sub-indicators611A-611B on the string610. Similarly, the sub-indicator621B corresponding to the tuning zone on string620is much smaller than the other sub-indicators621A and621C on the string620.

As discussed earlier, each of the note indicators602,612, and622, on the strings600,610, and620, respectively, represent a different musical note. The note indicators allow users to easily identify which string corresponds to a particular musical note, and the sub-indicators allow students to identify when each of the strings has been overwound and is at risk of breaking, as well as whether each of the strings is in the tuning zone when wound on the corresponding tuning peg in the instrument. When the user plays a string that has been wound into the corresponding tuning peg so that it is in the tuning zone, the musical note corresponding to the note indicator is produced.

Referring now toFIG. 7, a string700is shown is with tension sub-indicators701A-701C and note indicator702. Also shown are a plurality of note modification indicators703A-703D disposed on the string. As discussed earlier, each string in a fretless instrument contains a variation of intervals and overtones, which are produced depending on where an instrumentalist places his or her fingers on the fingerboard of the instrument. In many instruments, such as a piano, the keys are spaced in intervals consisting of either whole steps or half steps, making it easier for the user to select the correct pitch. Additionally, guitars have frets which let the guitarist now where to place their fingers and adjust the pitch accordingly. However, on violins, violas, or cellos, which do not have frets, there is no guarantee that an instrumentalist will place his or her finger on the fingerboard exactly one whole step or exactly one half step from the starting pitch. The note modification indicators703A-703D provide guidelines for the user in this respect. Although the note modification indicators are shown as different patterns, this is for explanation only, and the note modification indicators can be implemented using colors, or by using any of the visual or tactile features previously discussed. Optionally, the note modification indicators can be the same color and the users can differentiate them by position.

When the string700is in the instrument710and the tension in the string700corresponds to the tuning zone, each of the note modification indicators703A-703D let the user know where to depress the string700in order to adjust the pitch of the note produced by string700by a predetermined amount corresponding to the note modification indicator. The difference in pitch produced by depressing the string at each of the note modification indicators can be a half-step or full step between adjacent note modification indicators. Each of the four note modification indicators703A-703D can correspond to a different finger of the user, and each of the four note modification indicators703A-703D can also be a different color. Once again, instrument710is provided as a reference for the approximate locations of the tension sub-indicators701A-701C, note indicator702, and note modification indicators703A-703D on the string700when it is in the instrument710.

Referring toFIG. 8, a finger placement chart800is shown which indicates approximately where a user must place their finger on each of the strings of a violin, E, A, D, and G, to adjust the pitch of the string and produce a pitch corresponding to the one shown in each of the circles801. As shown inFIG. 8, each of the note modification indicators would not be placed at the same locations on each of the strings, and the location of each note modification indicator depends on the specific string on which it is disposed.

FIG. 9shows a close up view of the bridge900on a string instrument such as a violin, viola, or cello. As shown in the figure, the strings901contact the bridge900. Strings frequently break due to excessive friction created when the string is pulled across the bridge900in efforts to tune to a desired pitch. A buffer902between the strings901and the bridge900is useful in reducing the amount of friction that the string receives as it is stretched to the appropriate pitch. The buffer902can be constructed out of plastic or some other suitable material, such as rubber, cloth, or foam, and can be in the form of a tension ring.

Referring toFIG. 10, a string1000is shown with tension sub-indicators1001A-1001C and note indicator1002. Also shown is the buffer1003disposed on the string1000. As shown on the instrument1010, the buffer1003resides between the bridge and the string1000and prevents the string1000from contacting the bridge. Additionally, the buffer1003can be represented using the same color or texture that is used for the note indicator1002. This provides users with a second reference point for identifying the string1000. When the string1000is in the tuned zone, the buffer1003lines up with the bridge of the instrument. The buffer can also span a predetermined length of the string, so that the string is protected even when the string is not necessarily in the tuned zone or tuned to the perfect pitch within the tuned zone.

Optionally, the buffer can be a part of the note indicator, or serve as a note indicator as well as a buffer. In this version of the string, the color or texture of the buffer represents the musical note corresponding to the string, and a separate note indicator is not required. Additionally, although not shown in the figures, the buffer can be implemented in conjunction with note modification indicators and other features disclosed herein, so that a string can include tension indicators or tension sub-indicators, note modification indicators, a buffer, and a note indicator, or some combination thereof.

FIG. 11shows two strings1100and1110. String1100includes tension sub-indicators1101A-1101C, note indicator1102, and buffer1103. String1110includes tension sub-indicators1111A-1111C, note indicator1112, and buffer1113. When the strings1100and1110are in the tuned zone, buffers1103and1113line up with the bridge of the instrument and with each other.

Although two strings are frequently used in the examples, this for the sake of clarity, as the tension indicators or tension sub-indicators, note modification indicators, note indicators, and buffers can be utilized on a plurality of strings, such as four strings for the violin. Additionally, the position and placement of any of the indicators disclosed herein can be calibrated based on the physical properties of the string. For example, the position of the indicators may change depending on whether the string is made of gut, solid steel, stranded steel, or various synthetic materials.

The apparatus disclosed herein can be associated with a method book, instructions, DVD product demonstration, or product demonstration via online media sources. Strings for the apparatus can be sold individually or in sets of 4 strings (i.e. a violin or bass set includes an E, A, D &G string; a viola or cello set includes an A, D, G & C string).

Instructions may include detailed models and descriptions so that the consumer can check that the strings are properly installed; for example, a diagram may show each color of note indicator alongside the appropriate peg in the peg box of the instrument.