Musical instrument--the ribbon harp

The ribbon harp is a mouth-blown musical instrument consisting of a thin ribbon-like textile or polymeric object. When held between the thumbs and blown on by mouth, the ribbon harp vibrates in the audible frequency range and produces a musical note. The player may vary the tension in the ribbon in order to vary the fundamental frequency with which the ribbon harp vibrates, thus producing higher or lower pitches. Various methods may be used to provide lengthwise strength. Dampening properties can be tuned by varying properties in the crosswise direction. Aerodynamic surface treatments are provided so that the ribbon harp commences to vibrate immediately on being blown across. A wrist harness or gauntlet and a thumb cot are described as aids to the player.

BACKGROUND OF THE INVENTION 
This invention relates to the field of mouth-blown wind instruments for the 
performance of music. 
In the family of instruments nearest to the present invention, exhaled 
breath is directed across a reed or a vibrating membranous element. An 
example of a related mouth-blown wind instrument is the harmonica. 
In such a wind instrument aerodynamic forces on either side of a planar 
element are unbalanced causing the planar element to deflect. A rapid 
series of back and forth deflections may be initiated in this manner, and 
if their fundamental frequency is in the range approximately 20-25000 
hertz, then the vibration can be detected by the human ear as sound. 
PRIOR ART 
The ribbon-harp is suggested by the common trick of picking a blade of 
grass, placing it between the thumbs, and blowing past it to produce a 
squawking noise. Several deficiencies exist in naturally-occurring blades 
of grass which prevent them as being considered even as crude musical 
instruments. 
1. The weak structure of grass often causes the blade to break due to the 
forces of the vibrations. 
2. The weak structure of grass allows the blade to fail if the player 
attempts to put more tension on the blade in order to alter the 
fundamental tone. 
3. Though some control of the fundamental tone is possible by putting 
tension on the blade of grass, no control of overtones is possible. A 
cacophonous squawk is the result, and the tone is usually adjudged as 
unmusical. 
4. Grass blades are slippery, and it is difficult to hold the blade and 
change the tension. 
5. Grass blades are highly variable, and the tones and response to playing 
style is unpredictable. 
A review of the PTO file reveals no existing or expired patents which claim 
the features of the ribbon harp. Four patents have some similarities, but 
are not sufficiently close to the present invention to interfere with its 
patentability. An Information Disclosure Statement, complete with copies 
of the cited patents, is included with this patent application . 
U.S. Pat. No. 3,744,365 shows a device to be held in the mouth with a 
membranous vibrating element which is excited by exhaled breath. The frame 
of the device is held by the lips, and by biting down the pressure of the 
lips is transferred to the membranous element. The greater the tension in 
the vibrating member the higher the fundamental frequency at which it will 
vibrate. 
U.S. Pat. No. 3,744,365 holds the vibrating element in a manufactured 
framework. By comparison, the ribbon harp is held directly in the hand. 
Further, jaw pressure or lip pressure provides the exertion necessary to 
put tension in the vibrating member. The ribbon-harp uses the hand and 
wrist of the player to put tension in the vibrating member. 
U.S. Pat. No. 3,744,365, in contrast to the present invention, provides no 
teaching on controlling overtone frequencies apart from the fundamental. 
Likewise, it provides no teaching on texturizing the surface of the 
vibrating element to provide immediate response to a n input of breath, 
that is, immediate attack on a note. 
Thus U.S. Pat. No. 3,744,365 does not provide prior art on which the 
present invention infringes. 
U.S. Pat. No. 2,570,816 provides a vibrating membranous element held 
between two bowed elastic elements. The device is held to the lips and 
exhaled breath directed across the vibrating membranous element. The 
players fingers hold the bowed elements, and by pressing inward the outer 
ends, to which the membranous vibrating element is attached, are forced 
apart. This increases the tension in the vibrating membranous element 
which in turn causes a high frequency fundamental tone to be produced when 
the vibrating membranous element is excited by exhaled breath. 
U.S. Pat. No. 2,570,816 provides a mechanical framework to hold the 
vibrating membranous element. By contrast, a player using the present 
invention holds the vibrating element directly in the hand. The mechanical 
forces to increase the tension in the vibrating element stem from cocking 
the wrist in the present invention, whereas the mechanical forces to 
increase the tension in the vibrating element of U.S. Pat. No. 2,570,816 
come from direct finger pressure on the bowed elements. 
U.S. Pat. No. 2,570,816 in contrast to the present invention, provides no 
teaching on controlling overtone frequencies apart from the fundamental. 
Likewise, it provides no teaching on texturing the surface of the 
vibrating element to provide immediate response to a n input of breath, 
that is, immediate attack on a note. 
U.S. Pat. No. 1,766,095 describes a hand-held, mouth-blown musical 
instrument. However, the source for the fundamental tone is a vibrating 
column of air, that is, a whistle. This is a substantially different way 
of producing the fundamental tone as compared to the present invention. 
U.S. Pat. No. 1,766,095 provides no method for engineering the item to 
control musical overtones and thus the timbre of the produced sound. This 
likewise is in contrast to the teaching for the present invention. 
U.S. Pat. No. 1,542,147 describes a musical toy which incorporates an 
elastic member whose vibration is excited by exhaled breathe. The 
fundamental tone is controlled by tension in the elastic member. However, 
U.S. Pat. No. 1,542,147 incorporates a metal framework to hold the 
vibrating elastic element. The present invention is held in the hands, and 
there is no framework. The vibrating element in U.S. Pat. No. 1,542,147 is 
elastic. The present invention insists on the vibrating element as having 
great strength in the longitudinal direction so as to resist elastic 
deformation. U.S. Pat. No. 1,542,147 provides no teaching on controlling 
the voice, overtones, and timbre of the produced sound. This likewise is 
in contrast to the teaching for the present invention. 
It will also be obvious to the reader than the inventions cited above do 
not incorporate features such as the wrist gauntlet and the thumb cot. 
These features, designed to provide comfort and facility to the player, 
are simply not called for by the design of the cited patents. 
OBJECTS AND ADVANTAGES 
Accordingly, several objects and advantages of the present invention are 
listed following: 
In general, the ribbon harp solves the problem of providing a mouth blown 
musical instrument which: 
a. requires no additional mechanical parts except the vibrating element; 
and 
b. possesses engineering features allowing it to produce a fundamental tone 
and overtones giving a distinct musical character to its sound; and 
c. is simple to manufacture so as to be predictable in its performance. 
Other objects and advantages of the ribbon harp are: 
a. The present invention has the benefit of great simplicity. It is simple 
to manufacture and should be inexpensive to purchase, thus making it 
available to people of all economic stations. Because of its simplicity 
and the intuitive nature of its operation, a ribbon harp can be played 
with great facility by accomplished players yet a beginner can play simple 
melodies very easily. 
b. Because the hands are cupped, and the shape and volume of the cupped 
space can be changed, the resonating cavity formed by the cupped hands can 
easily be changed by the player to suit the music being played. The 
technique of cupping the hands and changing the character of the 
resonating chamber thereby formed is well known to harmonica players 
specializing the blues music form. A ribbon harp likewise especially lends 
itself to playing blues music. 
c. The ribbon-harp is very lightweight and portable. Therefore, it will be 
a desirable item among backpackers, campers, and others to whom light 
weight and portability is extremely important. 
d. A ribbon harp can be used as a toy, but since it also allows serious 
musical performance it offers the possibility of bridging a young player 
from mere play to actual performance of simple melody, and potentially to 
sophisticated performance on the same instrument. 
e. Many objects and advantages of the ribbon harp relate to the structure 
and composition of the ribbon, as well as elements of the process involved 
in its manufacture. While a ribbon harp may appear as a simple strip of 
material, the engineering and design are complex. The following objects 
and advantages, f through m, demonstrate this assertion. 
f. The ribbon harp is made tough in order to withstand high-frequency 
flexure under strong tension without breaking. 
g. The selvedge edge of a woven ribbon harp helps prevent unraveling. 
h. Because the ribbon has stable lengthwise stress-strain relationships, 
the same tension will produce the same fundamental frequency and the 
player can hit notes accurately throughout a performance. 
i. The ability to specify the width of the ribbon, the unit mass per 
length, and the damping properties of materials allows both control of the 
voice of the instrument, e.g., bass, tenor, mezzo, and the timbre of the 
voice. Timbre control is obtained through suppression of unwanted 
cacophonous overtones. 
j. Surface treatment, whether by texturizing or by formation of aerodynamic 
surfaces, promotes immediate initiation of vibrations when the ribbon-like 
member is excited by energy from mouth-blown wind. This facilitates both 
the attack on notes and the ability of the instrument to play soft 
passages. 
k. The loop in one end allows easy formation of a loop through which the 
player's wrist is thrust. The wrist loop allows the strong muscles of the 
forearm or the opposing hand to be used to impart tension to the ribbon. 
Thus relatively large tensions may be imparted to the ribbon, providing a 
means whereby the frequency range (tonal range) may be extended to one or 
more octaves of standard musical note frequencies. 
l. A sticky thumb cot provides strong friction against the ribbon when the 
ribbon is pressed against it by a free finger. This securely anchors the 
upper end of the ribbon and allows strong tensions to be produced in the 
ribbon without undue exertion of the free finger. 
m. The wrist gauntlet distributes the tension forces in the ribbon forces 
over a large area of the wrist, allowing strong forces to be produced in 
the ribbon without pain or discomfort in the area where the ribbon harp 
loop passes around the wrist of the player. 
The above is a recitation of the main objects and advantages of the present 
invention, but it is not an exhaustive list. Still other objects and 
advantages of the ribbon harp will become obvious from consideration of 
the remaining description of this invention.

LIST OF REFERENCE NUMERALS 
20. Body of the ribbon harp 
22 Loop 
24 Sewn, glued, or bonded attachment 
26 Longitudinal (long-axis, lengthwise) fibers. 
28 Latitudinal (short axis, crosswise) fibers. 
30 Selvedge. 
32. Longitudinal fiber of differing strength or thickness 
34 Cast or extruded polymeric ribbon harp. 
38 Cast or extruded polymeric ribbon harp having differing aerodynamic 
profile on either side. 
40. Ribbon harp of cast or extruded polymeric material having few 
longitudinal fibers. 
42. Longitudinal strengthening fibers. 
44. Ribbon harp of cast or extruded polymeric construction with texturized 
planar surfaces 
46. Surface texture feature in the form of a pit. 
48. Surface texture feature in the form of a bump. 
50. Ribbon harp of extruded polymeric material with surface texture in the 
form of longitudinal ridges. 
52. Longitudinal ridge. 
54. Cross section of ribbon harp of polymeric material showing longitudinal 
ridges formed during the casting or extruding process. 
56. Ribbon harp in position on the right wrist of a player. 
60. Position of small loop 22 in the playing position. 
62. Ribbon harp held in hands in the playing position. 
64. Wrist gauntlet. 
66. Attachment stud. 
68. Thumb cot. 
SUMMARY 
The ribbon harp is a ribbon of woven fabric or polymeric composition which 
can be held between the thumbs, and will vibrate when a breath of air is 
blown over it. Increasing the tension within the ribbon will change the 
fundamental vibration frequency so that a player can control the note 
being played. Engineering features of the ribbon allow the voice and 
timbre to be tuned so that a dominant fundamental tone is produced under 
playing conditions. Discordant or dissonant overtones can be damped or 
eliminated by selecting the properties of the ribbon. A thumb cot and a 
wrist harness may optionally be used to prevent discomfort when playing a 
ribbon harp. 
DESCRIPTION OF THE INVENTION. FIGS. 1 to 15B 
The invention is a vibrating ribbon which may be used as a musical 
instrument. It may be made of primarily a single polymeric material as 
shown in FIGS. 4 and 5. An alternative embodiment is a woven fabric as 
shown in FIG. 2. 
The length of the ribbon harp is typically 35 cm. Players may trim the 
ribbon to length for convenience. The width of the ribbon varies from 1 to 
10 mm; typically 2.5 to 7 mm. 
The ribbon has varied weight per length. In woven ribbon harps this is 
controlled by several factors such as width, density of weave, thread 
characteristics, and resin characteristics. In ribbon harps of primarily 
single polymeric materials weight per length is controlled by volume per 
length and polymer density. Weight per length is a critical factor for 
control of the fundamental frequency. Weight per length varies from 0.01 
grams/cm to 2 grams/cm, with varied weight classes selected for the 
desired voice. 
Ribbon harps made primarily of a single polymeric material may be made with 
no aerodynamic asymmetry or surface treatment, and also with no 
longitudinal reinforcement. Such ribbon harp is shown in FIGS. 4 and 5. 
This is the simplest form of the ribbon harp. 
A ribbon harp made primarily of a polymeric material may have longitudinal 
reinforcement. In this case, illustrated in FIGS. 8 and 9, a few strong 
fibers 42 may be imbedded in the polymeric material. These fibers provide 
added strength in the longitudinal, or lengthwise, direction. 
Ribbon harps made primarily of a single polymeric material may have 
asymmetric planar surfaces 38. They may also have calendared or 
roll-embossed surface treatments. These design features, shown in FIGS. 
3B, 6, 7, 10, 11A, and 11B, produce unbalanced forces on either side of 
the ribbon harp when air is blown across its surface. These features 
promote the immediate initiation of vibrations in the ribbon, known 
musically as an immediate attack upon the note. These features also allow 
the initiation of vibrations when a small flux (mass per time) of air 
being blown across the ribbon harp. This facilitates the playing of soft 
or low volume musical phrases. 
Ribbon harps made primarily of a single polymeric material may have surface 
textures or treatments of various forms. Pits 46 of varying depths, 
diameters, and spacing may be pressed or cast into the ribbon harp, as 
shown in FIGS. 10 and 11A. Small bumps 48 may likewise be introduced onto 
the surface, as shown in FIGS. 10 and 11B. A ribbon harp made primarily of 
a polymeric material may also be manufactured by extrusion, and in this 
case surface texture may be provided by providing a ribbed or striated 
surface 54 which is created by the extrusion die, illustrated in FIGS. 12 
and 13. Ribbon harps made by injection molding may have surface texture in 
the form of ribs, pits or small knobs, which texture is a designed and 
included in the molding die. 
The fibers in a woven ribbon harp may be of various materials, but in a 
preferred embodiment the length wise fibers are kevlar or nylon. These 
strong materials stretch very little under the tension of playing. The 
crosswise fibers 28 are also of various materials such as cotton, 
polyester, rayon, nylon, polyethyleneterephthalate. or other common 
textile fibers. In a preferred embodiment polyester may be used in as the 
crosswise thread in a woven ribbon harp. 
Woven ribbon harps are either impregnated with polymeric materials after 
weaving or the resin is introduced to the fiber previous to weaving. 
Various types of resin are used, among which are polyethylene, 
polypropylene, polystrene, etc. In a preferred embodiment polyethylene is 
calendered onto the surface of the ribbon and a surface texture is 
embossed thereon by a mechanical roll. 
The loop 22 at one end of the ribbon is simply formed and sewed back onto 
itself as illustrated in FIG. 1. Sewing is the preferred means of 
attachment for woven ribbon harps, but gluing or heat fusing can be used 
for ribbon harps made primarily of a single polymeric material. The loop 
22 can be used either to form a larger loop from the free end of the 
ribbon , said large loop to be passed around the wrist; illustrated in 
FIG. 14, or used as an attachment to the knobbed 66 wrist gauntlet as 
shown in FIGS. 15A and 15B. 
A wrist gauntlet 64, shown in FIGS. 15A and 15B, provides a large surface 
area over which the forces induced by the tension in the ribbon are 
resolved into the forearm. This eliminates pinching or discomfort while 
playing the ribbon harp. A wrist gauntlet also provides a secure 
attachment 66 for the loop one end of the ribbon harp. 
A thumb cot, FIGS. 15A and 15B, is used to provide a more secure anchor for 
holding the top of the ribbon harp fast against the top of the thumb. A 
secure anchor point aids in accurate performance. A thumb cot also reduces 
the muscular effort necessary to hold the end of the ribbon harp firmly 
and without slippage, and thus reduces fatigue during long playing 
sessions. 
When a ribbon harp is played, the tone can be captured on a recording. The 
fundamental and associated overtones can then be analyzed using the 
mathematical tool of the Fourier transform. Fourier analysis of tones is 
an established technique, and is in fact used in order to allow computer 
driven instruments such as synthesizers to produce tones which can be 
identified as specific instruments, say, a trumpet. A synthesizer trumpet 
sound is nothing more than a mathematical computer algorithm which passes 
a signal to an amplifier and thence to the speaker, which algorithm is 
derived from Fourier transform analysis of actual trumpet tones. 
Therefore, an engineer skilled in the art of tone analysis can easily 
specify factors such as lengthwise threads, crosswise threads, resin 
materials, ribbon unit weights, and ribbon widths which affect the musical 
tone of the ribbon harp. In this way the harp is tuned to establish its 
voice and timbre. Discordant or dissonant overtones can be dampened or 
eliminated. 
Although the description above contains specific examples of ribbon harp 
design, these do not limit the entire scope of the design but merely serve 
as examples of some presently preferred embodiments. For example, the full 
scope of available materials for making threads could conceivably be used 
as either lengthwise or crosswise threads in the woven ribbon harp. 
Another example is the combination of design principles, such as when a 
few long strengthening fibers 42 are used in an extruded ribbon harp 
having striations 54, that is, the combination of features seen in FIGS. 
8, 9, 12, and 13. 
Thus the scope of the present invention should be limited by the claims 
following and their legal equivalents rather than by the examples given. 
Operation. FIGS. 14, 15A and 15B. 
To play the ribbon harp, insert the free end of the ribbon into the loop so 
that a large loop is formed. Insert the wrist into said large loop and 
draw it up so that it is tight against the wrist. Either wrist may be 
used. 
Now draw the ribbon harp over the first joint of the thumb and past the 
second joint of the thumb, ending by passing it over the top of the thumb. 
The ribbon is held fight against the top of the thumb by the first finger. 
Bring the opposite hand against the hand holding the ribbon harp in a 
mirror image. The first and second joints of the thumbs should match up 
against one and other. See FIG. 14. 
Now the player brings his hands to his lips and presses the lips against 
the thumbs. The axis of the mouth is approximately at right angles to the 
long axis of the ribbon harp. The lips are held against the thumbs with 
moderate pressure so that exhaled breath is fairly well sealed against 
leakage and passes though the lozenge-shaped opening through which the 
ribbon is passes. The ribbon harp immediately vibrates in response to the 
stream of exhaled breath. A hard exhale produces a loud note and a small 
flow of exhaled breath produces a soft note. It is clear from FIG. 14 that 
the player can cup his or her hands in various shapes, and that the 
reverberations will alter the timbre of the produced sound. 
By cocking the wrist, the tension is increased in the ribbon harp, and it 
will respond to exhaled breath with a higher note. Slackening the tension 
will cause it to vibrate slower, and will thus bring forth a lower note in 
response the exhaled breath. FIGS. 15A and 15B shows how tension in the 
ribbon harp is increased or decreased by cocking the wrist at different 
angles. Discrete notes can be played by interrupting the flow of air in 
the same way that a trumpet player uses the syllable "tu" in order to 
produce a discrete beginning to a note. 
FIGS. 15A and 15B show the use of a polymeric sticky thumb cot on the 
thumb. It increases friction between the ribbon and the thumb, and is a 
convenience for the player. FIGS. 15A and 15B also show the wrist gauntlet 
which forms a means of attachment 66 for the ribbon harp and relieves the 
discomfort of tension in the ribbon harp loop about the wrist. 
SUMMARY, RAMIFICATIONS, AND SCOPE 
Accordingly, the reader can see that the ribbon harp is a simple, 
inexpensive, easy-to-manufacture mouth-blown musical instrument. The 
simplicity of the ribbon harp allows an almost intuitive grasp of its 
operation. Thus, the ribbon harp is attractive as a toy to children. 
However, in the hands of a skilled player it is capable of artistic 
musical performance. 
Careful attention to the engineering details described above allow design 
of a ribbon harp that has a pleasing and musical tone. A ribbon harp has a 
distinct fundamental tone under playing conditions and dampening 
properties which suppress unwanted dissonant or discordant overtones. 
Further, surface shape and texture can be specified to permit an accurate 
attack upon notes. 
Lastly, a wrist gauntlet and thumb cot are described. These devices reduce 
fatigue during long sessions and prevent discomfort from a ribbon harp 
under tension pressing into the wrist. 
Although the description above contains many specificities, these should 
not be construed as limiting the scope of the ribbon harp invention. The 
descriptions show some preferred embodiments of the ribbon harp. For 
instance, color and decoration are elements of ribbon harp design which 
have not been discussed under the above descriptions. 
Thus the scope of the invention should be determined by the appended claims 
and their legal equivalents rather than by the examples given: