Abstract:
A device for restraining or anchoring the endpin of a floor-resting musical instrument such as a cello or a string bass is provided for allowing the musician to hold the musical instrument in a desired position and prevent the endpin from sliding around on the floor surface. The device also protects the surface of the floor from being damaged by a sliding endpin. The device also does not dampen the sound of the musical instrument.

Description:
CROSS REFERENCE TO RELATED APPLICATIONS 
     This application claims the benefit of the U.S. Provisional Application No. 60/649,957 filed on Feb. 4, 2005, the contents of which are expressly incorporated herein by reference. 
    
    
     FIELD OF THE INVENTION 
     The present invention relates generally to a stabilizing device used in conjunction with the endpin of a floor-resting musical instrument such as a cello or a string bass. 
     BACKGROUND OF THE INVENTION 
     Musical instruments such as a cello or a string bass are provided with an endpin at its bottom for resting the instrument on the floor as the musician, who is usually sitting on a chair, holds the instrument in a suitable position. Because the free end of the endpin directly contacts the floor, if the endpin slides along the floor surface, the musician&#39;s performance is impaired and additionally may damage the surface of the floor. 
     Many devices are known that will prevent the endpin from sliding on the floor and they generally fall into two types. First type of devices are frictional devices generally made of rubber or rubber-like polymer that may be attached to the tip of the endpin or attached to the floor. An example of such device is described in U.S. Pat. No. 5,696,338 to Grissom. These type of devices have a number of disadvantages, such as, reduced resonance of the musical instrument caused by the dampening qualities of the devices. Also, the coefficient of friction of these devices tend to diminish in relatively short period of time and renders them ineffective. 
     Another type of known devices are mechanical types that mechanically attach the endpin of the musical instrument to a fixed object such as the legs of the musician&#39;s chair. Examples of such devices are described in U.S. Pat. No. 6,696,626 to Pagenkopf, U.S. Pat. No. 5,003,858 to Rowell, U.S. Pat. No. 3,598,011 to Henkle, and U.S. Pat. No. 1,288,179 to Poehland. These known devices also have their own deficiencies. For example, some of the known devices require adjustment with every use. Some known devices require two hands to adjust the anchoring position of the musical instrument. Some known devices require the musician to stand and remove the device from under the chair or reposition a portion of the device that is attached to the chair in order to adjust the anchoring position of the musical instrument. Some known devices only restrain the endpin in only one direction and allow the endpin to move side-to-side. Some known devices use one attachment point on the fixed object (i.e. one chair leg), therefore, if the forces applied through the endpin are not coincident with the longitudinal axis of the tension member or the device itself, the device will rotate about the single attachment point or fixed object until the tension member aligns with the force applied through the endpin. Some known devices are bulky and cumbersome to transport. 
     Therefore, there is a need for improved device for restraining or anchoring the endpin of a musical instrument such as a cello or a string bass. 
     SUMMARY OF THE INVENTION 
     According to an aspect of the present invention, an endpin restraint for a floor-resting musical instrument such as a cello or a string bass is provided for allowing the musician to hold the position of the musical instrument in a desired position and prevent the endpin from sliding around on the floor surface. The endpin restraint generally comprises a generally rigid endpin holder, for positioning at a distance from a chair upon which a musician is seated to play the musical instrument. The endpin holder has an upper surface provided with a plurality of endpin receiving structures. These endpin receiving structures may be pocket-like structures which are concave and they may also be bossed structures that protrude from the upper surface of the endpin holder. The endpin restraint also includes a flexible tension member, which may be a chord made of any variety of appropriate material, having a proximal end and a distal end, for connecting the endpin holder to the legs of the chair. Preferably, the tension member is not elastic. The distance between the endpin holder and the musician&#39;s chair is adjusted by threading or wrapping varying lengths of the flexible tension member at its distal end within the endpin holder and thereby adjusting the length of the flexible tension member. 
     The particular shape of the endpin holder and the particular configuration for threading or wrapping the flexible tension member within the endpin holder may vary according to the present invention. These various embodiments are described further in the Detailed Description below in combination with the drawings representing the exemplary embodiments. 
    
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         FIG. 1  is an illustration of a cello having an endpin held by a restraint in accordance with the present invention. 
         FIGS. 2-5  are illustrations of an embodiment of the endpin restraint in various configurations. 
         FIG. 6  is an illustration of an endpin holder having an alternate configuration of a plurality of pockets. 
         FIG. 7  is an illustration of another embodiment of the endpin holder of  FIGS. 1-5 . 
         FIGS. 8-21  are illustrations of additional embodiments of the endpin restraint. 
         FIGS. 22-29  are illustrations of another embodiment of the endpin restraint whose endpin holder has a disk-like shape. 
         FIG. 30  is an illustration of alternate embodiment of an endpin holder that is provided with bossed structure as an alternative to the pockets provided in the other embodiments. 
         FIG. 31  is a perspective view of another illustrative embodiment of an endpin holder. 
         FIG. 32  is a cross-sectional view of the endpin holder of  FIG. 31 . 
         FIG. 33  is a top plan view of two endpin restraints shown side-by-side to illustrate the adjustability of the endpin restraint of the present invention. 
     
    
    
     The features shown in the above referenced drawings are not intended to be drawn to scale nor are they intended to be shown in precise positional relationship. Like reference numbers indicate like elements. 
     DETAILED DESCRIPTION OF THE INVENTION 
       FIG. 1  is an illustration of the endpin restraint  10  according to an embodiment of the present invention being used in conjunction with a floor-resting musical instrument such as a cello  50 . The endpin restraint  10  comprises an endpin holder  12  and a loop of flexible tension member  13 . The cello  50  has an endpin  55  projecting from the bottom end thereof and is captively and removably received in the endpin holder  12 . A cellist  60  generally positions the cello  50  in a slightly angled stance leaning into the cellist  60  while the cellist is seated in a chair  62 . The chair  62  generally has at least a pair of front legs  64  and the endpin restraint  10  is anchored to the chair by having its flexible tension member  13  wrapped around the front legs  64  of the chair. Alternatively, if the chair has four legs, for example, the flexible tension member  13  may be wrapped around a pair of back legs (not shown) of the chair. 
       FIGS. 2 and 3  are detailed illustrations of an embodiment of the endpin restraint  10 . The endpin holder  12  has an upper surface  12   a , a proximal end  12   p  (the end closer to the musician) and a distal end  12   d  (the end away from the musician). In this example, the endpin holder  12  has a substantially rectangular shape but the endpin holder  12  can be of any desired shape and size. 
     On its upper surface  12   a , the endpin holder  12  is provided with a plurality of endpin receiving structures  15 . In this example, the endpin receiving structures  15  are pocket-like structures. The pockets  15  are of size and depth appropriate for the particular size of the endpin  55  to retain the endpin  55  in place and prevent the endpin  55  from coming out of the pocket  15  without lifting the musical instrument associated with the endpin such as the cello  50 . The plurality of pockets  15  are provided in an arrangement forming at least one column of pockets extending from the proximal end  12   p  to the distal end  12   d  of the endpin holder  12 . The musician  60  would adjust the distance between the musician and the cello  50 , for example, by setting the endpin  55  of the cello  50  into a desired pocket among the plurality of pockets  15 . 
     The endpin holder  12  is also provided with a pair of end holes  17   a ,  17   b  at its proximal end  12   b  and a pair of grooves or slots  16   a ,  16   b . The slots  16   a ,  16   b  are provided in symmetric relation about the center line or the longitudinal axis CL (see  FIG. 3 ) of the endpin holder  12  extend longitudinally along the length of the endpin holder  12 . Each of the end holes  17   a ,  17   b  are communicatingly connected to the slots  16   a ,  16   b , respectively. The loop of flexible tension member  13  is threaded through the end holes  17   a ,  17   b  and the slots  16   a ,  16   b , respectively. 
     A musician would adjust the configuration of the endpin restraint  10  by adjusting the position of the flexible tension member  13  in the endpin holder  12  from position  1  illustrated in  FIG. 2  and position  2  illustrated in  FIG. 3 . In position  1 , the flexible tension member  13  is threaded through the full length of the slots  16   a ,  16   b  and the distal end  13   d  of the tension member  13  is looped around the distal end  12   d  of the endpin holder  12 . In position  2 , the flexible tension member  13  is pulled closer to the proximal end  12   p  of the endpin holder  12  so that the distal end  13   d  of the tension member  13  loops between the slots  16   a ,  16   b  near the proximal end  12   p  of the endpin holder  12 . The length of the flexible tension member  13  would be selected so that the distance between the endpin holder  12  and the musician&#39;s chair is as desired. For example, in  FIGS. 4 and 5 , the distance between the endpin holder  12  and the chair is designated as D 1 , D 2 , respectively. 
     The top plan views of  FIGS. 4 and 5  of positions  1  and  2 , respectively, provide additional illustrations of how the flexible tension member  13  is threaded through the endpin holder  12 . As illustrated, position  2  positions the endpin holder  12  further away from the musician&#39;s chair. The musician&#39;s chair is represented by its front legs  64 . As shown in  FIGS. 4 and 5 , when the endpin restraint  10  is in use, the force F is exerted on the endpin holder  12  by the weight of the musical instrument  50  through its endpin  55 . Without the endpin restraint  10 , the force F would tend to make the endpin  55  slide along the floor away from the musician. During use, the flexible tension member  13  is maintained in tension by the force F. Because of the geometry involved in this configuration, the force F will push the endpin holder  12  in the direction of the force F until the particular pocket  15  (in this example the third one from the top in  FIG. 4 ) in which the endpin  55  is placed is the furthest distance from the chair as possible with the given length of the flexible tension member  13 . This is achieved when the flexible tension member  13  forms what is essentially an equilateral triangle configuration as shown in  FIGS. 4 and 5  with the proximal end portion  13   p  of the flexible tension member  13  between the two legs  64  of the chair forming the base of the equilateral triangle 
     Furthermore, for optimal stability of the endpin holder&#39;s position, i.e. prevent it from any yawing motion, the plurality of pockets  15  are provided in a single column along the longitudinal axis of the endpin holder  12  as illustrated in  FIGS. 1-5 . However, in an alternate embodiment, the plurality of pockets  15  may be provided in a staggered configuration as shown in  FIG. 6 . Such alternate configuration would provide more gradation in the selection of positions for the endpin because the spacing Y between each pocket in the longitudinal direction can be provided to be smaller than in the configuration shown in  FIGS. 1-5 . 
     Returning to the first embodiment of  FIGS. 1-5 , the slots  16   a ,  16   b  in this particular example start near the proximal end  12   p  and run off the edge at the distal end  12   d . It is not necessary that the slots  16   a ,  16   b  run off the edge of the endpin holder  12  at the distal end  12   d  but the slots extend some substantial distance along the length of the endpin holder  12 . This is because the slots  16   a ,  16   b  provide two-position adjustability for the endpin holder  12  increasing the range of the endpin positions for the musician  60 . For example, in an alternate embodiment as illustrated in  FIG. 7 , the slots  16   a  and  16   b  are connected to each other near the distal end  12   d  of the endpin holder  12  by a slot connecting slot segment  16   c . This allows the distal end  13   d  of the flexible tension member  13  to be looped through the slot segments  16   c  similar to the way the distal end  13   d  of the flexible tension member  13  loops around the distal end  12   d  of the endpin holder  12  in the first embodiment of  FIGS. 1-5 . The slots provided in the endpin holder  12  enables the flexible tension member  13  to be secured to the endpin holder and also provide ways to adjust the length of the flexible tension member  13 , which in turn adjusts the distance between the endpin holder  12  and the musician&#39;s chair. 
     The endpin holder  12  can be fabricated from any material. Preferably, the endpin holder  12  is fabricated from rigid material such as wood, plastic, hard rubber or metal. However, the present invention is not limited to the endpin holders made from rigid material. In a preferred embodiment, the endpin holder  12  is fabricated from hardwood such as oak, maple, ebony, etc. so that the endpin holder  12  minimally affect the sound of the musical instrument transmitted through the endpin. 
       FIG. 8  is an illustration of another embodiment of endpin restraint  110 . In this embodiment, the endpin holder  112  is provided with one or more additional connecting slots between the slots  16   a  and  16   b  for threading the flexible tension member  13 . In  FIG. 8 , two connecting slots  16   d  and  16   e  are provided in the endpin holder  112  as an example. In comparison to the endpin holder  12  illustrated in  FIGS. 4 and 5 , the endpin holder  112  of  FIG. 8  provides two additional positions for configuring the endpin restraint  110 . Thus, the musician has a choice of four positions identified by the arrows  120 , to thread the flexible tension member  13  in the endpin holder  112 . 
       FIG. 9  is an illustration of another embodiment of endpin restraint  210 . In this embodiment, the endpin holder  112  is same as the one illustrated in  FIG. 8 . However, the flexible tension member  213  is not a continuous loop like the flexible tension member  13  but an open ended one. The flexible tension member  213  thus has two segments  213   a ,  213   b  and is open ended at the proximal end (near to the musician). Thus, the two segments  213   a ,  213   b  have terminal ends at their proximal ends  213   p . Similar to the embodiment of  FIGS. 1-5 , the position of the distal end (away from the musician)  213   d  of the flexible tension member  213  can be changed to adjust the position of the endpin holder  112  with respect to the musician. However, in this embodiment the endpin holder  112  is provided with connecting slots  16   d  and  16   e  between the longitudinal slots  16   a  and  16   b  to provide additional positions for the distal end  213   d  of the flexible tension member. Thus, the distal end  213   d  of the flexible tension member  213  can be placed in one of the four positions identified by the arrows  220 . Each of the terminal ends  213   p  is adapted and configured to receive one of the two front legs  64  of the musician&#39;s chair. This may be achieved by providing a ring  217  at each of the terminal ends  213   p  as shown so that the flexible tension member  213  can be secured to the front legs  64  of the musician&#39;s chair by inserting one of the two front legs  64  into one of the rings  217 . Alternatively, each of the terminal ends may be tied into a loop (not shown) which will serve the same function as the rings  217 . 
     Referring to  FIG. 10 , another embodiment of endpin restraint  310  is illustrated. The endpin restraint  310  comprises an endpin holder  312  and a flexible tension member  313 . The endpin holder  312  is provided with a pair of longitudinally running slots  316   a ,  316   b  and a pair of end holes  317   a ,  317   b  at its proximal end  312   p . The end holes  317   a  and  317   b  are communicatingly connected to the slots  316   a  and  316   b , respectively for threading the flexible tension member  313  therethrough. The flexible tension member  313  is an open-ended loop and the two ends of the flexible tension member  313  are threaded through the end holes  317   a  and  317   b  and then through the slots  316   a  and  316   b , respectively, and exiting at the distal end  312   d  of the endpin holder  312 . The two ends of the flexible tension member  313  are provided with stops  314 . The stops  314  may be formed of any appropriate material such as wood, metal, glass, plastic, etc. and may come in a variety of shapes and sizes. The stops  314  may be attached to the flexible tension member  313  in any appropriate manner as long as the stops  314  are attached sufficiently securely to the ends of the tension member  313  to prevent them from coming off during use. For example, the stops  314  may be beads of appropriate size having a hole therethrough and secured to the flexible tension member  313  by threading an end of the tension member  313  through the bead and tying it. In another example, the stops  314  may be made of metal, glass, or plastic and they may be molded onto the ends of the tension member  313 . 
     The two ends of the flexible tension member  313  are threaded through the end holes  317   a ,  317   b  and the flexible tension member  313  are laid within the longitudinal slots  316   a ,  316   b  so that the stops  314  reside beyond the distal ends of the longitudinal slots  316   a  and  316   b . The stops  314  are larger than the width of each of the slots  316   a ,  316   b  so that when the tension member  313  is pulled tight by the force F exerted on the endpin holder  312  by the endpin of a musical instrument, the stops  314  will abut against the endpin holder  312  and prevent the open ends of the tension member  313  from being pulled through. In use, the proximal end  313   p  of the tension member  313  is looped around two front legs  64  of a musician&#39;s chair. 
     Along the length of the endpin holder  312 , one or more side slots  318  may be provided to lock the stops  314  at their intermediate positions. In the embodiment of  FIG. 10 , one side slot  318  is provided on each side of the endpin holder  312  associated with each of the longitudinal slots  316   a ,  316   b . To lock the stops  314  at their intermediate positions, each of the two ends of the flexible tension member  313  are threaded along the slots  316   a ,  316   b  up to the side slots  318 , then threaded outward through the side slots  318  and let the stops  314  hang outside. The side slots  318  are preferably smaller than the stops  314  so that when the flexible tension member  313  is pulled tight by force F exerted on the endpin holder  312  by the endpin of a cello for example, the stops  314  interfere with the side slots  318  and prevent the flexible tension member  313  from being pulled through, thus, holding the endpin holder  312  in this intermediate position. This configuration is illustrated in the plan view shown in  FIG. 11 . To increase the distance between the endpin holder  312  and the musician further, the ends of the flexible tension member  313  are withdrawn from the side slots  318  and allow the two ends of the tension member  313  to be drawn further through the end holes  317   a  and  317   b  until the stops  314  reach the proximal ends of the slots  316   a  and  316   b . This position is illustrated in the cross-sectional view of the longitudinal slot  316   b  shown in  FIG. 12 .  FIG. 12  is a longitudinal cross-section of the endpin holder  312  taken through the slot  316   b  near the proximal end  312   p . The flexible tension member  313  is shown as being threaded through the hole  317   b  which is communicatingly connected to the longitudinal slot  316   b . The stop  314 , which is preferably larger than the width of the slot  316   b  prevents the flexible tension member  313  from being drawn through the slot  316   b  and the hole  317   b.    
       FIG. 13  illustrates another embodiment of the endpin restraint  410 . The endpin restraint  410  according to this embodiment comprises the same endpin holder  312  of  FIG. 10  and a flexible tension member  413 . The tension member  413  is open ended at its distal end  413   d  with stops  414  at the two ends similar to the tension member  313  of the endpin restraint  310 . However, the tension member  413  is also open ended at its proximal end  413   p . Thus, the tension member  413  comprises two-pieces  413   a  and  413   b . Similar to the tension member  213  of  FIG. 9 , a ring  417  is provided at each of the two proximal ends  413   p  of the tension member  413 . The endpin restraint  410  is secured to the front legs  64  of the musician&#39;s chair by inserting each of the two front legs  64  of the chair into the rings  417 . The force F exerted on the endpin holder  312  by the endpin of a musical instrument will keep the two parts  413   a  and  413   b  of the tension member  413  taut and keeps the endpin holder  312  centered with respect to the musician&#39;s chair. 
     The location of the longitudinal slots  16   a ,  16   b ,  316   a ,  316   b  of the illustrative embodiments shown in  FIGS. 1-13  may not be limited to the upper surface of the endpin holders. The longitudinal slots can be provided along the side surfaces of the endpin holders.  FIGS. 31 and 32  illustrate an embodiment of such endpin holder  812 . The endpin holder  812  is substantially rectangular in shape extending between its proximal end  812   p  and distal end  812   d . A plurality of endpin receiving structures  815  are provided in a linear configuration on its upper surface. A pair of longitudinally extending slots are provided on each of the two side surfaces  812   s  of the endpin holder  812 .  FIG. 32 , which is a cross-sectional view of the endpin holder  812  through line A-A shown in  FIG. 31  shows both of the side surfaces  812   s  and the pair of longitudinal slots  816   a  and  816   b . Provided at the proximal end  812   p  of the endpin holder  812  are end holes  817   a ,  817   b  that are each communicatingly connected to their respective longitudinal slots  816   a ,  816   b . A flexible tension member  813  would be threaded through these endholes and looped around the longitudinal slots  816   a ,  816   b . Additional one or more connecting slots such as  816   c  and  816   d  shown may be provided on the endpin holder  812  also. Such additional connecting slots provide additional looping/threading paths for the flexible tension member  813  and allow the user to adjust the length of the flexible tension member  813  between the endpin holder  812  and the musician&#39;s chair (not shown). The function of the connecting slots  816   c ,  816   d  are analogous to the function of the connecting slots  16   d ,  16   e  of embodiment shown in  FIG. 8 . 
       FIGS. 14 ,  15 , and  16  illustrate yet another embodiment of endpin restraint  510 . The endpin restraint  510  is a variation of the endpin restraint  110  shown in  FIG. 8 . The endpin restraint  510  comprises an endpin holder  512  and a flexible tension member  513 . The tension member  513  is a loop with a stop  514  attached to the tension member  513  near the tension member&#39;s distal end. The endpin holder  512  is provided with pockets  15  on its upper surface for receiving the endpin of a musical instrument such as a cello. The endpin holder  512  further includes two longitudinal slots  516   a ,  516   b  and at least two connecting slots  516   c  and  516   d  connecting the slots  516   a  and  516   b  near their terminal ends. The connecting slots are sufficiently long so that they extend beyond the distance between the longitudinal slots  516   a ,  516   b  and are open to at least one side of the endpin holder  512 . In the examples illustrated in  FIGS. 14-16  the connecting slots  516   c ,  516   d ,  516   e  extend beyond the slot  516   b  and are open to the right side of the endpin holder  512 . Whether the connecting slots open to the right side or left side of the endpin holder  512  is a matter of design choice. 
     The two connecting slots  516   c  and  516   d  provides two extreme positions for the endpin holder  512  with respect to the musician&#39;s chair (represented by the front legs  64  of the chair). Positioning the stop  514  of the flexible tension member  513  in the connecting slot  516   c  at the distal end of the endpin holder  512  results in the endpin holder  512  being closest to the musician&#39;s chair (compare  FIG. 14  to  FIGS. 15 and 16 ). Positioning the stop  514  of the flexible tension member  513  in the connecting slot  516   d  at the proximal end  512   p  of the endpin holder  512  results in the endpin holder  512  being furthest from the musician&#39;s chair. More gradation in the position of the endpin holder  512  can be achieved by providing one or more of the intermediate connecting slot  516   e  between the connecting slots  516   c  and  516   d .  FIG. 15  illustrates the intermediate position of the endpin holder  512  achieved by positioning the stop  514  of the flexible tension member  513  in the intermediate connecting slot  516   e . The tension member  513  is shown wrapped around the two front legs  64  of the musician&#39;s chair. 
     As illustrated by the exemplary embodiments shown and discussed so far, the benefit of the endpin restraint of the present invention is that the distance between the endpin holder and the musician can be adjusted without the use of any additional components (e.g., buckles, slides, etc.) other than the endpin holder itself. By threading, winding or wrapping the flexible tension member within the endpin holder, the length of the flexible tension member is adjusted and in turn adjusts the distance between the endpin holder and the musician&#39;s chair. 
     Shown in  FIGS. 17-21  is another embodiment of an endpin holder  612 . The endpin holder  612  includes a plurality of pockets  15  on its upper surface for receiving an endpin of a musical instrument such as a cello. As with the other embodiments of the endpin holders discussed above, a pair of longitudinal slots  616   a ,  616   b  are provided on the upper surface of the endpin holder  612  for threading a flexible tension member  613  therewithin. The endpin holder  612  has end holes  617   a ,  617   b  at its proximal end that are communicatingly connected to the slots  616   a ,  616   b  respectively. The tension member  613  is open ended at the distal end similar to the tension member  313  in  FIG. 10 . Stops  614 , similar to the stops  314  of  FIG. 10 , are provided at each of the two ends of the tension member  613  in similar manner as discussed in reference to  FIGS. 10-12 . Along the lengths of the longitudinal slots  616   a ,  616   b , at least one pair of side slots  618  are provided as shown. 
     The side slots  618  are shaped such that the stops  614  at the two ends of the tension member  613   a ,  613   b , can be accommodated within the side slots  618  as shown in  FIGS. 20 and 21 . The side slots  618  allows the musician to thread or wrap the tension member  613  in various different configurations within the endpin holder  612  to adjust the distance between the endpin holder  612  and the musician&#39;s chair in at least four different positions as illustrated by each of the  FIGS. 17-21 . The configuration shown in  FIG. 17  positions the endpin holder  612  furthest away from the musician&#39;s chair (not shown but would be at the bottom of  FIG. 17 ). In this configuration the endpin holder  612  is fully extended away from the musician&#39;s chair until the flexible tension segments  613   a ,  613   b  are taut and the stops  614  are at the proximal ends of the slots  616   a  and  616   b.    
     The configuration shown in  FIG. 18  positions the endpin holder  612  incrementally closer to the musician&#39;s chair. In this configuration, the endpin holder  612  is pulled closer to the musician until the two ends of the flexible tension member  613   a ,  613   b  can be inserted into the side slots  618  so that the stops  614  are positioned outer side of the side slots  618  as shown. The stops  614  are preferably larger in size than the side slots  618  and the stops  614  will maintain the position of the endpin holder  612  against the force F exerted by the endpin of a musical instrument. 
     The configuration shown in  FIG. 19  positions the endpin holder  612  further towards the musician&#39;s chair. In this configuration, the endpin holder  612  is pulled closer to the musician until the two ends of the flexible tension member  613   a ,  613   b  are threaded through the longitudinal slots  616   a ,  616   b  and out at the distal end of the endpin holder  612  so that the stops  614  are braced against the slots  616   a  and  616   b.    
     The configuration shown in  FIG. 20  positions the endpin holder  612  further towards the musician&#39;s chair from the position of  FIG. 19 . In this configuration, the flexible tension members  613   a ,  613   b  are threaded through the full length of the longitudinal slots  616   a ,  616   b , respectively, and wrapped around the outer surface of the endpin holder  612  following the arrows A and B until the stops  614  reaches the side slots  618 . As mentioned previously, the side slots  618  are shaped and sized to receive the stops  614 . The stops  614  are inserted into the side slots  618  as shown. That secures the flexible tension member  613  in this configuration and secures the endpin holder  612  in this position against the force F exerted on the endpin holder  612  by the endpin of a musical instrument whose free end is received in one of the plurality of pockets  15 . 
     The configuration shown in  FIG. 21  positions the endpin holder  612  even further closer towards the musician&#39;s chair from the position of  FIG. 20 . In this configuration, the flexible tension members  613   a ,  613   b  are threaded through the full length of the longitudinal slots  616   a ,  616   b  as in the configuration of  FIG. 20 . But, the tension members  613   a ,  613   b  are wrapped around the outside of the endpin holder  612  following a longer path in order to take up more of the tension member&#39;s length. For example, the tension member segment  613   a  is wrapped around the endpin holder  612  following the path denoted by the arrows AA and BB and the stop  614  at the end of the tension member segment  613   a  is inserted into the side slot  618   b  on the opposite side of the endpin holder  612 . The tension member segment  613   b  follows a mirror image path. That is, the tension member segment  613   b  is wrapped around the endpin holder  612  following the path denoted by the arrows A and B and the stop  614  at the end of the tension member segment  613   b  is inserted into the side slot  618   a  on the opposite side of the endpin holder  612 . In the embodiment shown in  FIGS. 17-21 , the proximal end (the end near the musician&#39;s chair which is not shown) of the flexible tension member  613  may be a continuous loop or be open ended having two ends provided with rings for receiving the front legs of the musician&#39;s chair, similar to the tension member  413  of  FIG. 13 . 
     The endpin holders  12 ,  112 ,  312 ,  512 ,  612 ,  812  may be fabricated in any shape and not limited to the generally rectangular shapes illustrated as examples in  FIGS. 1-21 . For example, the endpin holder may be shaped as the musical instrument such as a cello. In the illustrative embodiment shown in  FIGS. 22-28 , an endpin restraint  710  including an endpin holder  712  having a round disk-like shape is shown. Referring to  FIG. 22 , the endpin restraint  710  comprises an endpin holder  712  and a flexible tension member  713 . The endpin holder  712  has a disk-like shape with a plurality of pockets  15  for receiving an endpin of a musical instrument in its upper surface. A slot  711  is provided along the vertical side surface  712   a  so that the slot  711  extends the full circumference of the endpin holder  712 . The circumferentially running slot  711  divides the body of the endpin holder  712  into upper portion  712   b  and a lower portion  712   c . Generally, the lower portion  712   c  rests on the floor during use. A hole  717  is provided and it extends along the center line CL through the center of the endpin holder  712 . One end of the hole  717  defining a proximal end  712   p  and the other end of the hole  717  defining a distal end  712   d  of the endpin holder  712 . Because the hole  717  is positioned along the center line CL of the endpin holder  712 , this configuration provides the symmetry necessary to enable the endpin restraint&#39;s self-centering characteristic under the force F exerted by the endpin of the musical instrument (see  FIG. 27 ). This is similar to the symmetry provided in the embodiments of  FIGS. 1-21  by the pair of longitudinal slots being positioned symmetrically about the longitudinal axis CL of the endpin holders. One or more locking slots  718  may be provided in the upper portion  712   b  of the endpin holder  712  near its distal end  712   d.    
     Again, it should be noted that the endpin holders can be provided in any desired outline shape and even in the illustrative embodiment of  FIGS. 22-28 , the endpin holder  712  need not be limited to the disk-like shape. The endpin holder  712  may have a triangular, square, pentagon, or any regular polygonal or irregular shape outline as desired. To that end, the term “circumference” and “circumferentially” used herein means perimeter of any shaped endpin holder. 
     The particular example of the tension member  713  shown is an open-ended one. At the distal end of the tension member  713  is provided a stop  714  similar to the stops  314  and  414  described herein. From the stop  714 , two segments  713   a ,  713   b  of the tension member  713  extends to their proximal ends. At the proximal ends of the tension member segments  713   a ,  713   b , rings  719  are provided for receiving the front legs of the musician&#39;s chair. 
       FIG. 23  is an end view illustration of the endpin holder  712  viewed along the center line CL  FIG. 24  is a cross-sectional view of the endpin holder  712  taken vertically along the center line CL. In these illustrations, the hole  717  can be seen extending through the length of the endpin holder  712 . The plurality of pockets  15  may be provided in any configuration but preferably the pockets  15  are aligned linearly along the center line CL as shown in  FIGS. 22-24 . 
       FIG. 25  is an illustration of the endpin restraint  710  in its fully extended configuration, i.e. the endpin holder  712  being the furthest away from the musician&#39;s chair. The distal end of the tension member  713  with its stop  714  is pulled through the hole  717  from the proximal end  712   p  of the endpin holder to the distal end  712   d . In an embodiment of the endpin restraint  710 , the cross-sectional shapes and dimensions of the stop  714  and the hole  717  are configured such that the stop  714  will pass through the hole  717 .  FIG. 29  illustrates this example. Alternatively, the stop  714  could be larger than the hole  717 . 
     As shown in  FIG. 26 , which is a side view of the endpin restraint  710  of  FIG. 25 , the distal end of the tension member  713  is slid into the locking slot  718  so that the stop  714  prevents the tension member  713  from being pulled back through the hole  717 . Generally, the stop  714  is configured to have a size and dimension that is larger than the locking slot  718  so that the stop  714  does not pass through or disengage from the locking slot  718 . Alternatively, in the configuration of  FIG. 25  where the endpin holder  712  is at its furthest distance from the musician&#39;s chair, the locking slot  718  is not a necessary feature. The stop  714  just has to be larger than the hole  717  so that the stop  714  cannot be pulled through the hole  717 . Of course, for assembly consideration of the endpin restraint, such embodiment will require that either the stop  714  be affixed to the distal end of the flexible tension member  713  after the tension member  713  has been threaded through the hole  717  or the rings  719  on the proximal ends of the tension member  713  are just loops formed by the flexible tension member, in which case the tension member  713  can be threaded through the hole  717  by inserting the looped ends from the distal end of the hole  717 . 
       FIG. 27  is an illustration of the endpin restraint  710  in a second configuration that positions the endpin holder  712  closer to the musician&#39;s chair. This is accomplished by wrapping the tension member  713  one or more times around the circumference of the endpin holder  712  (shown by the arrows A) in the slot  711  and then locking the endpin restraint by sliding the distal end of the tension member  713  into the locking slot  718 . As before, the stop  714  at the distal end of the tension member  713  interferes with the locking slot  718  and locks the endpin restraint  710  in this configuration. Thus, the combination of the circumferential slot  711  and the locking slot  718  enable the tension member  713  to be secured to the endpin holder  712  and also provide ways to adjust the length of the tension member  713 . The side view of this configuration is shown in  FIG. 28 . 
     In another embodiment, one or more locking slots  718  may be provided around the periphery of the upper portion  712   b  of the endpin holder  712 . The actual placement of the one or more locking slots  718  around the periphery of the endpin holder  712  is determined by the desired incremental distance the endpin holder  712  needs to be moved closer to the musician. Similar to the example shown in  FIG. 33 , generally, the endpin holder  712  would need to be moved closer to the musician sufficient distance (about equal to the distance spanned by the row of the plurality of pockets  15 ) to provide additional range of anchoring points for the endpin. 
     Similar to the other embodiments described above, the flexible tension member  713  in this embodiment also can be a continuous loop rather than being open-ended as shown in  FIGS. 25 and 27 . In such case, the proximal end of the loop of tension member  713  is simply wrapped around the two front legs of the musician&#39;s chair similar to the embodiment shown in  FIGS. 4 and 5 . 
     As discussed above, the pockets  15  do not need to be in a linear pattern. Furthermore, the pockets  15  may be provided in any geometric shape and size as long as they are large enough to receive the free end of the endpin and is sufficiently deep to prevent the endpin from popping or sliding out when not desired. They do not even have to be of the same size in a given endpin holder. Alternatively, the pockets  15  need not even be pockets, i.e. concave structures. The pockets  15  may be substituted by protruding boss(es) or shoulder(s)  915  as shown in  FIG. 29 . 
     Referring to  FIG. 33 , the advantage of the adjustability provided by the endpin restraint of present invention is not found in the conventional endpin restraint devices.  FIG. 33  shows the endpin restraint  10  of  FIGS. 2 and 3  in a side-by-side comparison. In Position  1 , the flexible tension member  13  is threaded through the full length of the longitudinal slots  16   a ,  16   b  thus positioning the endpin holder  12  at its closest position to the musician&#39;s chair  62 . This Position  1  provides a first range R 1  of anchoring positions for an endpin (not shown) of a cello, for example, represented by the plurality of pockets  15 . In Position  2 , the flexible tension member  13  is threaded through the slots  16   a ,  16   b  only at the proximal end  12   p  and the endpin holder  12  is further away from the chair  62  providing the musician with an extended range R 2  of anchoring positions for the endpin. 
     In an alternative embodiment of the endpin holder according to the present invention, the endpin holder may be provided with structures (e.g. pins or hook-like projections) protruding from the surface of the endpin holder rather than the slots or groove-like structures described herein in reference to the figures. The flexible tension member can be wrapped around the one or more of these protruding structures to adjust the length of the tension member. 
     While the foregoing invention has been described with reference to the above embodiments, various modifications and changes can be made without departing from the spirit of the invention. Accordingly, all such modifications and changes are considered to be within the scope of the appended claims.