Technical Field The present disclosure related to a stringed musical instrument neck and fretboard that is widened at least one of its two longitudinal edge profiles in a measured convex manner to in some embodiments to accommodate constant interval outward string bend functionality along a full 12 fret span.

Background

The traditional guitar neck is most apt to have 6 strings of commonly established lengths, thicknesses and pitch ordering - either right handed or left handed. The traditional guitar neck is cut longitudinally to generally follow the string set and is most commonly referred to as being 'straight' . The outer longitudinal edges of a traditional guitar-like chordophone neck are generally straight-cut from a plank of wood or they are molded or formed as such from a metal, plastic or composite material. They are traditionally constructed to run generally parallel and close to the instrument's positioned string set.

On a conventional straight-necked guitar 'inwardly' bending a string located at the outer- most edge position of the string set - most often the thinnest 'melody' string - toward the neck's central longitudinal axis creates a 'collision' or multiple collisions with the adjacent string or strings. These collisions cause interference with and a hindrance of the neighbouring string's ability to vibrate freely and produce sound.

Summary

In one aspect, there is provided a fretboard for a stringed instrument comprising: a first end for attaching to the instrument and a second end opposite the first end; a central longitudinal region for accommodating two or more strings of the instrument along a center longitudinal axis running from the first end to the second end of the fretboard; a first outward edge and a second outward edge, each running from the first end to the second end, at least one of the two outward edges being closer to the center longitudinal axis at the second end than at a center point of the longitunal axis; two or more frets; and an expanded region consisting of at least one fret that has a first area to one side of the central region at least as wide as a width required to achieve a semi-tone when bending a first string closest to the first outward edge of the fretboard toward the first outward edge.

In an embodiment, the expanded region has a second area to a second side of the central region at least as wide as a width required to achieve a semi-tone when bending a second string closest to the second outward edge toward the second outward edge.

In an embodiment, the two outward edges are symmetrical.

In an embodiment, the first outward edge is convex in shape.

In an embodiment, the first outward edge and the second outward edge are both convex in shape.

In an embodiment, the first outward edge along at least one fret in the expanded region is straight.

In an embodiment, the second outward edge along at least one fret in the expanded region is straight. In an embodiment, the central longitudinal region is sized to accommodate six strings. Of course, any number of strings are possible, for example but not limited to 7 or 8 string guitars, 4 or 5 string bass guitars or even extreme instruments with 20 or more strings.

In an embodiment, the fretboard comprises 24 frets.

In an embodiment, the expanded region comprises at least twelve frets. In an embodiment, the first area is sized to achieve a tone when bending the first string closest to the first outward edge of the fretboard toward the first outward edge.

In an embodiment, the first area is sized to achieve a semitone when bending the first string closest to the first outward edge of the fretboard toward the first outward edge.

In an embodiment, the first area is sized to achieve a minor third tone when bending the first string closest to the first outward edge of the fretboard toward the first outward edge.

In an embodiment, the first area is sized to achieve a major third tone when bending the first string closest to the first outward edge of the fretboard toward the first outward edge. In an embodiment, the second area is sized to achieve a tone when bending the second string closest to the second outward edge of the fretboard toward the second outward edge.

In an embodiment, the first area is sized to achieve a semitone when bending the first string closest to the first outward edge of the fretboard toward the first outward edge. In an embodiment, the second area is sized to achieve a minor third tone when bending the second string closest to the second outward edge of the fretboard toward the second outward edge.

In an embodiment, the second area is sized to achieve a major third tone when bending the second string closest to the second outward edge of the fretboard toward the second outward edge.

In another aspect, there is provided a stringed instrument comprising the fretboard disclosed herein.

In an embodiment the instrument is a guitar. Other non-limiting examples include Bass guitar and Baritone guitar. In an embodiment, the instrument is an electric guitar.

In an embodiment, the instrument is a fretted tapping instrument, such as but not limited to a "Chapman Stick".

Brief Description of the Drawings

Figure 1 is a drawing of a static stretched musical instrument string;

Figure 2 is a drawing of the musical instrument string of Figure 1 with a point of connection illustrated;

Figure 3 is a drawing illustrating a set of lateral bending movements of the string of Figure 1 ; Figure 4 is a drawing of a neck of a stringed musical instrument according to an example embodiment of the present disclosure;

Figure 5 is a drawing of drawing of a neck of a conventional 6 string musical instrument; Figure 6 is a drawing of a neck of a stringed musical instrument according to an example embodiment of the present disclosure;

Figure 7 is a drawing of drawing of a neck of a conventional 6 string musical instrument;

Figure 8 is a drawing of a neck of a stringed musical instrument according to an example embodiment of the present disclosure;

Figure 9 is a drawing of a neck of a stringed musical instrument according to an example embodiment of the present disclosure;

Figure 10 is a drawing of a neck of a stringed musical instrument according to an example embodiment of the present disclosure; Figure 1 1 is a drawing of a stringed musical instrument according to an example embodiment of the present disclosure; and

Figure 12 is a drawing of a stringed musical instrument according to an example embodiment of the present disclosure.

Detailed description

To the accomplishment of the foregoing and related ends, certain illustrative aspects are described herein in connection with the following description and the annexed drawings. These aspects are indicative of the various ways in which the principles disclosed herein can be practiced. Other advantages and novel features will become apparent from the following detailed description when considered in conjunction with the drawings.

This disclosure pertains to the development of necked chordophones by way of structurally facilitating the most ergonomically efficient and advantageous means of performing a full 12 fret range of Outward' string bending on a guitar or guitar-like musical instrument so as to generally meet and sound diatonic scale tones - i.e. notes - that are located at 'outer range' target points along the fretboard's extended frets beyond the span of the static string set. These laterally located note sites are both physically and musically measurable, and are otherwise situated outside the physical parameters of conventional straight-cut guitar necks. As these Outwardly' located diatonic pitch target points are sited along each of the fretboard 's 1 st to 12th perpendicularly extended frets at varying distances from the static non- oscillating string's location line, and as the fret spacing on a guitar or guitar-like instrument progresses exponentially, the outer longitudinal edges of the disclosed fretboard are convexly curved, as opposed to straight cut, to closely and consistently follow generally the locations of these scale tone sites.

Embodiments of the disclosed fretboard allows the player to perform outward string bends with the consistent musical intervallic distance of a minor third - i.e. three semitones - along each of the first 12 frets of the instrument neck. Bending the outermost strings of the string set of the disclosed instruments away from the neck's central longitudinal axis avoids these type of collisions, leaving the adjacent string and the remaining innermost strings of the string set free to vibrate and produce sound - i.e., to act as drone or harmony strings - in a way that is both novel and beneficial to the player.

The physical structuring of the disclosed fretboard and instrument facilitates an expanded sonic musical pallet beyond that of a conventional guitar neck and encourages exploration of novel musical sounds.

The art of musical stringed instrument building has developed broadly in scope during recent times beyond traditional wood-based luthier practices to include such necessities as Model Based Definition, CAD programming, CNC machining, 3D software modeling, composite material molding and forming, laser cutting, and many other related disciplines involved in modern manufacturing practices. Any of these methods could be used to manufacture a fretboard according to this disclosure. However, it is to be understood that other methods of manufacture are also possible.

The disclosed fretboard is structured to permit the player to stretch the outer-most oscillating strings of an instrument's string set - primarily the highest pitched 'melody' string - perpendicularly 'away' from the neck's longitudinal axis to reach measurable musical scale tones that are located laterally along any of the first 12 selected and physically extended frets. 'Bending' a musical string creates an angle in the string's overall length and, as the string stretches, causes an elevation in the string's sonic pitch. As string bending may be performed at any of the disclosed fretoboard's frets, the angle created in the bent string is variable but consistently broadly obtuse. To measure and physically plot the positions of Outwardly' located diatonic pitch points for and along each of the fretboard's first 12 individually extended frets - and to thus determine the disclosed fretboard's longitudinal convexly curved edge profile - it is advantageous to first determine the required distances of 'inward' bend movement, as on a conventional straight necked guitar, separately along each of the instrument's 12 frets to raise the string's pitch to a chosen and consistent musical interval. A preferred embodiment of the fretboard utilizes the generally constant interval of a minor third. These measurements of distance can be taken using a precise ruler or a known laser or optical measuring instrument, calculating the distance along each fret between the location of the static stationary string and the location of the string/fret contact point when the string is bent and its musical pitch is raised to meet a chosen intervallic distance. The use of a high quality chromatic pitch tuner may be used to aid in determining the accuracy of these string bend distance measurements.

The 'inward' string bend distance measurements for each of the individual 12 frets may then be transferred symmetrically to the opposite side of the static string, their positions plotted along each individual fret, and the longitudinal section of fretboard edge then curved and constructed accordingly to generally closely match these plotted pitch points.

Numerous variations and methods of ordering and positioning static groupings of parallel or non-parallel non-oscillating musical strings between two or more points on necked and non- necked chordophones by way of such considerations as thickness, length, pitch, number and set ordering is to be understood.

String bending on a traditional guitar or guitar-like chordophone neck is biased toward an 'inward' string bend directional motion. The relaxed playing position of many guitarists' fretting hand reinforces the straight cut guitar neck form that is structured to rest generally in the palm of the player's primary fretting hand. The disclosed fretboard permits and encourages a more 'advanced' fretting-hand position similar to that of a classical guitarist or pianist, which relies on the balancing of the individual fingers and playing primarily on the finger tips. This advanced fretting-hand technique is advantageous to performing outward bends at maximum virtuosic efficiency on the disclosed fretboard.

The disclosed fretboard promotes the exploration of new sounds, new techniques and performance possibilities unavailable to the performer using either traditional straight necked electric or acoustic guitars or other guitar-like musical instruments. Guitar-based two handed 'tapping' technique instruments such as the Chapman Stick - i.e. instruments that require the use of the fingertips of either hand to strike a string toward a fret in order to cause the string to vibrate and produce sound - may also be further developed as a result of the novel concepts employed using the disclosed fretboard and instrument.

The disclosed fretboard may be constructed using similar techniques as a conventional stringed instrument neck and in the general manner of contemporary guitar neck manufacture - that is, utilizing both wood-based manufacturing methods and by employing molded composite material technology. The physical strings and fretboard may also be interchanged by touch or multi-touch screen sensor technology to facilitate direct communication with advanced computer software. A hybrid that mixes the use of physical strings and touchscreen technology is also a contemplated constructible embodiment.

Referring to Figure 1, a straight line connecting point A and point B illustrates a static stretched musical string 100 in a non-oscillating state. Point A represents the end of the string contacting an instrument's nut. Point B represents the end of the string contacting an instrument's bridge or string saddle.

In Figure 2, the string 100 of Figure 1 is shown and in addition to points A and B, point C represents a position, a point of connection, where a performer's fingertip would press the string against a fret - in this illustrated case the midpoint of the string where the 12th fret of a guitar or guitar-like instrument is generally situated. Point C is a longitudinally moveable contact point that may occur as a seamless longitudinal movement in the case of fretless instruments or at any of a given necked chordophone's step-positioned and exponentially spaced frets. String section AC remains muted, represented by a dashed line, while string section CB, represented by a solid line, is placed into vibration by the performer with the effect of producing sound.

Referring to Figure 3, the string 100 is illustrated with a symmetrically opposing set of lateral 'bending' or stretching movements at its midpoint, indicated with an opposing set of arrows, from point C to reach either target points Di, or in the symmetrically contrasting direction, D2. This movement is generated generally on the disclosed fretboard by means of a performer gliding the string's fret contact point sideways along a perpendicularly extended fret. The sonic pitch of vibrating string section(s) CDi and conversely CD ₂ increases or rises as the string is stretched. Points Dj and D ₂ represent locations along an extended fret where the musical pitch of stretched string section CB will match a chosen diatonic scale tone. Angles ADjB and AD ₂ B denote a musical string in a stretched or 'bent' state. Lines ADi, AC and AD ₂ are illustrated with a dashed line to represent their sonically muted state. Lines BDj, BC and BD ₂ are illustrated each with a solid line to indicate their potential to be set into musical vibration.

Referring to Figure 4, an embodiment of the disclosed fretboard 400 set of 6 static non- oscillating strings that are designated as, 1, 2, 3, 4, 5, and 6 is illustrated. String 1 is the thinnest 'melody' string and string 6 is the thickest 'bass' string as positioned on an arterial view of an embodiment of the disclosed fretboard 400 . This illustrated string grouping is that of a commonly used guitar string set ordered for a right-handed player. The associated instrument nut is designated as 7. Roman numerals I to XII indicate the individual first 12 fret positions common to a guitar or guitar-like instrument. At each of the first 12 fret positions along string 1, there is illustrated a solid black circular dot 410 indicating the general location of a performer's fingertip that may be generally used to press the string against a corresponding fret wire in order to execute fretted string notes. From each of these fretting positions a performer may 'bend' or glide the otherwise straight number 1 string, at any of the individual points of string/fret contact, 'away' from the string set's longitudinal axis and away from string 2, stretching string 1 toward diatonic target pitch locations - illustrated by open circular dots 420. The arrows to the right of the illustrated fretboard indicate lateral string bend movement that would be required to travel a fretted string 1, at any of the first 12 frets, from solid circular dot 410 to open circular dot 420 locations in order to raise the string's sonic pitch to meet a diatonic scale tone. This rate of increased sonic pitch is constant at each of the 12 frets.

Figure 5 illustrates a conventional longitudinally generally straight-cut 24-fret guitar neck/fretboard and attached nut with 6 strings traversing its length and a series of standardly spaced frets running perpendicularly to and 'underneath' the string set. The static non- oscillating strings are designated as, 1, 2, 3, 4, 5, and 6. These strings, 1 -6, constitute a 'set' and would extend longitudinally beyond the fretboard on a guitar to terminate, as is commonly understood, at the guitar's bridge or string saddles. The instrument's nut is designated as 7. The straight-cut outer edge profiles are marked as 8L (left) and 8R (right). The 12th fret, which is commonly positioned at a guitar string's longitudinal midpoint, is designated as 9.

Referring to Figure 6, an example embodiment of the disclosed fretboard 400 is illustrated as a 24-fret guitar neck/fretboard and attached nut with 6 strings traversing its length and a series of standardly spaced extended frets running perpendicularly to and 'underneath' the string set. The static non-oscillating strings are designated as, 1, 2, 3, 4, 5, and 6. These strings, 1-6, constitute a 'set' and would extend longitudinally beyond the fretboard on a guitar to terminate, as is commonly understood, at the guitar's bridge or string saddles. The instrument's nut is designated as 7 and is of analogous conventional design and function to that of the nut, 7, represented in Figures 4 and 5. The 12th fret, which is commonly positioned at a guitar string's longitudinal midpoint, is designated as 10. Although midpoint 10 is situated at an equivalent string midpoint position as midpoint 9 in Figure 4, it differs in that the fret has been extended laterally so as to meet 'outwardly' located string bend note targets. 11L (left) and 11R (right) designate the disclosed fretboard's 400 convexly curved outer edge longitudinal neck and fretboard profiling, between the nut, 7, and the 12th fret, 10, which have been determined with outward diatonic string bend measuring methods described in the text above. The disclosed fretboard has the span of its first 12 frets designated by the arrowed brace 12. The arrowed brace 13 represents the span of extended fretboard and frets that constitutes the remaining playable area between the 12th fret, 10, and the terminal end of the fretboard. Although this region of fretboard may also have its outer edge profiles convexly curved so as to match the locations of measured note targets, in a the embodiment shown, this region 13 of the fretboard 400 is straight. Figure 7 illustrates the same longitudinally generally straight-cut 24-fret guitar neck/fretboard and attached nut, 7, as in Figure 5. It's outer edge longitudinal profiles, 8L and 8R, are generally straight-cut in the conventional manner. The longitudinally spanning strings are designated as 1, 2, 3, 4, 5, and 6. The neck's 12th fret or midpoint is indicated as 9. Inwardly opposing arrows on either side of midpoint 9 represent a string-bend force exerted on either string 6 or string 1 to raise the string's audible musical pitch. It is seen that the inwardly biased directional movement of this unidirectional - i.e. 'inward' - movement of strings causes 'collisions' with strings that are adjacent to strings 6 and/or 1 - that is, string 1 collides with string 2, and string 6 collides with string 5. This 'bunching up' of strings restricts the internal strings from producing sound during outer string bending activity. Figure 8 illustrates the embodiment of the disclosed fretboard 400 of Figure 6, being a 24-fret expanded and convexly curved guitar neck/fretboard and attached nut, 7, with 6 strings traversing its length and a series of standardly spaced extended frets running perpendicularly to and 'underneath' the string set. The 12th fret or midpoint is marked as 10. Two divergent arrows, pointing to the left and to the right, depicted on either side of midpoint 10 represent an Outward' string-bend 'pulling' force exerted on either string 6 or string 1 to raise the string's audible musical pitch. All internal strings, 5, 4, 3 and 2 remain free-standing and suffer no interference from the bending of either string 6 or string 1. Outwardly bending strings 6 or 1 at any of the instrument's frets leaves the adjacent strings free to vibrate and produce sound.

Figure 9 illustrates the fretboard 400 of Figures 4, 6 and 8 with the addition of depicting the string set 1, 2, 3, 4, 5 and 6 as spanning their full playable length, extending to and terminating at an affixed instrument's bridge, designated as 14. Dashed lines extending downwardly from the outer edge profiles of the fretboard delineate the minimum 'body' profile of a related guitar or guitar-like instrument to which the disclosed fretboard 400 may be attached or adjoined. The section of disclosed neck/fretboard 400 between the nut, 7, and the 12th fret, 10, is designated here as 12 and generally follows a measured convex profiling. The remaining section of fretboard 400 combined with the minimum body profiling, between the 12th fret and an instrument's bridge, 14, is here illustrated to be generally straight, and is designated 15.

Figure 10 illustrates the fretboard 400 as in Figures 4, 6 and 8 with the addition of depicting the string set 1, 2, 3, 4, 5 and 6 as spanning their full playable length, extending to and terminating at an affixed instrument's bridge, designated as 14. Curved dashed lines extending downwardly from the outer edge profiles of the fretboard delineate the minimum 'body' profile of a related guitar or guitar-like instrument to which the disclosed fretboard 400 may be attached or adjoined. The section of neck/fretboard of the fretboard between the nut, 7, and the 12th fret, 10, is designated here as 12 and generally follows a measured convex profiling. The remaining section of fretboard 400 between the 12th fret and the terminal end of the fretboard 400 is here illustrated to follow the same method of diatonic location measurement as described above and would continue as a convex curve. This span between the 12th fret and an instrument's nut, including the aforementioned section of neck/fretboard, is designated as 16. Figure 1 1 illustrates a projected view of the disclosed fretboard, between an arrowed brace designated as 17, as it may appear when affixed to a solid guitar body, 18. A set of 6 taught guitar strings span the length of the fretboard 400 and an adjoined guitar body 18. The strings are attached to the nut, 7, at one end and to bridge, 14, and a set of 6 direct-pull rotating tuners at the other, 19. The string set is illustrated to be in a static, non-oscillating state and run's generally parallel to the central longitudinal axis of the fretboard 400 and its affixed guitar body 18. The 12th fret is indicated as 10.

Figure 12 illustrates a projected view of the disclosed fretboard 400, between the arrowed brace designated as 17, as it may appear when affixed to a solid guitar body, 18. A set of 6 taught guitar strings span the length of the fretboard 400 and an adjoined guitar body 18. The strings are attached to the nut, 7, at one end to a bridge, 14, and to a set of 6 direct-pull rotating tuners at the other, 19. The string set is illustrated to be in a static, non-oscillating state and run's generally parallel to the central longitudinal axis of the fretboard 400 and its affixed guitar body 18. The 1 string is illustrated to be in a bent and angular state with the string's midpoint, the vertex of the angle, being stretched or bent outwardly away from string 2 and the remaining string set at the 12th fret, 10.

What has been described above includes examples of the disclosed architecture. It is, of course, not possible to describe every conceivable combination of components and/or methodologies, but one of ordinary skill in the art may recognize that many further combinations and permutations are possible. Accordingly, the novel architecture is intended to embrace all such alterations, modifications and variations. Furthermore, to the extent that the term "includes" is used in either the detailed description or the claims, such term is intended to be inclusive in a manner similar to the term "comprising" as "comprising" is interpreted when employed as a transitional word in a claim.

The foregoing descriptions of specific embodiments of the present disclosure have been presented for purposes of illustration and description. They are not intended to be exhaustive, and obviously many modifications and variations are possible in light of the above teaching. The exemplary embodiment was chosen and described in order to best explain the principles of the present invention and its practical application, to thereby enable others skilled in the art to best utilize the present fretboard and instrument and various embodiments with various modifications as are suited to the particular use contemplated.