Piano-holding assistor combining cheek card and shoulder hanger

Abstract

The invention discloses a piano-holding assistor combining a cheek card and a shoulder hanger, wherein the piano-holding assistor comprises a shoulder hanger assembly and a cheek card; the shoulder hanger assembly comprises a supporting rod, a clamping head, a hanging arm and a supporting arm; the supporting rod is transversally set in left and right direction at a backboard at the back of the piano body; the clamping head is set at the left and the right end of the supporting rod; the left and the right clamping head clamp the left side plate and the right side plate of the piano tightly; the hanging arm is installed at the right end of the supporting rod by using at least one screw, and is set above the corresponding trapezius muscle; the supporting arm is installed in the middle of the supporting rod by using at least one screw and is set between the large deltoid muscle and the large chest muscle; and the cheek card is fixedly mounted on a panel at the tail of the piano body. By fixing the piano on the shoulder hanger assembly, the bad contact between the piano and the clavicle is avoided, and the burden of taking the left hand as the bridge pier to hold the piano is thoroughly eliminated, thereby obtaining absolute free for playing.

Description

technical field [0001] The invention relates to an auxiliary device for violins and violas, in particular to a violin-holding auxiliary device composed of cheek clips and shoulder hangers. Background technique [0002] The traditional way of holding the violin is to hold the neck of the violin with the tiger's mouth of the left hand, while the end of the violin body is naturally placed somewhere on the chest. [0003] In the early modern period, the method of holding the violin used the chin rest (L. Spohr invented the chin rest). "Clamp it to fix it, and then use the thumb and index finger of the left hand to form a Y-like hand shape, and lift the neck up. The setting of the chin rest partially liberates the left hand from fully taking over the role of holding the violin. The left hand clamps the tail end of the violin between the "cheek rest" and the clavicle with the lower jaw, so that it can change handles, knead the strings, and press the piano. Relatively free on the...

AI Technical Summary

Problems solved by technology

[0006] 1. Put the end of the piano body on the clavicle, there are limitations of physiological differences such as depth, width, and even angles of the clavicle

[0007] 2. The angle of holding the piano formed by the natural angle of 45° of the clavicle forces the player to try his best to turn his arm to the right (the so-called rudder movement), so that he can normally hold down the G string and start playing. This action makes the shoulder double Suffering from oppression and distortion not only became a hidden danger of shoulder disease, but also caused obstacles to playing chords on four strings at the same time. " and other music works; this 45° holding angle also forces the right hand to adopt an unnatural bow holding method of tilting the bow outward because of the pressure on the running angle of the bow in the right hand, even when the bow is running to the root of the bow. It forms the so-called hanging wrist action, and when it reaches the root of the bow, it must switch to the wrist sinking action in order to move the bow straight.

[0008] 3. The wooden end of the violin is in contact with the clavicle in a very small area. Most people will give up learning due to pain, especially those with shallow, small, and narrow clavicles.

[0009] 4. With the intensity of the playing, the use of the lower jaw will easily cause the player to be extremely nervous and hinder the concentration of the performance, and it will also easily cause skin swelling, inflammation or nerve damage and pain

[0010] 5. When holding the violin, the left hand not only shoulders the essential task of supporting the pier of the violin, but also undertakes the most important mission of pressing the strings in the violin performance. This dual mission ruthlessly deprives the freedom of performance. Without accurate pressing of the strings, the performance of the violin is out of the question

[0011] 6. The traditional way of holding the violin in the left hand makes the stringing movement of the violin performance must pass through the mouth of the tiger or the base of the index finger to push upwards, and the fingers must press the strings downwards. The string-pressing method implemented by the reverse prying method has caused the redundant "finger-lifting" action that should not be possessed by the string-pressing method. This action is the bane of modern vibrato and vibrato that cannot be counted and guided The theory of "number" is another innovation of the applicant in the theory of violin playing method)

[0012] 7. Using the method of holding the violin with the clavicle of the lower jaw and the left hand holding the violin, you will encounter the ubiquitous gravity problem in the actual performance. It takes 20-30 minutes to play a large-scale concerto or sonata. Over time, due to fatigue, you will feel an invisible force that makes the piano body clamped on the collarbone involuntarily fall down, which will bring great pressure and burden to the player's emotions

[0013] The above problems have caused the modern popularization and improvement of the art of violin performance to fall into the predicament of a big ebb

[0014] The non-scientific method of holding the violin based on these problems has been plagued by these problems since people started learning, and these problems run through the entire process of learning and playing the violin, becoming lingering and unable to be completely overcome. obstacles

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