Baglama fret marking template

Abstract

The invention is a baglama fret marking template (100) designed for accurately establishing the distances between the fret, string, and nut sections of the baglama, characterized by; a fret marking section (110) positioned at the end corresponding to the neck of the baglama, for marking fret positions and the holes where the strings will be attached over the nut; a bridge marking section (120), positioned between the fret marking section (110) and the string support block marking section (130) and aligned with the body of the baglama, for marking the holes where the strings will be attached on the bridge; a string support block marking section (130), located at the opposite end of the fret marking template (100) to align with the position of the string support block on the body of the baglama, for marking the holes where the strings will be attached.

Description

[0001] SPECIFICATION

[0002] BAGLAMA FRET MARKING TEMPLATE

[0003] Technical Field

[0004] The invention relates to a fret marking template designed to accurately and practically establish distances between the frets, strings, and bridge sections of the baglama.

[0005] Background of the Technique

[0006] The baglama is a stringed instrument used in T urkish folk music. Although it generally has three strings, sometimes it can have four or more. These strings are stretched over the instrument's body and played by pressing on the frets. The baglama consists of two main parts: the head, which has a long neck and fretting system, and the body. The head is used for tuning and playing the strings. The body, typically made from a single piece of wood, includes peg holes to hold the strings taut. The sound of the baglama is influenced by the shape and material of the body, which acts as a sound box. The sound box is usually round or oval, allowing the acoustic sound to resonate. The strings are played and stretched over the body by the fretting system on the head, contributing to the characteristic sound of the baglama.

[0007] Frets are located on the neck and essentially form the "keyboard" of the baglama. Sounds representing specific frequency values are produced by pressing on the appropriate fret interval on the string and striking the string. Precisely determining and attaching the frets in their designated positions on the baglama is crucial for accurate sound production. Frets are attached to the neck using two main techniques: inset frets and wrapped frets. Inset frets are placed by carving recesses into the neckwood. These frets are visible only from the front of the neck, and fret intervals are not visible from the sides or back. The materials used for these frets, such as bone or mother-of-pearl, are hard and durable. They are glued into grooves, typically 1 -1 .5 mm thick, carved across the width of the neck with a height of 1 mm. Inset frets are a new technique that has been developed recently. While they offer an aesthetically pleasing appearance, they are extremely impractical as their fixed positions cannot be adjusted later. Wrapped frets, on the other hand, are created by winding gut (kat-kut) or nylon (fishing line) strings around the neck. This traditional fret attachment technique is still the most widely used and practical method. In the cura saz, the wrapping string is wound three times, in the baglama four times, and in the divan saz five times. While gut was previously used, today, these frets are tied with nylon fishing lines, typically 0.40 mm in diameter. As the size of the instrument gets smaller, 0.30 mm lines should be preferred, and 0.50 mm lines should be used for larger instruments. To lay out the frets on the neck, measurements for each fret, pre-calculated and specified in a 1 :1 scale drawing, are transferred onto the neck using rulers, squares, and precision measuring tools.

[0008] To perform the fret layout using a practical method, the string length of the baglama is calculated first. To calculate the string length, the position of the bridge must first be determined. The bridge position is one-fifth of the body length. The bridge position is identified and marked with a pencil. The distance from this point to the nut at the head is measured to obtain the string length. The number 0.9438747 is a constant. The constant is multiplied by the string length. The resulting number is measured from the bridge position and marked on the neck (the zero point of the ruler should be fixed at the bridge position). The location found is the B-flat fret. Then, the distance marked for this fret is multiplied by the same constant to determine the position of the second fret (B fret). This process is repeated sequentially to determine the position of all frets toward the base of the neck. These frets, starting from the head nut and moving toward the bridge, are in the following order: B-flat, B, C, C-sharp, D, E-flat, E, F, F-sharp, G, A-flat, A, B-flat, B, C, C-sharp, and D. These fret positions indicate the locations of whole and half tones. The locations of microtones are determined by dividing the halftones into two (that is, by placing a fret exactly halfway between two adjacent halftones).

[0009] Example: If the string length of a short-necked baglama is 64.8 cm;

[0010] 0.9438747 x 64,8 = 61 ,163308 cm — 1 st fret (E-flat fret)

[0011] 0,9438747 x 61 ,163308 = 57,730283 cm — 2nd fret (second E-flat fret) 0,9438747 x 57,730283 = 54,490150 cm — 3rd fret (E fret) 0,9438747 x 54,490150 = 51 ,431876 cm — 4th fret (F fret) 0,9438747 x 30,581685 = 28,865278 cm — 19th fret (E fret)

[0012] This process provides the distances of all frets from the lower bridge (sound bridge). Once the positions of all frets are determined as numerical values and located using measuring tools, the layout is completed, and the frets are then tied at the marked locations using fishing line.

[0013] In current practices, although the procedures are relatively precise in terms of values, it is not entirely possible to locate and mark the exact positions solely with measuring tools. In the markings made, approximate assumptions are generally accepted. For multiple consecutive frets, each assumption causes shifts in position as the distance accumulates. The limited number of specialized, skilled artisans also means that the process heavily relies on individual expertise. Performing error-free measurements solely through personal expertise with standard measuring tools is impossible. In other words, it is unlikely that the fret layout on one baglama crafted by the same artisan will match another exactly. No existing baglama fret marking template has been developed with the precision and consistency required for this approach. Therefore, fret marking is generally carried out using traditional measuring tools.

[0014] Various studies and new approaches have been developed to determine fret positions on stringed instruments accurately. One such effort is detailed in patent application US20030164081 A1 . In the invention, for a stringed instrument with nonparallel strings of varying scale lengths, the position of a fret on the keyboard is determined by interpolation between a fret position on the first scale (e.g., R1 , R2; G1 , G2; Q1 , Q2) and a corresponding fret position on the second scale (e.g., F-F'; L- L') or by extrapolation from these points. This invention eliminates the need for lengthy calculations to determine fret positions. Additionally, the numerical values obtained from these calculations roughly correspond to those determined and marked using commonly used measuring tools. Such marking applications significantly lack precision.

[0015] Another study, described in patent application US20080022836A1 , concerns a stringed instrument and a related fret mapping method. The instrument includes a neck with a fretboard equipped with multiple frets that have offset string contact areas along their lengths. This design ensures that when a string contacts one of these areas and a note is played, the correct intonation of the note is achieved. The method relates to a fretted stringed instrument and is a technique for mapping the desired positions of string contact areas along the length of a fret on a stringed instrument. It provides a fretted string instrument that provides accurate intonation at every fret position along each string. The instrument includes a body with a bridge supporting multiple strings and a neck attached to the body. It is generally designed for a string length range of 670-640 mm.

[0016] In Turkish musical instruments like the baglama, tanbur, and tar, frets were traditionally tied with gut, but today, this material has been replaced with nylon fishing line. This material is wrapped around the necks of the respective instruments, with the frets positioned according to specific calculations and markings. When necessary, the fret ties can be shifted along the neck to produce sounds with lower or higher frequency values. This invention also eliminates the need for lengthy calculations to determine fret positions. Additionally, the numerical values obtained from these calculations roughly align with those identified and marked using commonly used measuring tools. Such marking methods are significantly lacking in precision.

[0017] In conclusion, the need for a fret marking template for the baglama that eliminates the disadvantages of existing techniques, combined with the inadequacy of current solutions, has made it essential to develop an improvement in this technical field.

[0018] Brief Description of the Invention

[0019] The present invention relates to a fret-marking template for the baglama, designed to meet the abovementioned requirements, eliminate all disadvantages, and offer additional benefits by providing accurate and practical spacing between the frets, strings, and bridge sections.

[0020] Building on the known state of the art, the aim of this invention is to enable the precise placement of fret and string positions on the bridge, nut, and string support block by engraving these positions onto a template ruler with a CNC laser machine and marking the dimensional values on the ruler using a CNC marking machine. This allows for fret positioning on the baglama's neck without any manual calculations and enables easy marking. The aim of the invention is to facilitate the easy attachment of fret ties onto the neck by aligning with guide lines and to enable the re-positioning of fret ties when their positions are adjusted.

[0021] Another objective of the invention is to make it considerably easier to achieve balanced positioning of the strings, which extend from the string support block, across the bridge and fret ties, pass over the nut, and are then wound around the tuning pegs.

[0022] A further objective of the invention is to ensure consistent spacing between each string from the string support block to the nut along the entire length of the instrument.

[0023] Another objective is to enable balanced marking of the distances between the holes on the string support block through which the strings will pass.

[0024] Another objective of the invention is to serve as a guide for assembling various components of the baglama, ensuring that the neck extends smoothly and in a balanced, tapered shape from the nut to the body, thereby aiding the artisan during the construction process.

[0025] Another objective of the invention is to incorporate the widely used seven-string configuration, structured in three groups, into the template. This allows for versatility in accommodating different instruments within the baglama family, each of varying sizes and known by different names.

[0026] An additional objective of the invention is to increase functionality by accommodating preferences in string positioning on the baglama, making the instrument more versatile in terms of its setup.

[0027] Another objective of the invention is to ensure that each baglama produced by the artisan is consistent with others in terms of specified orientations and positions.

[0028] A further objective is to enable precise marking by using the fret marking template, which establishes diatonic intervals on the baglama's neck with high accuracy through a fixed constant value of 0.94743, allowing the frets that create these intervals to be accurately positioned.

[0029] Another objective of the invention is to make the accurate and practical establishment of distances between the frets, strings, and nut sections accessible, allowing all baglama manufacturers to apply this method more effectively.

[0030] The structural and characteristic features of the invention, along with all its advantages, will be more clearly understood through the detailed description provided below, accompanied by references to the figures. Therefore, it is essential to consider these figures and detailed explanations during the evaluation process.

[0031] Brief Description of the Figures

[0032] To fully understand the structure of the present invention and its advantages, along with additional components, it should be evaluated alongside the figures described below.

[0033] Figure-1 : A schematic general view of the baglama fret marking template.

[0034] Figure 2: A schematic general view of the fret marking section.

[0035] Figure 3: A schematic general view of the bridge and string support block marking section.

[0036] Reference Numbers

[0037] 100. Baglama fret marking template

[0038] 1 10. Fret marking section

[0039] 1 1 1. Fret marking line

[0040] 1 12. Fret marking channel

[0041] 1 13. Fret name section

[0042] 1 14. Channel

[0043] 1 15. Marking line

[0044] 1 16. Marking gap

[0045] 120. Bridge marking section

[0046] 121 . Bridge string marking line 122. Bridge marking channel

[0047] 130. String support block marking section

[0048] 131 . String support block marking channel

[0049] 132. String support block marking line

[0050] Detailed Description of the Invention

[0051] In this detailed description, the baglama fret marking template (100), developed to accurately and practically establish distances between the frets, strings, and bridge sections of the baglama, is explained solely for the purpose of better understanding the subject and is not intended to impose any limitations.

[0052] The baglama fret marking template (100), shown in Figure 1 , allows for the simultaneous determination of the nut position, the placement of strings over the nut, the positioning of intervals other than whole and half steps, the angle of the neck's expansion, and the string attachment points on the string support block. This fret marking template (100) is made of steel and includes engraved notches, lines, and text applied via CNC technology. In the mentioned baglama fret marking template (100), the constant value 0.94743 is used. For frets that create a neutral interval, the two smaller intervals are divided into 12 equal parts, and the fret is placed so that it spans 7 units towards the bass side and 5 units towards the treble side. Baglama fret marking templates (100) with different measurement values can be created using 2D and 3D design software. The mentioned baglama fret marking template (100) includes; a fret marking section (1 10) positioned at the end that corresponds to the neck of the baglama, allowing easy marking of fret positions and the holes where the strings will be attached over the nut; a bridge marking section (120), located between the fret marking section (1 10) and the string support block marking section (130) on the body of the baglama, for marking the holes where the strings will be attached on the bridge; a string support block marking section (130), positioned at the opposite end of the baglama fret marking template (100) to align with the location of the string support block on the body of the baglama, for marking the holes where the strings will be attached.

[0053] In the fret marking section (110) shown in Figure 2, "V"-shaped notch-form fret marking channels (1 12) are cut along both edge lines at the necessary positions to facilitate easy marking of fret locations. A fret marking line (1 1 1 ) is drawn to connect the notches on each edge, emphasizing the mentioned fret marking channel (112). Between the mentioned fret marking lines (11 1 ) is the fret name section (113), where the name of the fret is engraved using a CNC machine. At the exposed end of the fret marking section (1 10), there is a "V"-shaped notch-form channel (114) to ensure the correct positioning of the string over the nut. A marking line (115) is engraved on the initial surface divided by the fret marking line to indicate the specific nut and string position of the mentioned channel (1 14) using a CNC machine. To mark the frets on the baglama neck, fret marking gaps (1 16) are positioned at regular intervals between the fret marking lines (1 1 1 ) on the fret marking section (1 10).

[0054] The bridge marking section (120) shown in Figure 3 includes "V"-shaped notch-form bridge string marking channels (122) cut along both edge lines to mark the holes where the strings will be attached on the bridge. A bridge string marking line (121 ) connects the notches on each edge to emphasize the bridge string marking channel (122). The string support block marking section (130) includes a "V"-shaped notchform string support block marking channel (131 ) at the exposed end to mark the holes for string attachment and ensure correct string positioning on the string support block. A string support block marking line (131 ) is engraved on the surface using a CNC machine to indicate the specific string position corresponding to the marking channel (131 ).

[0055] The correct positioning of components such as the nut, bridge, string support block, fret ties, and neck within the baglama is essential for achieving the primary goal of producing high-quality sound. The mentioned baglama fret marking template (100) serves as a guide not only for positioning the frets but also for the placement of these specified components. The baglama family of instruments exhibits great variety in many respects. Establishing standard templates that address every need within such a diverse family of instruments is challenging. However, the baglama fret marking template (100) can be manufactured with high precision for a range of dimensions. It allows for the accurate marking of string positions and configurations on these instruments, which differ in both size and playing technique, thereby making a significant contribution to both playing and performance. It is known that there are two main approaches to positioning the bridge in instruments within the baglama family. These approaches involve dividing the body length into four parts to position the bridge at the one-quarter mark or dividing it into five parts to position the bridge at the one-fifth mark. These bridge positions also determine the placement of the fret ties along the neck. With the one-fifth division, the neck is longer than with the one-quarter ratio, and the fret ties are positioned with wider spacing accordingly. Regardless of the chosen approach, although the sequence of tasks is well-defined, performing them without the baglama fret marking template (100) is time-consuming and prone to errors. The mentioned baglama fret marking template (100) is designed to incorporate the characteristics of both approaches and utilizes available technological capabilities, allowing for easy placement of the bridge, fret ties, and nut without requiring any calculations. Additionally, the baglama fret marking template (100), prepared based on specific proportions, facilitates the measurement of main components, such as the body and neck, before the construction of the baglama begins. Through the mentioned baglama fret marking template (100), the fret ties can be positioned according to specific proportions, allowing for the inclusion of various fret layout approaches, and can be established with a high degree of precision. The constant value "0.9438743" is used in positioning the fret ties. On the neck of the baglama, the positions of the frets that create intervals known as whole and half steps in musical terms are determined using this constant value and publicly available software. This calculation method has proven effective, through experience, in ensuring that the frequency obtained from one string group at a specific fret can be reproduced on another string group and fret on the baglama. Additionally, the fret compatibility achieved with the baglama offers advantages when played alongside other instruments.

[0056] To position certain frets frequently used in the performance of our traditional music on the neck, the distance between the two adjacent frets is divided into 12 equal parts. After this division is completed, the fifth point from the treble-side fret towards the bass-side fret is selected, and the corresponding fret is attached to the neck at this point. In musical terms, for two frets that form a half interval, a fret is positioned on the neck with a distance of 5 units towards the treble side and 7 units towards the bass side. This method of positioning the frets on the neck is applied in the same way for each fret. The traditional fret layout of the baglama is accurately reflected on the baglama fret marking template (100) using this approach.

Claims

CLAIMS1. A fret marking template (100) for accurately establishing the distances between the fret, string, and nut sections of the baglama, characterized by;- A fret marking section (110) located at the end corresponding to the neck of the baglama, for marking the fret positions and the holes where the strings will be attached over the nut;- A bridge marking section (120) positioned between the fret marking section (1 10) and the string support block marking section (130), aligned with the body of the baglama, for marking the holes where the strings will be attached on the bridge;- A string support block marking section (130) positioned at the opposite end of the baglama fret marking template (100), aligned with the location of the string support block on the body of the baglama, for marking the holes where the strings will be attached.

2. The fret marking template (100) in compliance with Claim 1 , characterized by a fret marking channel (1 12) cut along both edge lines of the fret marking section (110) to facilitate easy marking of fret positions.

3. The fret marking template (100) in compliance with Claim 1 , characterized by a fret marking line (1 1 1 ) that connects the notches on each edge to emphasize the fret marking channel (112).

4. The fret marking template (100) in compliance with Claim 1 , characterized by a fret name section (113) engraved between the fret marking lines (1 1 1 ) to indicate the name of each fret.

5. The fret marking template (100) in compliance with Claim 1 , characterized by a channel (1 14) positioned at the exposed end of the fret marking section (110) to ensure the correct positioning of the string over the nut.

6. The fret marking template (100) in compliance with Claim 1 , characterized by a marking line (1 15) engraved on the initial surface divided by the fret marking line to indicate the specific nut and string position of the channel (1 14).

7. The fret marking template (100) in compliance with Claim 1 , characterized by fret marking gaps (116) positioned between the fret marking lines (1 1 1 ) on the fret marking section (110) for marking the frets on the neck of the baglama.

8. The fret marking template (100) in compliance with Claim 1 , characterized by bridge string marking channels (122) cut along both edge lines of the bridgemarking section (120) to mark the holes where the strings will be attached on the bridge.

9. The fret marking template (100) in compliance with Claim 1 , characterized by a bridge string marking line (121 ) that connects the notches on each edge to emphasize the bridge string marking channel (122).

10. The fret marking template (100) in compliance with Claim 1 , characterized by a string support block marking channel (131 ) cut into the exposed end of the string support block marking section (130) to mark the holes for string attachment and ensure correct string positioning.1 1 .The fret marking template (100) in compliance with Claim 1 , characterized by a string support block marking line (131 ) engraved on the surface to indicate the specific string position corresponding to the string support block marking channel (131 ).

12. The fret marking template (100) in compliance with Claim 1 , characterized in that the fret marking channel (112), channel (1 14), bridge string marking channel (122), and string support block marking channel (131 ) are in the form of "V"-shaped notches.

13. The fret marking template (100) in compliance with Claim 1 , characterized in that it is made of steel material.

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