GB2188184A - Tuning Capo - Google Patents

Abstract

The Tuning Capo, eg a moulded unit of six single interlocking tongue and groove blocks fixed on a pin K with a spring, which allows the blocks to be in a locked position until a new permutation is required. This is brought about by simply pulling the tongue and groove blocks apart, and rotating each block to desired positions on the pin; the spring automatically applies pressure and locks the blocks in a new permutation. An elasticated strap P with a number of eyelets S is fixed at the spring end of the pin. This allows the Tuning Capo to be fixed securely on the neck of the guitar by passing the elasticated strap beneath the neck, and introducing the open end of the pin to an eyelet: thus holding down the set permutation on the strings of the instrument, to bring about an altered tuning. <IMAGE>

Description

SPECIFICATION Description of a tuning Capo for fretted instruments General description The present invention relates to a Capo for affecting alteration of pitch and tuning on the guitar and similar fretted instruments. For convenience, the present description refers exclusively to an embodiment of the invention as applied to the guitar. However, the description is to be taken, mutatis mutandis, as applying to any fretted instrument.

The present invention differs from previous Capos which have had a single purpose only, namely to alterthe effective pitch of the strings of the guitar.

The present invention not only offers this facility, but permits the alteration of the absolute relations of the strings. Such alterations make possible the sounding of pitch combinations which are impossibleto achieve on a guitar tuned according to the standard procedure. At the same time, the invention does not preclude the possibility of using the guitar as though it were being played without a Capo, provided only that the music to be performed would require performance in position and the application of the barm'.

An embodiment of the present invention is now described by way of example with reference to the accompanying drawings, the purpose of which is explained at the time of reference to them.

Construction ofthe Capo The Capo (M), first part, consists of six (connected) moulded plastic blocks, and for ease of description each block has been appointed a letterfrom the Alphabet, (See Figure 1).

Block (A) is moulded to desired shape at set meas urement,featuring a through hole (T) and atongue on one face. (See Figure 2).

Blocks (B) are moulded to desired shape at set measurement, featuring a through hole (T) and a tongue and groove on opposite faces. (See Figure 3).

Block (C) is moulded to desired shape at set meas urement,featuring a through hole (T) and atongue and groove on opposite faces. (See Figure4).

Block(D) is moulded to desired shape at set meas urement, featuring a through hole (T) and a groove on oneface. (See Figure 5).

The Capo (M) consists of six separate moulded plastic blocks which interlock by the method of tongue and groove,which makeasingleunitwhen placed together. (See Figure 6).

The Capo, second part, consists of a strong elasticated strap (P) on which there is a series of long itudinally placed eyelets (S). (See Figure 7).

Onto a flat-head, pointless pin (K) (nail of suitable material and strength (see Figure 8A) the elastic strap (P) is then placed. (See Figure 8B).

A spring (G) of set strength (see Figure 9A) is then placed onto pin (K) up to the elastic strap (P). (See Figure 9B).

To complete the Capo the plastic moulded blocks (M) are loaded onto the pin (K) and pushed uptothe spring (G). Awasher (H) is then placed on pin (K) and the pin crimped (0). (See Figure 10).

In orderthatthe moulded blocks may affect the pitch and tuning ofthe strings ofthe guitar, it has firstto befitted as follows: The Capo is placed aroung the neckofthe guitarat the chosen fret by stretching the elastic strap (P) and locating the open end of the pin (K) in chosen eyelet (S). (See Figure 11).

(1) When the moulded blocks (M) are set on one plane and applied to the strings, the tuning capo acts as a traditional Capo, in that it shortens the sounding length of all the strings by the same amount and so raises the pitch of all the strings by the same ratio.

(2) When the moulded blocks (M) a re set i n an uneven line and applied, the result is that one or more strings do not terminate the sounding length at the fret behind which the Capo is placed. With each variantofthe moulded blocks (see below) a different combination of sounding length is created. The invention provides a range of possible configurations, created according to the following principle of combination: The tuning Capo is defined as being any or all such shapes which permit, for strings 1 to 6 (as defined in standard practice) inclusive, any number (n) (where 0 < n < 7) of strings to be stopped at chosen fret, whilethe remaining strings (6-n) retaintheirnormal sounding length; that is, the length from bridge to nut.

The possibilities of combinations bringing about this situation are defined exhaustively by a 64 row binary matrix. (See Figure 12).

Musical effects of the tuning Capo With the standard guitartuning (without Capo) a given set of pitch relationship obtains between the strings. When a standard Capo is used, or when the moulded blocks of the Capo (M) of the present invention are applied to the strings, the same absolute relations obtain, but the absolute pitch of the strings is raised.

The alteration of the absolute relations between the strings has only been possible hitherto by returning the strings. However, the use of the Capo's (M) moulded blocks of the present invention makes possible the alteration of the absolute relationships between the strings without the need for retuning, by the chosen combination. It is possible to bring into being a very large number of variants of the absolute relations, namely up to 64 for each fret on the instrument. Moreover, some of these combinations would require, if obtained by an attempted retuning, a level of tension in the strings which would damage the strings even if it did not breakthem, and which would probably damage the body of the instrument as well.

The present invention has further advantagesto the performer. It is possible by means of the tuning Capo to change the pitch relationships of the strings in as brief a time as it takes to rotate the moulded blocks into the chosen combination, a period which is much briefer than thattaken for retuning. Moreover, in a continuous performance, such changes cannot be effected without detrimentto the performance, either by the act of tuning itself, or by the tendency in such circumstances for there to be generated inaccuracies of pitch, or deviation from the standard pitch being used by other performers.

The use ofthe moulded blocks of the Capo in any chosen combination also permits the generation of a range of musical effects which are either unobtainable by, or at least are not readily available by, other means. Of particular importance are: (1) A distinctive range of string combinations which permitthe creation of a variety of harmonic structures and voicing which are impossibleto achieve in a standard tuning.

(2) A range of resonances not normally available because such combinations as are possible at all require the stopping of notes by the performer with a resultant loss ofthe resonances peculiarto open strings.

Claims (6)

1. A dual purpose device which serves as a standard Capo and also performs new and distinctive musical functions.

2. A standard Capo with new featu res of con- struction, notably a line of rotatable moulded blocks incorporating tongue and groove fastening.

3. A Capo which achieves the effect of a standard Capo by rotating the moulded blocks until a flat plane is created.

4. A Capo with a line of rotatable moulded blocks as previously described which simultaneously gives the option of changing the pitch of the strings whilst keeping their absolute relations the same, and of alteration both ofthe pitch and ofthe absolute rerations of the strings.

5. ACapo which also allows the possibility, when fitted, of using the guitarasthough it were being played without a Capo, provided onlythatthe music to be performed requires performance in position and the application ofthe bart8.

6. A line of rotatable moulded blocks as described above makes all possible combinations of stopped and open strings availableto the performer.