Violin

July 19, 1938. a. _c carter et al 2,124,243

VIOLIN Filed Nov. 27, 1936 2 Sheets-Sheet 1

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Attorneys

July 19, 1938.

A. C. CARTER ET AL

VIOLIN

Filed Nov. 27, 1936

2,124,243

Sheets-Sheet 2

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Patented July 19, 1938

2,124,243

UNITED STATES PATENT OFFICE 2,124,243 VIOLIN Areyon C. Carter, and Anderson Carter. Clinton, N. O.

Application November 27, 1936, Serial No. 113,064

Claims.

This invention relates to novel improvements in fingered musical instruments and has reference in particular to instruments of the type played with a bow, and the principal object is to 5 provide a novel and improved violin.

By way of introductory explanation, it might be stated that although the invention is susceptible of being incorporated in a viola, cello, double bass, or the like, it is expressly designed 10 for incorporation in a conventional violin.

Persons familiar with the art with which the .invention relates, are aware that the regula'tion violin includes four distinguishable strings, namely, E, A, D, and G. The strings are bowed IS and fingered individually and collectively depending on the discretion of the performer since he may play single tones, double stops, or sweeping harmonious chords as the case may be.

In reducing the principles of the present in20 vention to practice, we have found that it is possible to associate with the four main strings, a plurality of auxiliary strings which we conveniently designate as harmony strings, the latter strings being vibrated through the instrumentality 25 of the bow, being permanently or fixedly tuned and therefore not fingered as are the main melody playing strings.

The preferred embodiment of the invention therefore, comprises a violin characterized by 30 four main strings and six auxiliary harmony strings, all having individual tuning keys and all being trained over the standard type bridge to produce the desired melodic results.

More specifically, the improvement is predicated 35 upon an especially constructed finger board, wherein a hollow shield is embodied in such a way as to permit the auxiliary strings to be partially carried therebeneath, whereby to permit them to be connected with the tuning pegs or 40 keys and to avoid fingering thereof.

Other features and advantages will become more readily apparent from the following description and drawings. In the drawings, wherein like numerals are employed to designate like 45 parts throughout the views:—

Figure 1 is a top plan view of the improved violin constructed in accordance with the principles of our present invention.

Fig. 2 is an edge view of the structure depicted 50 in Fig. 1.

Fig. 3 is an enlarged fragmentary longitudinal sectional view detailing the auxiliary strings, secondary bridge, and shield arrangement.

Fig. 4 is-a view showing the multiple tuning 55 key or peg arrangement.

(CI. 84—274)

Figs. 5 and 6 are sections taken on the planes of the lines 5—5 and 6—6 respectively of Fig. 1.

The body of the instrument, denoted by the numeral 7 is of regulation construction. The neck, which is partly conventional, is denoted by 8 the numeral 8 and includes the usual peg box 9 to accommodate all ten of the individual keys The regular four keys are deribted or distinguished by the numerals 10. These are arranged in pairs horizontally on opposite longitudinal 10 sides of the peg box. The auxiliary keys are denoted by the numerals II, these being suitably mounted for accessibility to allow all ten strings to be individually tuned. Incidentally, so far as the particular construction of the key is con- W cerned, this is of no moment. That is to say, we can use, if found practicable, the regular tuning pegs. It has been found more satisfactory, however, to use the pinion and gear type keys such as are used to advantage on some violins but 20 primarily on mandolins, banjos, and-the like.

A portion 12 of the finger board, forming a part of the neck overlies the body 7 as is customary. The main part of the finger board, however is channelled or cut out as indicated at 13 'and a 28 channel shaped metal shield 14 is fitted over this. The inner end of the shield terminates in the formation of what may be called a slot 15 and located in this slot is a diagonal auxiliary or secondary bridge 16. The primary bridge, which ³⁰is of regular construction, is denoted by the numeral 17, and occupies the regular position on the belly of the body between the extension 12 of the finger board and the tail piece 18.

It will be remembered that in the introductory 35 portion of the description we pointed out that the instrument includes the ordinary four main strings and these are shown to advantage in Fig. 1 and denoted by the numerals 19. These strings are the regular E, A, D, and G strings found on 40 all present-day violins. The six auxiliary strings are collectively denoted by the numerals 20. Thus it is evident that the main strings 19 are attached on the tail piece 18 at one end, stretched across the bridge 20, over the finger board and 45 are then attached to the main tuning keys 10. The auxiliary strings are also attached at one end to the tail piece 18 and are trained over the bridge 17. These auxiliary strings, however, are then trained over the secondary or auxiliary 50 bridge 16, go down through the slot 15, and into the space 13 formed by the groove in the neck and the overlying shield or metal panel member 14. Thus the part 14 is in effect, the “finger board” insofar as it relates to the main strings 19. The 55

2,1®4,843 £ίι auxiliary strings 2Θ go beneath the Anger board and therefore are not affected by the fingers of the left hand of the performer. In other words, so far as the strings 20 are concerned, they are not 5 fingered. Only the strings 19 are fingered, and these are played or utilized individually and/or collectively according to the requirements of the score or melody lining played. Although the strings 20 are not fingered with the left hand, they 10 are nevertheless vibrated with the same bow which vibrates the main strings 19. Thus they are arranged in a predetermined relationship to the strings 19 and tuned accordingly. For instance, there may be auxiliary strings on opposite sides 15 of the E string and these auxiliary strings may be tuned to definite pitches so as to harmonize with the E string when the performer is playing, for example, in the key of G. The nature of the instrument may be better understood if it is 20 borne in mind that it is of limited utility so far as the auxiliary harmony strings are concerned. That is to say the harmony strings can be fixedly tuned in relation to the main strings with which they are associated and, consequently, 25 the performer is compelled more or less to play in a simple key to avoid complications.

When we perfected the instrument we had in mind the provision of a structure which would give chord effects such as are produced in two or 30 three part harmony when violins are playing in duet or trio formation. Consequently it is possible by the use of this instrument to obtain the effects of two or three violins which result is calculated to enhance or otherwise amplify the 35 performance of the player.

Visualized along other lines, it is fundamental that the auxiliary strings be tuned to harmonize with the differently tuned main strings, that is to say the auxiliary strings associated with the 40 G string will be timed in harmony therewith, those associated with the A string will be tuned in harmony therewith, and so on. It follows, therefore, that as the bow is manipulated in the usual way, it will simultaneously strike one main 45 string and the associated auxiliary string so that the air played on the main string will, thru the agency of the auxiliary'strings, give the desired chords or multiple part harmony effect.

It is important to understand that the vibra50 tory length of the “open” main strings 19 is between the bridge 17 and the nut which is adjacent to the peg box. The vibratory length of the auxiliary strings 20 is between the bridge 17 and the auxiliary bridge 16. Moreover since the 55 auxiliary strings go beneath the finger board, they are not affected by the fingering of the regular or main strings 19.

In playing an instrument of this kind, it is obvious that the main strings need not necessarily @® be tuned in fifths, for they may be tuned in an entirely different progressive order and the strings 20 tuned in accord therewith, depending on the order chosen, enabling the performer to have at his disposal ten playable strings instead of four as is ordinarily the case.

It is thought that persons skilled in the art to which the invention relates will be able to obtain a clear understanding of the invention after considering the description in connection with the 70 drawings. Therefore, a more lengthy description is regarded as unnecessary.

Minor changes in shape, size, and rearrangement of details coming within the field of invention claimed may be resorted to in actual prac7g tice, if desired.