Year: 1896

page_text: Date of Application, 10th Mar., 1896-Accepted, 28th Nov., 1896
I, GIOVANNI BATTISTA MALDURA, of 36 Via Umilta, Rome, Italy, Professor
of Music, do hereby declare the nature of this invention and in what manner the
same is to be performed to be particularly described and ascertained in and by
the following statement :-
My invention relates to mandolines, mandolas, and the like and the object of my
invention is to provide such means as will obtain easier playing and the best
sound.
In the accompanying drawings, which form a part of this specification, the same
letters of reference denote corresponding parts, and of which
Figure 1 is a perspective view of the finger-board actually used in mandolines.
Figure 2 is a section of the same on line -x of Figure 1.
Figure 3 is a perspective view of the finger board of my system.
Figure 4 is a longitudinal section of the same.
Figures 5 and 6 are sectional views respectively on lines zz and y y of
Figure 3.
Figure 7 shows in enlarged scale the bridge as it is now used in mandolines, and
Figure 8 shows also in enlarged scale the new bridge of my system.
The mandoline used at present is made with the straight finger board F (Figure 1)
and bridge P (Figure 7) parallel to the sounding board T. As thus constructed
the instrument presents practically great defects, as will be explained.
In the execution of the tremolo (to prolong the sound as in song) while the fore
part of the right arm rests on the edge of the mandoline, the wrist is worked for
playing the first strings E-one naturally describes with the plectrum (or pen) the
curve a, b, (Fig. 7) which is farthest above the sounding board on the side of the
basses G, and falls on the cantini (or melody strings) E. The plectrum must
always hurry over this same line a, b, to touch the strings E, and develope the
tremolo. However when one wishes to touch, not the cantini E, but the second
strings A, the hand must necessarily deviate from the first or natural line a, b, and
describe a second line c, d, while the wrist must be turned inwards, from which
results such rigidity that the tremolo cannot be executed with that freedom and
softness with which it would be executed if one could move the hand to touch the
strings A, without thus forcing the wrist. This also happens when one has to play
on the strings D and G, but in a more pronounced degree, because the deviation
from the first or natural line a, b, is greater and the strength of the wrist is
increased.
A fine tremolo results when to the rapidity and isochronism of the strokes is
added the same degree of force in each. But this equality in the strokes cannot
be obtained in mandolines having the bridge parallel to the sounding board, because
the plectrum (or pen) falling on the twin strings from above to below, or running
over the line a, b, from a to b, will touch both the strings (1st. and 2nd.) and
returning from below to above, or running over the line from 6 to a, will touch
only one of the twin strings, that is the second, consequently making the stroke
from low to high weaker than that from high to low, a weakness that increases

page_text: with the constantly diminished impetus of the hand, and that also produces a certain
disastrous loss of equilibrium. Moreover on the first of the twin strings the
plectrum in the stroke from above to below-scarcely touching this string will
naturally slip on the second, the latter being struck with a greater depth of
plectrum, and deviating more from its position of equilibrium, will make ampler
vibrations, developing more sound than it is possible to develope on its first string,
a a producing inequality.
This with regard to the tremolo on the single strings. Let us see what follows
when one tries to make the tremolo on three or all four strings, as in part music;
here the plectrum must not only be brought from a to g (Fig. 7)-to touch the
bass strings but it must come still farther, so that, reaching the point m, it may
trace the line m, n, in contact with all four twin strings. To make this possible,
the wrist must be twisted more than if only the fourth strings G were to be played,
forcing the wrist muscles to such a degree that sometimes they become so painful
as to seriously impede progress. The line m, n, traced by the plectrum to embrace
the four strings, instead of one alone, must necessarily be much longer and the
tremolo must be executed with much greater velocity, thus giving the wrist more
impetus, which requiring greater force is much more fatiguing.
Observing these defects I have applied myself to find another system. I have,
in the first place studied the straight bridge and raised it from the side of the
basses G to the cantini E in such wise, that the curve naturally traced by the
plectrum lies in this line, allowing the wrist by an almost imperceptible exertion,
to carry the hand to any string of the instrument with the plectrum-as appears
from Figure 8; the curve a, b, is that run over by the plectrum seconded by the
raising of the bridge P¹.
It will be easily understood how, with this new bridge it is much easier to play
the four strings at the same time, and how one can draw the same intensity or
degree of sound from the four strings simultaneously. From this I have obtained
two other advantages; first, the two strings of each sound can be struck with equal
force and in both the upper and lower strokes; second, the bass strings being raised
farther from the sounding board T, have acquired greater depth and intensity of
sound.
In consequence of this modification I have given the outline shown by Figures 5
and 6 to the finger board F¹, so that the fingering of the bass strings may be
facilitated.
I have next studied to leave the greater part of the sounding board free, thus
rendering it more resonant. I accomplished this by vaulting (or arching) that
part XY (Figures 3, 4 and 5) of the finger board F, which rests on the sounding
board T, so that instead of being glued over the entire surface X Y it dominates
it is now only fastened by its lateral parts W, W¹.
I have also lightened the bridge by making in it elliptical openings through its
centre, just under each pair of strings as in Figure 8.
Having now particularly described and ascertained the nature of my said
invention and in what manner the same is to be performed, I declare that what
I claim is
1. A. finger-board and bridge for mandolines, mandolas and the like higher on
the side of the basses G than on the side of the cantini E so that the plane of the
four strings is not parallel to the plane of the sounding board, but is inclined
toward the cantini E and the curve naturally traced by the plectrum lies in it.
substantially as set forth.
2. The combination with a mandoline, mandola or the like of a finger board
vaulted or arched in its lower part so that instead of being glued over the entire
surface of the sounding board, it is only fastened by its lateral edges substantially
as set forth.
3. The combination with a mandoline, mandola or the like of a bridge having

page_text: elliptical openings through its centre just under each pair of strings, substantially
as set forth.
Dated this 10th day of March 1906
G. B. MALDURA,
Per J. G. Lorrain,
Chartered Patent Agent.