ES1240474U - Guitar-shaped device for adaptation to the performer's body (Machine-translation by Google Translate, not legally binding) - Google Patents

Abstract

Guitar-shaped device to hold this musical instrument during its execution, which provides the performer with a sensation at the contact of his two legs with the device analogous to the sensation of being both legs in direct contact with the guitar, and which allows a adjustment of the lateral and frontal inclination of the guitar according to the desire of each performer, characterized in that it consists of an approximately 4 or 5 mm thick plate (1) with a shape and size analogous to the half-body of a guitar, strategically perforated in four points (2, 3, 4, 5) in such a way that when coupling windy paths or similar adherent elements (6, 7, .8, 9) in said perforations for the adhesion of the device to the bottom of the guitar the balance is distributed weight of the same and whatever the lateral adjustment angle chosen by the performer, the adhesion of the four elements near the guitar's rings is possible, also comprising a hole of approximately 90 mm diameter analogous to the mouth or tarraja of a guitar (10) to allow functional access to the two internal adherent elements (7, 8), and also comprising a partially non-slip soft element with a circular section (11) inserted in the part of the plate that is shaped like a guitar that is comfortable to contact with both legs and facilitates the movement of the guitar and the performer. (Machine-translation by Google Translate, not legally binding)

Description

DESCRIPTION

Guitar-shaped device for adaptation to the performer's body.

Technical sector

The present invention belongs to the field of musical instruments, and more specifically to the accessory devices for holding them during their interpretation.

With this new device, the guitar is adapted to the performer's body, offering stability and mobility at the same time, but avoiding anatomical imbalances that can lead to short, medium and / or long-term ailments.

We consider, in the same way as Dionisio Aguado (1,784 - 1,849) referred to a device of his invention in his New Method for Guitar (Madrid, 1843), that this new device "in addition to being simple, comfortable and funny, It gives the guitar, whatever its construction and figure, all the degrees of inclination that the player may want to place it to his liking "(D. Aguado, op. cit.).

Background of the invention

The shape and size of the guitar, as well as the motor requirements for its execution, have evolved since the middle ages, at which time we believe we sink its roots.

The body of the guitar can suggest, in its long trajectory, a shape of eight more or less defined, with an outer ring more or less large than the interior depending on the moment and the corresponding construction currents.

Already in the sixteenth century the mere execution of strummed chords coexist with the most complete of the Renaissance polyphonies, which will lead to the combination of since then - until today - various ways of execution and consequently of the instrument's attachment by the performer, from the various ways of touching oneself standing up to the varied ways of doing it sitting.

For their part, coexist - at least since the eighteenth century - the main support of the guitar on the right leg, on the left, or even distributed between them, when the performer is seated, which requires the use of various devices, as Miguel J. Rubio points out in his Easy Guitar Method dedicated to amateurs (p. 3, Madrid 1,799): "The curve on the right side of the guitar must rest on the left thigh which, thanks to a bench or other device, will be taller than the right thigh. "

With the organological evolution and the development of new materials both for the construction of the guitar and for the manufacture of the strings, the dynamic and timbral range of the guitar is expanded, which leads to an important development in its execution technique, and is what probably motivates, advancing the nineteenth century and almost universally in the twentieth century, that the classical concert guitar is performed with the performer sitting and resting the guitar on his left leg, to achieve better accessibility of both hands to the tour Full of each string.

Some problems arise from the support on the left leg when it comes to achieving the proper inclination and stability of the instrument, in addition to the optimal feeling of the interpreter when playing it without unwantedly intervening in its vibration, and even more, when it comes to preserving health of the performer, since a continuous working position with that permanent elevation of the left leg on the aforementioned post-foot bench and the corresponding continuous torsion of the hip - for several hours a day and after the years -, it produces in almost all performers serious pain and even musculoskeletal deformations.

Proof of all of the above is the constant search for new devices for holding the guitar during its performance, of which some examples are given in the following paragraphs.

Fernando Sor, in his Méthode pour la Guitare (Paris, 1830) argues "... as I have demanded more of this instrument, I have needed his position to be more fixed, that is, that he could not change more than me Will. To do this, I have found nothing better than putting a table in front of me ... "(supporting the inner ring in the corner of that table).

On the other hand, Dionisio Aguado began using the interpreter's own chair to support the outer ring of the guitar, as illustrated and reasoned in his Guitar School (Madrid, 1825), to later present the Tripod or Aguado Machine in his New Method for Guitar (Madrid, 1843, op. Cit.): "... for the guitar to produce brilliant sounds, it is not only essential that the strings vibrate, but also that it has to go into vibration. Everything that is oppose this, it will cause damage to the indicated condition, and it is exactly what has happened in the ways used so far to hold the guitar when playing it, as it was necessary to give it a support in the thigh or in the chair, and another in the body and arm of the dressing table, thus preventing the corresponding vibrations of the parts of the box, and using to hold the instrument a force that must be entirely destined to the fingers of both hands for its proper effects. e the first idea of fixing the guitar, and in the attempt I made several essays. In a short time I have perfected the mechanism that I invented, and from which I have not ceased to serve myself ...

Continuing with the search for artifacts for the subjection of the guitar, Abel Carlevaro considers in his School of the guitar. Exhibition of instrumental theory, p. 14, Ed. Barry, Buenos Aires, 1979, that "the curvature of the lower ring of the guitar offers certain difficulties to fully conform to the conformation of the left leg, due to the biased placement of the instrument, so that its stability It would be disturbed.The solution to this stability problem is achieved with the use of a pad that has as its first purpose to overcome the mismatch and completely mold the hoop and leg and as a second purpose to avoid the small slippage of the guitar that may eventually occur. first purpose is achieved by making the pad with a spongy and elastic material and the second using, on the face that will be in contact with the guitar, an anti-slip element, such as latex foam or other similar material. "

To the previous ones, several known inventions have been added since the last decades of the twentieth century, in some cases to use the post-foot bench in a complementary way and in others to replace it. These inventions use suction cups and / or clamping nuts, some are more discreet and others more bulky and striking on stage; in other cases a cushion of greater or lesser height and with a specific shape for the adaptation of the guitar is used; in another known case, elongated and curved bands are used as strips; and in other cases a kind of harnesses to submit the weight of the guitar to the trunk of the performer replacing the support on the legs. We can cite below the following references from previous requests:

1. GUITAR SUPPORT. Publication number ES1068183 U (01.09.2008), also published as ES1068183 Y (01.12.2008). Applicant: BELLO GONZALEZ, EUGENIO ISIDRO (ES).

2. A GUITAR SUPPORT. Publication number: ES0129828 U (16.09.1967), also published as: ES0129828 Y (01.03.1968). Applicant: GARRIDO GARRIDO, JUAN FRANCISCO.

3. FIXING SUPPORT FOR SPANISH GUITAR. Publication Number:

ES2277548 A1 (01.07.2007), also published as: ES2277548 B1 (01.12.2007). Applicant: ALADOS MARTINEZ, MIGUEL (ES).

4. HARNESS FOR GUITAR, LOW AND SIMILAR INSTRUMENTS. Publication number: ES1058292 U (01.12.2004), also published as: ES1058292 Y (16.03.2005). Applicant: URREJOLA DEL ROSARIO, ELOY (ES).

5. DEVICE TO PLAY THE GUITAR. Publication number: ES0269884 U (16.07.1983), also published as: ES0269884 Y (01.02.1984). Applicant: OLMOS TRINIDAD, JOSE MA (ES).

6. FOLDING SUPPORT FOR GUITAR. Publication Number:

ES1021877 U (01.03.1993), also published as: ES1021877 Y (16.07.1993). Applicant: MONCHOLI CHAPARRO, FERNANDO (ES).

7. INTEGRATED SUPPORT FOR GUITAR. Publication number: ES2674426 A1 (06.29.2018), also published as: ES2674426 B1 (04.09.2019). Applicant: ENCINAS PUENTE, José Luis (100.0%) (ES).

Explanation of the invention.

Although a large majority of current guitarists use the described artifacts - at least for their long hours of study -, the use of these devices in concert is not just the majority, perhaps because they do not offer the same support, and / or mobility, and / or sensation offered by the traditional posture on the left leg supported by the post-foot bench, and perhaps also by subjective questions of an aesthetic nature.

On the other hand, and with the exception of the inventions that avoid the support of the guitar on the legs, the set of the aforementioned devices have in common that they concentrate on the left leg - raised or not - the tensions generated by the weight and the inclined position of the guitar, which results in the surface of the guitar affected by the subject being relatively small, which ends up becoming a critical point in most cases, or, in any case, a loss of flexibility in others. In this way, the interpreter who finally decides to go on stage with said invention, is too aware of this critical point, and this generates rigidity, or worse, has already assumed that rigidity and has incorporated it into his interpretative style and scenic.

As for the aforementioned Tripod or Aguado Machine, which does avoid the problem of the aforementioned critical point, it is not at all an extended use in our days, and we maintain that it is not because of the problems it represents for its daily portability, but because perhaps does not allow an intimate union of the guitarist with the instrument, a proper feeling, in short. In this sense, Carlos Gómez Amat argues: "... the artifact (of Aguado) was not successful (...) because of the need that guitarists feel to have the instrument next to their body, in a higher unit, that they it becomes a kind of centaurs, the man-guitar. " ("History of Spanish music. 5. 19th century, p. 89. Ed. Alliance, Madrid, 1984).

From the above considerations, the nuclear assessment that has given rise to the present invention is that the artifacts invented to date start from a still photo of the guitarist before starting to play, and do not give special priority to the guitar-performer relationship That It happens while he moves, necessarily, during his musical performance. In this regard, it has been particularly suggestive to observe the movements of the performers' feet during a concentrated performance, and the effects of these movements on the variation of the guitar's position in relation to the performer's body, both in the case of those who use a bench like those who use some artifact pose both feet on the ground.

Therefore, analyzing both the positive aspects and the weak points of the successive inventions that the historical trajectory of this instrument gives us, it is proposed to develop a new device for the natural adaptation of the guitar to the performer's body, using a rigid plate of 4 or 5 mm thick, of a material that is not very heavy and aesthetically suited to the stage, whose silhouette corresponds to the right half of the body of a guitar, surrounded by a soft material and something non-slip on the part that is shaped like a guitar . The iron will be attached to the bottom of the guitar, allowing the desired adjustment of its inclination, and the performer, with both feet perched on the ground, will have contact with the soft material of the guitar-shaped part of the iron, and will feel in Both legs feel analogous to the contact of a guitar -such as if he had raised his left leg with the traditional foot-foot stool-, although the sensation was improved by being soft the contact material, by avoiding this material its involuntary sliding and, first and foremost, for getting rid of the hip twist that involves the elevation of the left leg for the classic support of the guitar.

Brief description of the drawings

To complement the description that is being made and in order to help a better understanding of the characteristics of the invention, a set of drawings is attached as an integral part of said description, where illustrative and non-limiting nature has been represented. next:

Figure 1.- Shows the front view (FIG. 1.a) and top view (FIG. 1.b) of the invention, with the points indicated in the claims section of the present specification.

Figure 2.- Shows the side view of the invention.

Preferred Embodiment of the Invention

The rigid plate of 4 or 5 mm thick whose silhouette corresponds in appearance and dimensions with the right half of the body of a guitar if it is dissected longitudinally, will be lowered in the part near the mast so as not to interfere with the execution on the high frets, since once the device is placed on the guitar it must not prevent the performer from accessing the frets that are located inside the soundboard (from the tenth third fret). It can be made with various materials that combine a certain stiffness without excessive weight, as well as an aesthetic according to the stage with several possible finishes and colors, with the option to also use transparent materials.

The soft and somewhat non-slip material that will surround the part of the plate that is shaped like a guitar, will be the material that the interpreter will feel on both legs emulating the sensation of having direct contact with the guitar, so you can use various materials with different degrees of elasticity so that the touch is more or less soft, with a more or less non-slip surface, being able to also choose between different degrees of sliding. This element will facilitate the mobility of the performer as well as the guitar especially in the frontal direction, so its section should be circular.

The plate will be fastened to the bottom of the guitar by suction cups or other strategically arranged adherent elements, as shown in the drawings and in accordance with the provisions of the claims section of this specification, allowing the performer to decide on the inclination of the guitar and the greater or lesser elevation of the mast. The arrangement of the four adherent elements on the plate is fixed, avoiding the possibility that the user improperly places them, since a balanced distribution of the loads is necessary whatever the inclination of the guitar desired by the interpreter, and at the same time, it is convenient that the adherent elements are located near the edges of the guitar so that there are no imbalances between them motivated by the possible bulge of the bottom of the guitar, which would result in the iron could bend, resulting in tensions that would tend to take off any of the suction cups or similar adherent elements. So that the user can access the two internal adherent elements and can put and remove the device, a circular hole is made in the rigid plate, similar to that of the mouth or tarraja of the harmonic cover of the guitar.

Claims (1)

1. Guitar-shaped device to hold this musical instrument during its execution, which gives the performer a sensation at the contact of his two legs with the device analogous to the sensation of being both legs in direct contact with the guitar, and which allows a adjustment of the lateral and frontal inclination of the guitar according to the desire of each performer, characterized in that it consists of an approximately 4 or 5 mm thick plate (1) with a shape and size analogous to the half body of a guitar, strategically perforated in four points (2, 3, 4, 5) in such a way that when coupling windy paths or similar adherent elements (6, 7, 8, 9) in said perforations for the adhesion of the device to the bottom of the guitar the weight is distributed evenly of the same and whatever the lateral adjustment angle chosen by the performer, it is possible the adhesion of the four elements near the guitar rings, also comprising n a hole of approximate diameter of 90 mm analogous to the mouth or tarraja of a guitar (10) to allow functional access to the two internal adherent elements (7, 8), and also comprising a partially non-slip soft element with a circular section (11) inserted in the part of the plate that is shaped like a guitar that is comfortable to contact with both legs and facilitates the movement of the guitar and the performer.