MUSICAL INSTRUMENT

Abstract

A musical instrument comprising a mouthpiece and an elongated body, the elongated body comprises a plurality of finger contacts. The finger contacts comprise a first set of contacts arranged such that they may be simultaneously contacted by the little, ring, middle and index finger of the right hand and a second set of contacts arranged such that they may be simultaneously contacted by the little, ring, middle and index finger of the left hand. It further comprises a first thumb contact for contact by the right thumb and a second thumb contact for contact by the left thumb. The instrument comprises a tone generator controlled by the plurality of contacts, such that a first set of successive half tones is generated under control of the second set of contacts when the first thumb contact is operated, a second set of successive half tones is generated under control of the first set of contacts when the second thumb contact is operated, a third set of successive half tones is generated under control of the second set of contacts when the first thumb contact is freed; and a fourth set of successive half tones is generated under control of the first set of contacts when the second thumb contact is freed.

Claims

1. Musical instrument comprising a mouthpiece and an elongated body connected to the mouthpiece, the elongated body comprising a plurality of finger contacts, wherein a) the plurality of finger contacts comprises a first set of contacts that are arranged in such a way that they may be simultaneously contacted by the little finger, ring finger, middle finger and index finger of the right hand; b) the plurality of finger contacts comprises a second set of contacts that are arranged in such a way that they may be simultaneously contacted by the little finger, ring finger, middle finger and index finger of the left hand; c) the plurality of finger contacts comprises a first thumb contact that may be contacted by the thumb of the right hand simultaneously with the finger contacts of the first set of contacts; d) the plurality of finger contacts comprises a second thumb contact that may be contacted by the thumb of the left hand simultaneously with the finger contacts of the second set of contacts; e) the musical instrument comprises a tone generator controlled by the plurality of finger contacts, in such a way that a first set of successive half tones are generated under control of the second set of contacts when the first thumb contact is operated; a second set of successive half tones are generated under control of the first set of contacts when the second thumb contact is operated, a third set of successive half tones are generated under control of the second set of contacts when the first thumb contact is freed; and a fourth set of successive half tones are generated under control of the first set of contacts when the second thumb contact is freed.

2. Musical instrument as recited in claim 1, wherein in a given register a pitch range defined by the fourth set of successive half tones is above a pitch range defined by the third set of successive half tones, which is above a pitch range defined by the second set of successive half tones, which is above a pitch range defined by the first set of successive half tones.

3. Musical instrument as recited in claim 1, wherein additional half tone steps being provided by the operation of each of the first and the second thumb contacts.

4. Musical instrument as recited in claim 3, wherein a pitch of a first of the additional half tone steps is between the second and third set of successive half tones and in thatwherein a pitch of a second of the additional half tone steps is between the third and the fourth set of successive half tones.

5. Musical instrument as recited in claim 1, wherein the elongated body being a sound tube, wherein the mouthpiece is a woodwind mouthpiece for generating a vibrating air column in the sound tube and wherein the plurality of finger contacts are linked to pads for covering tone holes in the sound tube.

6. Musical instrument as recited in claim 5, wherein the sound tube comprising at least 18 tone holes the closure of which is operated by the first set of contacts, the second set of contacts, the first thumb contact and the second thumb contact, wherein each finger contact of the first set of contacts and each finger contact of the second set of contacts operates two tone holes, depending on a state of the second thumb contact or the first thumb contact, respectively, and wherein the first thumb contact and the second thumb contact operate a further tone hole each.

7. Musical instrument as recited in claim 6, wherein a first set of tone holes corresponding to the first set of successive half tones is arranged below a second set of tone holes corresponding to the second set of successive half tones, which is arranged below a third set of tone holes corresponding to the third set of successive half tones, which is arranged below a fourth set of tone holes corresponding to the fourth set of successive half tones.

8. Musical instrument as recited in claim 7, wherein the first set of contacts is arranged in a region essentially corresponding to a position of the second set of tone holes and wherein the second set of contacts is arranged in a region essentially corresponding to a position of the third set of tone holes.

9. Musical instrument as recited in claim 5, wherein the first thumb contact is linked to the pads in such a way that operating the first thumb contact simultaneously closes all tone holes of the third set of tone holes independent of the actuation of the second set of contacts, and wherein the second thumb contact is linked to the pads in such a way that operating the second thumb contact simultaneously closes all tone holes of the fourth set of tone holes, independent of the actuation of the first set of contacts.

10. Musical instrument as recited in claim 5, wherein at least one of the first and second thumb contact comprises two sections that may be operated together or independently by the associated thumb, wherein operating one of the two sections allows for closing the tone holes of a set of half tones associated with the thumb contact without simultaneously closing a further single tone hole associated with the thumb contact.

11. Musical instrument as recited in claim 10, wherein the two sections are constituted by two elements that are depressible independently of each other, the elements providing an essentially planar actuating surface, wherein in an idle state of both sections the actuating surfaces of the two sections lie in a common plane.

12. Musical instrument as recited in claim 11, wherein the actuating surfaces of the elements feature an opening each and in that wherein the first of the elements is connected to a first auxiliary section associated with the opening of the second of the elements and wherein the second element is connected to a second auxiliary section associated with the opening of the first element, wherein the first auxiliary section penetrates the opening of the second element when the second element is depressed and the first element is idle and wherein the second auxiliary section penetrates the opening of the first element when the first element is depressed and the second element is idle.

13. Musical instrument as recited in claim 12, wherein the auxiliary sections are ramp-shaped, an elevation of the auxiliary sections rising in a direction towards the element connected to the respective auxiliary section.

14. Musical instrument as recited in claim 12, wherein the first element and first auxiliary section, and the second element and second auxiliary section, respectively, are unitary components.

15. Musical instrument as recited in claim 11, wherein the first element and the second element are pivotable about a common axis.

16. Musical instrument as recited in claim 5, having a linkage mechanism for mechanically transmitting an operation of at least two of the plurality of finger contacts to at least two of the pads for covering tone holes, wherein the linkage mechanism comprises at least two linkage bars having a helix-shaped section, the helix-shaped section of a first of the at least two linkage bars and the helix-shaped section of a second of the at least two linkage bars being intertwined.

17. Musical instrument as recited in claim 16, wherein the at least two linkage bars each comprise a first linear section and a second linear section collinear with the first linear section, the first linear section neighbouring the respective finger contact and the second linear section neighbouring the respective pad, the helix-shaped section being arranged in between the first and the second linear section, wherein the first linear section of the first linkage bar is parallel to the first linear section of the second linkage bar and the second linear section of the first linkage bar is parallel to the second linear section of the second linkage bar.

18. Musical instrument as recited in claim 17, comprising a central bar, the first and second linear sections of the at least two linkage bars being pivotably attached to the central bar, the helix-shaped section of the at least two linkage bars running around the central bar.

19. Musical instrument as recited in claim 16, wherein the helix-shaped section of at least one of the linkage bars comprising at least two linkage components joined by an adjustable screw connection.

20. Musical instrument as recited in claim 16, wherein the first linear section comprising a limiting stop for limiting a transmission of an actuating force to the helix-shaped section.

21. Musical instrument as recited in claim 1, wherein a plurality of sensors is assigned to the plurality of finger contacts in such a way that first signals are generated representing the actuation of the finger contacts and in that the tone generator is controlled by the first signals.

22. Musical instrument as recited in claim 1, comprising a wind controller mouthpiece generating second signals representing the air-controlled operation of the musical instrument, wherein the tone generator is a synthesizer that is controlled by the first and second signals.

23. Musical instrument as recited in claim 1, comprising two hand supports extending from the elongated body, the hand supports allowing for supporting the elongated body by the two hands of a player, in such a way that all ten fingers of the player may independently actuate the plurality of finger contacts.

24. Musical instrument as recited in claim 23, wherein the hand supports comprising a contact piece to be pressed into a palm of an associated hand of the player.

Description

BRIEF DESCRIPTION OF THE DRAWINGS

[0103] The drawings used to explain the embodiments show:

[0104] FIG. 1 An angular view of a flute according to the invention;

[0105] FIG. 2 a top view of the sound tube of the flute;

[0106] FIG. 3A a top view of the flute;

[0107] FIG. 3B a front view of the flute;

[0108] FIG. 3C a bottom view of the flute;

[0109] FIG. 3D a back view of the flute;

[0110] FIG. 4 a top view of the flute with attached left hand keys and pads;

[0111] FIG. 5 a top view of the flute with attached right hand keys and pads;

[0112] FIG. 6 an angular view of the left hand thumb key and pads of the right hand remote group;

[0113] FIG. 7 an angular view of the pads of the right hand local group;

[0114] FIG. 8 an angular view of the right hand thumb key and pads of the left hand local group;

[0115] FIG. 9 an angular view of the pads of the left hand remote group;

[0116] FIG. 10 an angular view showing two keys, lever stops and the installation of a key button;

[0117] FIG. 11 an angular view showing a key with its assigned local pad and an adjustment mechanism;

[0118] FIG. 12 a front view of a helix-shaped linkage of the flute;

[0119] FIG. 13A, B the components of a divided thumb key of the flute;

[0120] FIG. 14A-D the different operation states of the divided thumb key;

[0121] FIG. 15 a schematic representation of the flute for explaining the nomenclature of keys and holes;

[0122] FIG. 16A-F schematic representations showing the impact of actuating a certain key of the flute; and

[0123] FIG. 17A, B schematic representations of the fingerings of the fundamental register.

[0124] In the figures, the same components are given the same reference symbols.

PREFERRED EMBODIMENTS

[0125] In the following, an embodiment of the invention is described. The described instrument is an acoustic concert flute.

[0126] The FIG. 1 is an angular view of the flute. The flute 1 comprises a head joint 10 which corresponds to a known usual head joint of a concert flute and a sound tube 20 to which the head joint 10 is attached to in a conventional manner.

[0127] The FIG. 2 is a top view of the sound tube of the flute, with removed mechanical parts such as keys, pads and linkages. The sound tube has 18 tone holes 21.1 . . . 18 which are arranged essentially in a line along a top side of the sound tube 20. Their size and distance is chosen in such a way that opening a further tone hole closer to the head joint end of the sound tube 20 increases pitch by a semitone, i.e. consecutively opening tone holes, starting from the free end of the sound tube 20, allows for playing a sequence of 19 semitones. Opened sequentially, the tone holes 21.1 . . . 18 will produce the notes of an ascending chromatic scale. With 18 tone holes 21.1 . . . 18 to be opened, a fundamental register of nineteen notes is achieved.

[0128] The 18 holes 21.1-21.18 may be grouped as follows: [0129] left-hand remote group 22.1: holes 21.1-21.4; [0130] right-hand local group 22.2: holes 21.5-21.8; [0131] right-hand thumb: hole 21.9; [0132] left-hand local group 22.3: holes 21.10-21.13; [0133] left-hand thumb: hole 21.14; [0134] right-hand remote group 22.4: holes 21.15-21.18.

[0135] Viable hole sizes and positions, for a concert flute pitched at A=440 Hz, are given in the following table. The hole location is measured from the free end of the sound tube 20.

TABLE-US-00001 hole number hole diameter [mm] hole location [mm] 1 15.6 49.7 2 15.6 87.7 3 15.6 123.6 4 15.6 157.5 5 14.8 190.4 6 14.8 220.0 7 14.8 248.9 8 14.8 276.0 9 14.8 301.8 10 13.5 327.0 11 13.5 349.9 12 13.5 371.4 13 13.5 391.8 14 13.5 411.1 15 10.5 431.1 16 10.5 449.2 17 11.2 464.5 18 11.2 479.9

[0136] As shown in FIG. 1, the sound tube 20 is provided by a mechanism including keys to be operated by the fingers and thumbs of the player, pads to close the 18 tone holes and linkage mechanisms to link the keys to the pads. The mechanism is described in more detail in connection with the following Figures.

[0137] The sound tube 20 of the flute 1 is further provided with two hand supports 31, 32 for the right and left hand of the player, respectively. On a usual Boehm system concert flute, the right thumb does not have an active playing role. It serves only to prop up the instrument. The Boehm flute is supported by the player's lower jaw, the base of the left index finger, and the right thumb. In contrast, all fingers and thumbs are required to operate all keys of the flute 1 according to the invention. Accordingly, the right thumb must be liberated from its support-only role. This is accomplished by the hand supports 31, 32. Together with the player's jaw, they provide three-point support.

[0138] The hand supports 31, 32 are removably attached to the sound tube 20 by stems and feature teaspoon-shaped pads that press into the palms of the hands, directly below the little fingers. This is a place of the hand where pressure can be applied without any detriment to the dexterity of fingers or thumb. With the instrument stable between the player's jaw and the two hand supports 31, 32, all fingers and thumbs are free to play.

[0139] The FIGS. 3A-D provide different views of the flute: FIG. 3A is a top view, FIG. 3B is a front view, FIG. 3C is a bottom view, and FIG. 3D is a back view. The flute is transverse when played, essentially horizontal, with the tone-holes and pads along the top. Accordingly, the front view is essentially what the player sees when playing the flute. The right hand approaches the flute from the front, and the left hand approaches the instrument from the back.

[0140] The FIGS. 3A-D show the head joint 10 with the lip plate 11 mounted on a riser in a manner known as such. The lip plate 11 is forming the embouchure hole 12. The back end of the head joint 10 is formed by the crown 13 closing off the tube. A stopper is inserted into the tubing of the head joint 10, between the embouchure hole 12 and the crown 13.

[0141] The sound tube 20 is provided by two hand supports 31, 32 as described above as well as with the key work, including keys 40 to be contacted by the finger of the player's hands and pads 50 as well as a linkage mechanism 60 connecting the keys 40 to the pads 50. These elements are described in more detail in the following, in connection with FIGS. 4-14.

[0142] The FIG. 4 is a top view of the flute with attached left hand keys and pads. The FIG. 5 is a top view of the flute with attached right hand keys and pads. Removing the keys and pads assigned to one of the player's hands allows for a better overview over the flute's mechanism.

[0143] As mentioned above, the tone holes 21.1 . . . 21.18 may be grouped into four groups 22.1 . . . 4 of four holes each as well as two thumb holes 21.9, 21.14.

[0144] The holes 21.5-21.8 of the right hand local group 22.2 are closed by respective pads 51.5-51.8, actuated by keys 41.2-41.5, where the assignment is as follows:

TABLE-US-00002 hole pad key finger 21.5 51.5 41.5 (L5) r. h. little 21.6 51.6 41.4 (L4) r. h. ring 21.7 51.7 41.3 (L3) r. h. middle 21.8 51.8 41.2 (L2) r. h. index

[0145] The keys 41.2-41.5 are arranged close to the respective pads 51.5-51.8. Nevertheless, as shown further below, the action of the keys 41.2-41.5 is transmitted to the pads 51.5-51.8 by means of levers and a swivel axis of the linkage mechanism.

[0146] Unless already closed by the action of the right-hand thumb key 41.1 (R1; cf. FIGS. 3C, 3D), the holes 21.10-21.13 of the left hand local group 22.3 are closed by respective pads 51.10-51.13, actuated by keys 42.2-42.5, where the assignment is as follows:

TABLE-US-00003 hole pad key finger 21.10 51.10 42.5 (R5) l. h. little 21.11 51.11 42.4 (R4) l. h. ring 21.12 51.12 42.3 (R3) l. h. middle 21.13 51.13 42.2 (R2) l. h. index

[0147] Again, the keys 42.2-42.5 are arranged close to the respective pads 51.10-51.13. Nevertheless, as shown further below, the action of the keys 42.2-42.5 is transmitted to the pads 51.10-51.13 by means of levers and a swivel axis of the linkage mechanism.

[0148] The holes 21.1-21.4 of the left hand remote group 22.1 are closed by pads 51.1-51.4, actuated by the left-hand keys 42.2-42.5, the action being transmitted by the linkage mechanism 62 including helical sections, described in more detail below. The assignment is as follows:

TABLE-US-00004 hole pad key finger 21.1 51.1 42.5 (R5) l. h. little 21.2 51.2 42.4 (R4) l. h. ring 21.3 51.3 42.3 (R3) l. h. middle 21.4 51.4 42.2 (R2) l. h. index

[0149] Unless already closed by the action of the left-hand thumb key 42.1 (L1; cf. FIGS. 3B, 3C), the holes 21.15-21.18 of the right hand remote group 22.4 are closed by pads 51.15-51.18, actuated by the right-hand keys 41.2-41.5, the action being transmitted by the linkage mechanism 61 including helical sections, described in more detail below. The assignment is as follows:

TABLE-US-00005 hole pad key finger 21.15 51.15 41.5 (L5) r. h. little 21.16 51.16 41.4 (L4) r. h. ring 21.17 51.17 41.3 (L3) r. h. middle 21.18 51.18 41.2 (L2) r. h. index

[0150] The FIGS. 6-11 show details of the key work of the concert flute: FIG. 6 is an angular view of the left hand thumb key and the pads of the right hand remote group, FIG. 7 is an angular view of the pads of the right hand local group, FIG. 8 is an angular view of the right hand thumb key and the pads of the left hand local group, FIG. 9 is an angular view of the pads of the left hand remote group, and FIG. 10 is an angular view showing two keys, lever stops and the installation of a key button. FIG. 11 is an angular view showing a key with its assigned local pad and an adjustment mechanism.

[0151] The FIG. 6 shows the left hand thumb key 42.1 featuring two sections 42.1a, 42.1b as described in more detail below, in connection with FIGS. 13, 14. The two sections act on two corresponding pivotable levers 71a, 71b. In the idle state, the two sections 42.1a, 42.1b of the left hand thumb key 42.1 are held in an open position by needle springs 72a, 72b. If one of the sections 42.1a, 42.1b or both sections are depressed, the corresponding lever(s) 71a, 71b are swivelled about a holding axle 73 and act onto further levers 74a, 74b swivelling about a further holding axle 75.

[0152] The first lever 71a actuated by depressing the first section 42.1a of the left hand thumb key 42.1 is connected to the pad 51.14 for closing the hole 21.14 assigned to the left hand thumb key 42.1.

[0153] A second lever 71b actuated by depressing a second section 42.1b of the left hand thumb key 42.1 is connected to two actuating elements 76.1, 76.2 by means of an inner rotating shaft of the holding axle 75. The two actuating elements 76.1, 76.2 act onto counter elements connected to levers holding the pads 51.15, 51.16 (actuating element 76.1) and pads 51.17, 51.18 (actuating element 76.2), respectively. Accordingly, depressing the second section 42.1b of the left hand thumb lever 42.2 closes all four tone holes 21.15 . . . 18 simultaneously (cf. FIGS. 16D, 16F).

[0154] If the second section 42.1b of the left hand thumb key 42.1 is idle, these four tone holes 21.15 . . . 18 may be individually closed by the respective pads 51.15 . . . 18. In this case, the keys 21.5 . . . 8 are actuated by the fingers of the right hand. The corresponding action of keys 41.2 . . . 5 is transmitted by the linkage mechanism 61 to linkage bars 85.15 . . . 18 acting on the pads 51.15 . . . 18. The linkage mechanism 61 is described in more detail below, in connection with FIG. 12.

[0155] The FIG. 7 shows the pads 51.5 . . . 8 of the right hand local group and the keys 41.2 . . . 5 actuated by the fingers of the right hand. Both the pads 51.5 . . . 8 as well as the keys 41.2 . . . 5 are attached to levers that are pivotally supported by a holding axle 77. Springs ensure that without external forces the pads 51.5 . . . 8 are in their open position. Correspondingly, the keys 41.2 . . . 5 return to their upper, non-depressed position. The keys 41.2 . . . 5 act onto key lever extensions 78.2 . . . 5 that cooperate with pad lever extensions 79.2 . . . 5.

[0156] Furthermore, the action of the keys 41.2 . . . 5 is transmitted to linkage bars 82.2 . . . 5 belonging to the linkage mechanism 61, described in more detail below, in connection with FIG. 12.

[0157] The FIG. 8 shows the right hand thumb key 41.1, the corresponding pad 51.9, the pads 51.10 . . . 13 of the left hand local group and the keys 42.2 . . . 5 actuated by the fingers of the left hand. Again, all the pads 51.9 . . . 13 as well as the keys 42.2 . . . 5 are attached to levers that are pivotally supported by a holding axle 81. Springs ensure that without external forces the pads 51.9 . . . 13 are in their open position. Correspondingly, further springs ensure that the keys 42.2 . . . 5 return to their upper, non-depressed position even if the pads 51.10 . . . 13 are closed due to actuation of the right hand thumb key 41.1. The cooperation of the keys 42.2 . . . 5 with the assigned pads 51.10 . . . 13 is analogous to that described in connection with FIG. 7 above. Similarly, the action of the keys 42.2 . . . 5 is transmitted to linkage bars 92.2 . . . 5 belonging to the linkage mechanism 62.

[0158] Similar to the mechanism described in detail in connection with FIG. 6, a first section of the right hand thumb key 41.1 cooperates with the pad 51.9 to close the associated hole, and a second section of the right hand thumb key 41.1 cooperates with two actuating elements 88.1, 88.2 acting onto counter elements connected to levers holding the pads 51.10, 51.11 (actuating element 88.1) and pads 51.12, 51.13 (actuating element 88.2), respectively, for simultaneously closing all four tone holes of the left hand local group.

[0159] The FIG. 9 shows the pads 51.1 . . . 4 of the left hand remote group. They are actuated by linkage bars 95.1 . . . 4 of the linkage mechanism 62. They are connected to sleeves 96.1 . . . 4 that are pivotally supported on a holding axle 97. Levers holding the pads 51.1 . . . 4 are fixedly attached to the sleeves 96.1 . . . 4.

[0160] The FIG. 10 shows two keys, lever stops and the installation of a key button. The pads and corresponding elements of the key mechanism are not displayed. The Figure shows the three tone holes 21.4, 21.5, 21.6 and the two keys 41.4, 41.5 to be actuated by the ring and little finger of the player's right hand. In the following, the elements of one of the keys 41.5 are described in more detail.

[0161] The key 41.5 comprises a key lever 43 pivotally supported on the holding axle 77 and featuring a connection cup 43a at its free end. A key button 44 comprises a connection geometry that allows for easily connecting the key button 44 to the connection cup 43a of the key lever 43. The key lever 43 comprises a sleeve surrounding the holding axle 77 and ending in two plate-like radial extensions 45a, 45b. The two extensions 45a, 45b cooperate with a protrusion 46 extending radially from the sound tube 20, defining a permissible pad rotation of about 7 (this angle being the same for all pads). The protrusion 46 is provided by cork pads. Together, the protrusion 46 and the extensions 45a, 45b of the sleeve of the key lever 43 provide a stop for the key 41.5, defining the idle position as well as a maximum depressed position.

[0162] This mechanism isolates the pads from the pressure of the player's fingers, thus extending the service life of the pads, especially when the instrument is played by people exerting high forces onto the keys.

[0163] Each of the connections between a key and its local pad as well as between a key and its remote pad has its own screw adjustment. The FIG. 11 shows a key with its assigned local pad and the respective adjustment mechanism. The key 42.4 to be operated by the ring finger of the left hand inter alia controls the local pad 51.11. For that purpose, the key lever 43 features a contact plate 47 extending along the holding axle into an axial region of the pad lever 52 carrying the pad 51.11. The pad lever 52 features a base portion 53 with a screw hole accommodating an adjustment screw 54. Both the key lever 43 and the pad lever 52 are held in an open position by needle springs.

[0164] The method of adjustment is to back off the screw, press the key lever 43 firmly against the stop, and then advance the screw 54 until the pad 51.11 receives just enough pressure to seal the hole. Accordingly, when the instrument is played, only the screw-adjustment pressure is transmitted to the pad 51.11. All heavy-handed excess is absorbed by the stop.

[0165] The FIG. 12 (e) is a front view of a helix-shaped linkage of the flute. The FIGS. 12 (a)-(d) are side views of the elements of each of the four links of the linkage.

[0166] The linkage mechanism 62 connects the four keys 42.2 . . . 5 operated by the left hand with the pads 51.1 . . . 4 closing the tone holes 21.1 . . . 4 of the left hand remote group.

[0167] As mentioned before, the keys 42.2 . . . 5 are mechanically linked to the input linkage bars 92.2 . . . 5. The pads 51.1 . . . 4 are mechanically linked to the output linkage bars 95.1 . . . 4. A first link is provided by the following elements: [0168] an input linkage bar 92.2 on the input side of the linkage 62; [0169] a first helical section 93.2 that is connected to the linkage bar 92.2, running around about 160, featuring a contact element 93.2a at its free (output) end; [0170] a second helical section 94.4 that features another contact element 94.4a at its free (input) end, interacting with the contact element 93.2a of the first helical section 93.2; the second helical section running around about 200; [0171] an output linkage bar 95.4 connected to the second helical section 94.4.

[0172] All the elements are pivotally supported on a central axle 98. For that purpose, short sleeves fixedly connected to the linkage bars 92.2, 95.4 and the helical sections 93.2, 94.4 are threaded onto the axle, having a plain bearing between the inside surface of the sleeve and the outside surface of the central axle 98. The length of the sleeves is chosen such that the added length of all sleeves exactly matches the free length of the axle between two posts attached to the sound tube, supporting the central axle 98.

[0173] The further links are designed analogously. The following table gives an overview of the involved components and the main characteristics of the four links:

TABLE-US-00006 input first helical second helical output linkage bar section angle section angle linkage bar 92.2 93.2 160 94.4 200 95.4 92.3 93.3 205 94.3 155 95.3 92.4 93.4 250 94.2 110 95.2 92.5 93.5 295 94.1 65 95.1

[0174] At their interacting surfaces, the contact elements 93.2 . . . 5a, 94.1 . . . 4a constituting clutches coupling the input of the linkage with the output, feature a thin cork pad. The contact elements 94.1 . . . 4a of the second helical sections 94.1 . . . 4 comprise a screw hole accommodating an adjustment screw. The helical sections are designed and arranged in such a way that the screw heads lie in a row parallel to the longitudinal axis of the sound tube and can be easily reached for adjusting the linkage 62.

[0175] Compared to usual linkages, the torsional stiffness of the helical linkage mechanisms 61, 62 is reduced. Due to the lever stops described above, in connection with FIG. 10, the maximum force acting onto the input linkage bars is limited, such that the reduced torsional stiffness does not create actual problems when operating the instrument. The screw adjustment at the junction in the helical linkage is the same as for the local hole described above. Correct adjustment ensures that the helical linkage will only carry the light load required to seal the pad: nothing more and nothing less. Excess pressure is absorbed by the stop and not transmitted along the linkage.

[0176] The FIGS. 13A, B show the components of a divided thumb key of the flute. The FIGS. 14A-D show the different operation states of the divided thumb key.

[0177] As described above, the divided thumb key, FIGS. 13, 14 show the left hand thumb key 42.1, allows for either closing a local tone hole, closing four remote tone holes or both, depending on what sections are actuated. Namely, depressing the first section 42.1a closes the local tone hole 21.14, whereas depressing the second section 42.1b closes the four tone holes 21.15 . . . 18.

[0178] Essentially, the divided thumb key 42.1 consists of two unitary elements 101, 111 (cf. FIG. 13B). These elements comprise two extensions 102, 103; 112, 113 each for pivotably supporting the elements 101, 111 on an axle. A first extension 102, 112 is connected to a plate-like element 104, 114 providing an essentially planar actuating surface and featuring a through hole 106, 116. A second extension is connected to an auxiliary element 105, 115 having a ramp shaped free end. The two unitary elements 101, 111 are combined in such a way that the ramp shaped free ends of the auxiliary elements 105, 115 penetrate the through holes 106, 116 of the respective other unitary element.

[0179] The FIG. 14A shows the idle state of the divided thumb key 42.1. The two planar actuating surfaces of the plate-like elements 104, 114 form together an essentially planar actuating surface, both surfaces lying in a common plane. The ramp shaped free ends of the auxiliary elements 105, 115 lie behind the plane defined by the actuating surfaces.

[0180] The FIGS. 14B, 14C show a state where one of the two actuating surfaces is depressed. Clearly, the auxiliary element 105, 115 of the other unitary element 101, 111 penetrates the through hole 106, 116 of the depressed actuating surface, the elevation of the auxiliary element 105, 115 above the actuating surface rising in a direction towards the other plate-like element 114, 104.

[0181] Sliding from one actuating surface to the other is greatly enhanced by the ramp, as the sliding movement along the actuating surface leads to gradual depression of the other unitary element 101, 111. As soon as the junction between the two actuating surfaces is reached, the other actuating surface is already depressed and the other section of the thumb key is brought into alignment with the presently contacted section before the thumb reaches it. This ensures a smooth sliding transfer to the other actuating surface.

[0182] The FIG. 14D shows a state where both actuating surfaces are depressed, e. g. by contacting the divided thumb key 42.1 in a central section. This is the default kind of contacting the thumb lever when playing in the fundamental and 2.sup.nd register of the described concert flute.

[0183] The FIG. 15 is a schematic representation of the flute for explaining the nomenclature of keys and holes. Briefly restated, the holes are grouped as follows: [0184] holes 1-4: left hand remote group 22.1; [0185] holes 5-8: right hand local group 22.2; [0186] hole 9: right hand thumb hole 21.9; [0187] holes 10-13: left hand local group 22.3; [0188] hole 14: left hand thumb hole 21.14; and [0189] holes 15-18: right hand remote group 22.4.

[0190] The ten finger contacts are denoted as R1-R5 and L1-L5, respectively. The assignment is as follows:

[0191] right hand: R1 (thumb)41.1; R2 (index)41.2; R3 (middle)41.3; R4 (ring)41.4; R5 (little)41.5

[0192] left hand: L1 (thumb)42.1; L2 (index)42.2; L3 (middle)42.3; L4 (ring)42.4; L5 (little)42.5.

[0193] The graphical representation of FIG. 15 and the short indications of the holes and finger contacts are used in FIGS. 16, 17 and in the following description of the fingering scheme of the inventive concert flute.

[0194] The FIGS. 16A-F are schematic representations showing the impact of actuating a certain key of the flute.

[0195] As shown in FIGS. 16A, B actuating any of the right hand finger contacts R2-R5 or left hand finger contacts L2-L5 closes two tone holes, namely the associated tone hole of the respective local group and the associated tone hole of the respective remote group.

[0196] As shown in FIG. 16C, actuating a central portion of the right hand thumb key R1 (i. e. both sections of the thumb key simultaneously) closes the right hand thumb hole 9 as well as the tone holes 10-13 of the left hand local group.

[0197] As shown in FIG. 16D, actuating a central portion of the left hand thumb key L1 (i. e. both sections of the thumb key simultaneously) closes the left hand thumb hole 14 as well as the tone holes 15-18 of the right hand remote group.

[0198] These are the contacts that are used when playing in the fundamental and 2.sup.nd register of the concert flute.

[0199] The FIGS. 16E, F relate to further options that are used for so called vented harmonics: In all modern woodwind instruments, the playing range is extended upward by the use of what may be termed vented harmonics: higher notes facilitated by the opening of vent holes placed to discourage the production of lower partials. To support a third register of vented harmonics, the two functions of each thumb contact R1, L1 are divided, in order to allow for opening or closing the left and right thumb holes 9, 14 independently of other actions.

[0200] Within a divided right-hand thumb assembly R1 (FIG. 16E): [0201] the lower part acts only upon the right thumb hole 9; [0202] the upper part acts upon the tone holes 10-13 of the left hand local group 22.3.

[0203] The central contact activates both parts and therefore acts upon all five holes 9-13.

[0204] Within the divided left-hand thumb assembly L1 (FIG. 16F): [0205] the lower part acts only upon the left thumb hole 14; [0206] the upper part acts upon the tone holes 15-18 of the right hand local group 22.4.

[0207] The central contact activates both parts and therefore acts upon all five holes 14-18.

[0208] The FIGS. 17A, B are schematic representations of the nineteen fingerings of the fundamental register with their corresponding hole closure patterns. In the case of a concert flute, these same fingerings may be used in the 2.sup.nd register, where by appropriately blowing the 2.sup.nd harmonic is generated, which means that the pitch of the notes of the 2.sup.nd register are an octave higher than those of the fundamental register.

[0209] It is to be noted that the partial thumb fingerings shown in connection with FIGS. 16E, F are not required for the fundamental register and play no part in the basic fingering regime. Therefore, in the fingering diagrams shown in FIG. 17A, B only the simple L1 and R1 appear.

[0210] To keep note numbers and hole numbers in alignment, the instrument's lowest note, having no holes open, has been designated Note 0. This note is obtained if all finger contacts are actuated. Starting from note 0 (all keys depressed) the chromatic sequence of the fundamental register is obtained as follows: [0211] a. releasing the four fingers L5, L4, L3, L2 of the left hand: notes 1-4; [0212] b. releasing the four fingers R5, R4, R3, R2 of the right hand: notes 5-8; [0213] c. actuating the left hand finger contacts L2-L5 again (this can be done already for notes 7, 8) and releasing the right hand thumb R1: note 9; [0214] d. releasing the four fingers L5, L4, L3, L2 of the left hand: notes 10-13; [0215] e. actuating the right hand finger contacts R2-R5 again (this can be done already for notes 12, 13) and releasing the left hand thumb contact L1: note 14; [0216] f. releasing the four fingers R5, R4, R3, R2 of the right hand: notes 15-18.

[0217] Accordingly, the fingering regime foresees close co-operation between the fingers of one hand and the thumb of the opposite hand. Within the chromatic scale, fingerings are simple and sequential. More importantly, from an ergonomic standpoint, the transition from any note to any other note is achieved without contrary motion of the fingers on one hand or the other. By extension, this type of forked fingering is eliminated from all melody-making, regardless of musical key. Only when the range is extended into a third register (third octave in the case of a flute) will such intra-hand contrary motion be required.

[0218] As an example, note 9 may correspond to G4, which means that note 0 is A#3 and note 18 is E5. Useful second register notes will start with D#5 (an octave higher than note 5 of the fundamental register). Accordingly, there is a certain overlap and therefore a certain freedom about where to switch to the 2.sup.nd register. This provides additional possibilities to the player which allows for facilitating finger technique or improving intonation and/or sound of the played notes. In the context of the described concert flute, the normal fingerings for D#5 and E5 are those in the fundamental register, and the second register fingerings are primarily used in trills or fast passages in connection with further second register notes. Together, the fundamental and 2.sup.nd register which have the simple fingering scheme provide a range of A#3-E6.

[0219] In summary, the fingering regime uses improved co-operation between fingers and thumbs to extend the capability of the fingers. Specifically, the fingers of the left hand control two groups of tone holes, widely separated, with the right thumb serving to remove the higher group from play. Conversely, the fingers of the right hand control two groups of tone holes, widely separated, with the left thumb serving to remove the upper group from play. The practical effect is that finger technique learned for one part of the scale may reapplied at another, with acoustical and ergonomic advantages delivered by the extended fundamental range.

[0220] The invention is not restricted to the described embodiment. In particular, details of the key work mechanism may be embodied differently. As mentioned above, the purely mechanical key work may be partially replaced by hydraulic or pneumatic links or by signal links and local actuators for the pads. Instruments having an electronic tone generator controlled by finger contacts that follow the inventive fingering regime are possible as well.

[0221] Furthermore, the invention is not restricted to concert flutes or flute-like instruments. As an example, the invention is very beneficial in connection with clarinets as they have a wider fundamental register (perfect 12.sup.th instead of an octave). Comparted to the complicated key work and fingering of usual Boehm or Oehler clarinets the inventive fingering regime simplifies the mechanism as well as the fingering.

[0222] Having a fundamental register of a perfect 12.sup.th, all 19 fingerings are required to span this interval, and so no finger is left free to operate a register key. Nevertheless, in connection with the concert flute described above divided thumb key arrangements have been presented, in which upper and lower halves may be operated independently. In the case of an inventive clarinet they may be used inter alia to control a register key (or two or more register keys, if needed).

[0223] Over the full range of an inventive acoustic woodwind instrument fingerings that require the use of only the upper half of either of the thumb keys may be avoided: All fingerings involve either no thumb key, both sections or only the lower half (which controls the pad for closing the assigned thumb hole). Accordingly, the upper half of the thumb keys may be used for operating the register key (i. e. a pad closing a register hole). Pads for a plurality of register holes (e. g. in the case of bass or contra-bass clarinets) may be selectively closed by automatic mechanisms, depending on the position of other keys or pads, similar to solutions known in connection with e. g. bass clarinets or saxophones.

[0224] Nevertheless, in the following a possible solution for soprano clarinets (such as B-flat or A clarinets) is discussed.

[0225] The chalumeau register (fundamental register) of an inventive acoustic clarinet will require all nineteen fingerings, to span the range E3 to A#4, but for acoustical reasons the clarion register (2.sup.nd register) will be limited to fourteen semitones, B4 to C6, similar to a Boehm clarinet. As described above, the fingering scheme foresees to press the left thumb key (both sections) for the first fourteen notes (0-13) and to free the left thumb key for the last five (14-18). Accordingly, in the case of a clarinet, the functions of the divided left thumb key may be altered to support management of a register hole, as follows: [0226] For the left thumb, the ability to close the four-hole-series without closing the local thumb hole (by actuating the upper section only) is sacrificed. [0227] For the chalumeau register, the upper thumb position becomes the default position, closing both the local thumb hole and the adjacent four-hole-series. [0228] For the clarion register, the thumb moves down to the central position, maintaining the five closures but opening the register hole. [0229] For the altissimo register (3.sup.rd register), the thumb moves down to the lower position, releasing the four-hole-series but keeping the local thumb hole closed and the register hole open. [0230] Although the mechanical linkages will require modification, the stepless transition described in connection with FIGS. 13, 14 may be preserved.

[0231] In summary, it is to be noted that the invention creates a musical instrument that allows for fluid playing irrespective of key. It is further noted that the invention is one from which a broad family of musical instruments may be derived: instruments which, across their first and second registers and therefore over much of their playing ranges, share both basic fingerings and advanced technique.