End Blown Flute Having an Acoustic Air Space

United States Patent Application Publication

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Document downloaded: December 5, 2009

Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111111111111111111 us 20090293701Al (19) United States (12) Patent Application Publication (10) Pub. No.: US 2009/0293701 Al Rozier (43) Pub. Date: Dec. 3, 2009

(54) END BLOWN FLUTE HAVING AN ACOUSTIC (52) U.S. Cl...... 84/384 AIRSPACE (57) ABSTRACT

(76) Inventor: Claude Rozier, Forest Hills, NY The present invention is directed to musical instruments that (US) are based on the operation of an air reed and, in particular, encompasses end-blown flutes comprising an acoustic air Correspondence Address: space and a fluid air space. The communication between the Claude Rozier acoustic and fluid air spaces is positioned so as to minimally 66-24 Selfridge Street interfere with the flow of air introduced, i.e., blown, into the Forest Hills, NY 11375 (US) fluid space and enables the instrument to produce rich, in-tune tones across a three octave range. The acoustic air space is (21) Appl. No.: 12/156,630 formed by a hollow tuning chamber positioned opposite the air reed. In alternate embodiments, the invention encompasses a head-joint of a musical instrument, which head joint (22) Filed: Jun. 3,2008 comprises a an acoustic space and a fluid space. The head joint of the invention may be used to replace orin place of the Publication Classification head joint or mouthpiece of common musical instruments of (51) Int. Cl. the woodwind family, e.g., the Western flute, saxophone, GIOD 7102 (2006.01) clarinet, oboe, nay, shakuhachi, or recorder.

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END BLOWN FLUTE HAVING AN ACOUSTIC [0004] In transverse flutes, the air is blown against the air AIRSPACE reed (which is formed from a section of the embouchure hole), enters the embouchure hole and is forced into a spiral 1. FIELD OF THE INVENTION course within the sound chamber at a right angle to its direc- tion of entry. Part of the air entering the sound chamber is [0001] The present invention is directed to musical instru- deflected towards a closed section of the sound chamber (i.e., ments that are based on the operation of an air reed and, in toward the cork or stopper of a traditional Boem flute) and particular, encompasses end-blown flutes having a sound from there is again deflected back toward the embouchure chamber comprised of an acoustic space and a fluid space. hole and the remaining open end of the sound chamber (i.e., The acoustic space is positioned so as to minimally interfere the portion of the sound chamber comprising one or more with the flow of air within the fluid space and enables the tone holes). This path creates a turbulent air-stream within the instrument to produce rich, in-tune tones across a three octave flute in the area of the embouchure hole, recognized to nega- range. In alternate embodiments, the invention encompasses tively affect the tonality of the flute. For example, the turbu- a head-joint of a musical instrument, which head joint com- lent air-flow has been ascribed to cause a "hissing sound" prises a sound chamber having an acoustic space and a fluid (see, e.g., Patent Application Publication No: 20041 space. The head joint of the invention may be used to replace u.s. 0255754, herein incorporated by reference in its entirety) or or in place of the head joint or mouthpiece of common musi- to cause out of tune progression into the higher harmonics cal instruments of the woodwind family, e.g., the Western (see, e.g., Pat. No. 594,735, herein incorporated by ref- flute, saxophone, clarinet, oboe, nay, shakuhachi, etc. u.s. erence in its entirety). 2. BACKGROUND OF THE INVENTION [0005] Efforts to improve the air-flow within the sound chamber of transverse instruments in the area of the embou- [0002] The present invention is directed to musical instru- chure hole, and to thereby improve the tonality of the instruments, commonly kuown as flutes, that are based on the ment across all octaves, have included redesigning the inte- operation of an air reed. The sounds produced by a flute arise rior of the sound chamber to attempt to direct airflow in a due to the impingement of air on an edge, kuown as the air laminar fashion (see, e.g., u.s. Pat. Nos. 5,261,308 and 5,435, reed, causing the air to oscillate as it passes into a sound 221, each of which is hereby incorporated by reference in its chamber, producing an audible tone. The two primary catego- entirety), redesigning the shape of the sound chamber in an ries of flutes include tubular flutes (for example, those of the attempt to promote laminar flow (see, e.g., U.s. Patent No.: modem Boehm flute family (i.e., the orchestral flute family 2004/0255754), redesigning the shape of the sound chamber including C-flutes, piccolos, alto flutes, bass flutes, etc.), the and placement of tone holes (see, e.g., U.s. Pat. Nos. 4,714, recorder, the tin whistle, the quena, the nay, the shakuhachi, 000; and 6,259,010, each of which is hereby incorporated by etc.) and enclosed vessel flutes (such as the ocarina). As used reference in its entirety), and moving the embouchure hole to herein, the term "flute" does not encompass enclosed vessel the end of the sound chamber (see, e.g., u.s. Pat. Nos. 444, flutes. 830; and 594,735 each of which is hereby incorporated by [0003] Tubular flutes generally employ sound chambers reference in its entirety). The instant patent encompasses a open at both ends, wherein the embouchure hole is one of the solution to the turbulent flow and/or playing position consid- end-openings. This is in contrast to other woodwind instru- erations by, in effect, placing the air reed at the end of the ments, e.g., the clarinet, saxophone, oboe etc., wherein the sound chamber, forming an end-blown flute. mouth of the player encloses and seals one end of the central [0006] End-blown flutes traditionally encompass non- bore ofthe instrument, forming a sound chamber open at only western flutes (such as, but not limited to the nay, the quasaba, one end. The sound chamber of a tubular flute is relatively the shakuhachi, e.g., a "shakuhachi-type flute") and, in cer- long and slender, and is shaped (or substantially shaped) like tain embodiments, fipple flutes (e.g., the recorder, the tin a tube or a truncated cone, and may optionally comprise one whistle). To play an end-blown, shakuhachi-type flute (e.g., or more tone holes in the wall ofthe sound chamber, i.e., in the wherein the embouchure hole is formed from the open end of side wall of the instrument. The most well-kuown flutes in the central bore of the instrument and wherein the air reed is Western cultures are the orchestral transverse flutes, or Boem thus formed from a section of the side wall of the instrument) flutes, which comprise an embouchure hole in the side wall of the player focuses air directly over the air reed using the lips. the sound chamber rather than at the end of the tube as in an In contrast, fipple flutes employ an airway to focus the air over end blown flute such as a nay or shakuhachi. The placement of the air reed. However, relative to traditional Western trans- the embouchure hole requires the orchestral flute to be sup- verse flutes, either fipple-type or shakuhachi-type end blown ported laterally to the player's side, at an approximately 90° flutes suffer from weakuesses in playable tonal range, in angle relative to the vertical formed by the player's torso. particular, in the range of tones they are able to be played Maintaining the constrained horizontal position is especially harmonically, or in-tune. For example, a flute designed to tiresome on the hands, arms and neck. After long periods of emit a strong lower register is often quite shrill in the upper playing, it may become difficult to move the fingers properly register(s) because the player is forced to blow relatively hard to precisely control the finger holes and keys. Accordingly, to obtain upper register notes. Similarly, in such flutes the repeated efforts have been made to redesign the transverse upper octaves tend to be out of tune in relation to the bottom instrument and/or head-joint thereof such that it may be octave, and higher notes can be difficult to reach. These played in a vertical position (see e.g., u.s. Pat. Nos. 4,422, weakuesses are corrected in the transverse flutes by extending 364; 3,888,154, each of which is hereby incorporated by and enclosing the tubular sound chamber beyond the embou- reference in its entirety). Moreover, the tonality of the trans- chure (and, thus, air reed), effectively placing the air reed and verse flute is kuown to be adversely affected by placement of embouchure in the side wall of the sound chamber, and form- the embouchure hole and resulting streamlines of blown air ing an acoustic air space and fluid air space on opposite sides entering the flute. of the air reed (see, e.g., Arthur H. Benade Fundamentals Of US 2009/0293701 Al Dec. 3,2009 2

Musical Acoustics, ( Oxford University Press, N ew York, N. Y. ment (i.e., on the wall of the sound chamber) when held in the 1976). Prior to the present invention, however, attempts to playing position. Accordingly, as used herein, the phrase redesign an end-blown flute to encompass an acoustic air- "anterior surface of the instrument" refers to the surface of the space have failed to address the problem of turbulent air-flow instrument, or that section of the sound chamber, that does not at the embouchure hole. For example, U.S. Pat. No. 444,830 face the body of the player when the instrument is held in the teaches an end blown flute comprising at least one lateral playing position. In preferred embodiments, the tuning cham- tuning chamber on the side of the air reed. The positioning of ber of the invention is not a lateral extension but is rather the chamber(s) places it (them) at least partially in the path of located on the posterior, or back, of the instrument, ortowards the blown air, creating disruption of the air flow as the air the body of the player, at or near the end of the instrument passes the chamber(s) before spreading downward to fill the comprising the air reed. open sound chamber. Accordingly, the instant invention [0010] In preferred embodiments, the tuning chamber is addresses the tonalitylharmonic weaknesses of end blown located at the proximal end of the instrument, at or near the flutes in general. embouchure hole. In some embodiments, the at least part of the embouchure hole forms an air reed, for example, as in the 3. SUMMARY OF THE INVENTION manner of a shaknhachi. Positioning the tuning chamber at [0007] It is an object of the present invention to provide a the end of the instrument with the communication of the musical instrument or head-joint thereof that remedies the acoustic air space to the central bore of the instrument at above described deficiencies of commonly available trans- and/or on the posterior of the instrument minimizes disrup- verse and end-blown flutes. In particular, the present invention of the introduced air stream across the air reed. Because tion provides for an end-blown musical instrument, or head- the air reed is located at or on the anterior surface of the joint thereof, that is capable of producing both a harmonic instrument, (see, e.g., air reed as Item 4, in FIG. lA, FIG. 1B, progression of tones and excellent tone equality or equaliza- FIG. 2A and FIG. 2B), when the air stream is blown into the tion over at least three registers. instrument it will flow along the anterior internal surface of [0008] The present invention provides for a musical instru- the central bore before spreading to fill the remainder of the ment and/or a head joint thereof played in the manner of an sound chamber (e.g., as depicted in item 5, FIG. 3A and FIG. end-blown flute, comprising at one end of the sound chamber 3B). The design of the instant invention therefore minimizes an embouchure hole, an air reed and a hollow or partially the interaction of the acoustic air space within the tuning hollow tuning chamber, which tuning chamber forms an chamber and the fluid air space within the sound chamber, acoustic air space and is positioned opposite to said air reed. i.e., that formed by the central bore of the instrument, mini- The tuning chamber is positioned such that the acoustic air mizing or eliminating turbulent air flow in the vicinity of the space does not interfere, or only minimally interferes, with air reed. The positioning of the tuning chamber relative to the the air stream of blown air introduced across the air reed and air reed encompassed by the invention thus allows and main- into the fluid space of the instrument's sound chamber. The tains laminar-like flow within the sound chamber's fluid air arrangement of air reed and tuning chamber allows the instru- space below the air-reed. ment to produce harmonic tones over at least three registers. [0011] In certain embodiments, the air reed is located at the Additionally, a head joint of the present invention may be proximal end of the instrument and the embouchure hole used with existing musical instruments including the Boem comprises said air reed (see, e.g., FIG. 1A and FIG. 2A). For flute, allowing transverse instruments to be played as end- example, in shaknhachi-type end blown flutes, the embou- blown instruments. chure hole is the proximal open end of the flute, but which [0009] The present invention relates to musical instru- hole also extends to a section of the side wall of the instruments, in particular, wind instruments, or head-joints thereof, ment; the air reed is formed by thinning and sharpening the played in the manner of an end-blown flute, comprising an air "cut away" section of the side wall of the tubular instrument. reed and an acoustic air space at one end of a hollow sound In specific examples of this embodiment, e.g., an embouchure chamber, which acoustic air space is positioned such that it comprising an air reed, e.g., in the manner of a shakuhachi, does not interfere, or only minimally interferes, with the air the air reed is located on the anterior portion of the embou- stream of blown air introduced across the air reed. The instru- chure hole and thus on the anterior surface of the instrument. ment therefore comprises a sound chamber comprising a The introduced air is then blown across the air reed creating central tubular or conical bore and, in communication there- the air stream along the anterior internal surface of the instru- with, a closed or partially closed hollow or partially hollow ment. In alternate embodiments, the embouchure does not tuning chamber. The sound chamber and tuning chamber comprise an air reed and the air reed is located in the anterior define and/or contain the fluid air-space and the acoustic surface of the instrument distal to the embouchure in the air-space, respectively, of the instrument. In preferred manner of a fipple-type flute, e.g., a recorder. Thus, in certain embodiments, the communication between the tuning cham- embodiments, the embouchure hole is proximal to the sound ber and central bore of the instrument, i.e., the communica- chamber. In specific examples related to this embodiment, tion between the acoustic and fluid air spaces, is positioned on i.e., an embouchure hole separate from and proximal to the air the posterior surface (i.e., back) of the instrument, directly reed, an airway directs the air stream toward the air reed in the opposite the air reed. In related embodiments, the air reed is anterior side-wall of the instrument. Accordingly, the tuning preferably located at or on the anterior surface, or front, of the chamber may be located directly opposite the air reed and not instrument. As understood by one of skill in the art, because at the terminal proximal end of the instrument. musical instruments, and or head joints thereof, are generally [0012] The hollow or partially hollow tuning chamber is of formed from tubes, the phrases "anterior surface" and "pos- sufficient interior volume to allow accurate intonation of the terior surface" as used herein do not refer to independent instrument across at least a three octave range and, in particu- planar surfaces, as in the opposite sides of a box, but rather lar, to enable the correct tuning of the 3rd octave relative to the relative positions on the single tubular surface of the instru- first and/or second octave(s). The tuning chamber may be of US 2009/0293701 Al Dec. 3,2009 3

any shape such that the communication between the fluid air [0015] In certain embodiments, the invention encompasses space and acoustic air space, i.e., that air space contained a sound chamber comprising a plurality of tone holes in the within the central bore of the instrument (the sound chamber) side wall of the instrument and in communication with the and the tuning chamber, respectively, is located on the poste- instrument's central bore. Opening or closing the tone holes rior of the instrument and which communication minimally allows the musician to alter the pitch of the tone produced by affects the air stream within the instrument of air introduced the instrument. Opening and/or closing the tones holes may across the air-reed. Because the tuning chamber is on the be accomplished directly, e.g., by use of the fingers, or indi- posterior of the instrument, or toward the face ofthe player, in rectly by use of a series of levers, arms and pads as is well order for the acoustic airspace to have sufficient volume, in known in the art. The instrument of the invention may com- some embodiments, the tuning chamber is not cylindrical or prise multiple pieces including a head-joint as described tubular. In preferred embodiments, the tuning chamber and/or herein, e.g., a head-joint comprising an air reed and a tuning the communication between the acoustic air-space and the chamber according to the methods of the invention. In alter- fluid airspace is located on the posterior of the instrument and nate embodiments, the invention encompasses a head-joint opposite the air reed. In certain embodiments, compressing played in the manner of an end-blown flute comprising an air the shape of the tuning chamber in the vertical dimension will reed and tuning chamber as herein described, which head reduce the area of communication between the fluid and joint may be used with the bodies, i.e., sound chambers, of acoustic air spaces and further minimize any turbulent inter- musical instruments known in the art. As encompassed by the action between the two. Variation of the volume and shape of instant invention, the head-joint as described herein mayor the tuning chamber, and of the shape of the communication may not be removable from the body of the instrument. In between the tuning chamber and central bore according to the embodiments of the invention comprising a removable head- description and methods presented herein are within the ordi- joint, the distal end of the head joint may be adapted such that nary skill of one in the art of instrument design and/or con- it may replace or be used in place of the head-joints and/or struction. mouthpieces of existing musical instruments. Non-limiting [0013] The shape and positioning of the tuning chamber examples of instruments which may be adapted to comprise must allow the instrument and/or head joint thereof to be held the head-joint of the invention, or be adapted to be used with to the lips or against the face of the musician so that it may be the head joint of the invention, include traditionally Western comfortably played in the manner of an end-blown flute. In instruments (including flutes, clarinets, oboes, saxophones, certain embodiments, positioning the tuning chamber on the fipple flutes (e.g., tin whistles, recorders)) as well as tradi- posterior surface at the proximal end of the instrument places tionally end-blown flutes (including the nay, shackuhatchi, the tuning chamber in contact with the musician's face under etc.). In certain embodiments, the instrument of the invention the lower lip, allowing the proximal surface of the tuning and/or head-joint thereof is not straight and may be curved or chamber to be used as a surface to stabilize the flute against comprise bends that allow the sound chamber of the instru- the face (see, e.g., FIG. 3A). Because the proximal surface of ment to be held and played in a non-vertical orientation (see, the tuning chamber is, in certain embodiments, in intimate e.g., FIG. 4B). contact with the musician's face, the proximal surface of the [0016] As used herein, the term "embouchure" and tuning chamber may, in accordance with such embodiments, "embouchure hole" are used interchangeably and encompass be left at least partially open and shaped to receive the lower the opening of an instrument through which air is introduced, face, i.e., under the lower lip, of the musician, sealing said e.g., blown. In certain embodiments, the embouchure of the partially open surface (see, e.g., exemplary differently sized instrument of the invention, and/or head-joint thereof, com- embouchure openings 3a and 3b in FIG. 4A). This may allow prises an air reed, e.g., as in a Boem flute or shakuhachi. As the musician to define the proximal surface, e.g., the "top," of understood by one of skill in the art, in such instruments, a the tuning chamber with the lower face, permitting the musi- section of the wall forming the embouchure hole is the air- cian to control both tuning chamber volume and the shape of reed. In other embodiments, the embouchure does not com- the interface between the acoustic and fluid air spaces, and prise an air reed and is the opening through which air is may allow a greater control over the tonality ofthe instrument introduced into an airway that directs the air stream over the relative to that achieved with a completely closed tuning air reed in the manner of a fipple-type flute. In preferred chamber. embodiments, the air reed is located inion the anterior surface [0014] The shape of the tuning chamber may thus be quite of the instrument. variable in accordance with the methods described herein, but [0017] As used herein, the term "proximal" and analogous such variations are fully encompassed by the invention in that terms refers to that portion of the instrument close to or near they represent the result of routine experimentation by one of the embouchure hole and, thus, close to or near the mouth and skill in the art according to the methods and descriptions face of the musician when the instrument is held in the play- presented herein. In certain embodiments, the volume of the ing position. As used herein, the term "distal" and analogous acoustic air space, i.e., the inner volume of the tuning cham- terms are the opposite of proximal and refer to the portion or ber, is adjustable so that the tuning of the instrument can be portions of the instrument along the length of the instrument modified by the player. In specific examples in accordance that are away from face and/or mouth of the musician when with these embodiments, one or more walls of the tuning the instrument is held in a playing position. Normally, the chamber defining the acoustic air space (including any such terms "proximal" and/or "distal" are used to describe the walls as would commonly be termed a bottom or top) are positioning of a first component of the instrument relative the moveable and/or otherwise variable in position. In yet other positioning of a second component. For example, embodi- examples, inserts may be used such that, when fitted into or ments wherein the embouchure is described as proximal to removed from the acoustic chamber, the volume of the acous- the position of the air reed describe embodiments wherein the tic air space is modified, e.g., increased or decreased. embouchure is located closer to the face/mouth of the musi- US 2009/0293701 Al Dec. 3,2009 4

cian than is the air reed (e.g., as in the case of a fipple flute); the lips of the player against the air reed (reference numeral in differing tenns, the air reed is distal to the tuning chamber. 4), causing at least part of said air-stream to be directed into [0018] The instrument and or head joint as described herein the instrument. For example, an air stream directed through may be formed from any material suitable for the construction the lips of the player impinges the air reed and is made to flow of a musical instrument. As is well known in the art, such in the arrow mark directions 5 and 6 as indicated in FIG. 3A. materials include, but are not limited to, wood, metal, plastic, The air-stream caused by the breath of the player comprises resin, rubber, ceramic materials, composites, etc. an inflow component 5 and an outside component 6 (FIG. 3A-FIG. 3B). 3.1 BRIEF DESCRIPTION OF THE DRAWINGS [0026] In preferred embodiments, the tuning chamber is [0019] FIG. lA-FIG. Ie. Head-joint of an end-blown flute positioned on the posterior surface of the head-joint and/or comprising a tuning chamber viewed from differing perspec- instrument at its extreme proximal end to minimize turbulent tives. (A) Perspective allowing a view of proximal surfaces of communication of the airflow between the acoustic and fluid head-joint. (B) Perspective allowing view of anterior surface air-spaces (see, e.g., FIG. 3B). The relative positioning of the ofthe head joint with a partial view of the distal surfaces of the air reed (reference numeral 4) and the acoustic chamber (ref- tuning chamber. (C) Perspective allowing view of underside erence numeral 1) allows the air stream entering the head- (i.e., distal surface) of the tuning chamber. joint and/or instrument to be directed against the anterior, [0020] FIG. 2A-FIG. 2e. Head-joint of an end-blown flute interior surface of the sound chamber of the instrument, and/ comprising a tuning chamber viewed from differing perspec- or head joint thereof, fonning a laminar flow (component of tives. (A) Perspective allowing a view of proximal surfaces of the inflow; reference numeralS) with minimal interaction head-joint. (B) Perspective allowing view of anterior surface from the acoustic air space. ofthe head joint with a partial view of the distal surfaces of the [0027] The tuning chamber creates within the head-joint tuning chamber. (C) Perspective allowing view of underside and/or instrument two air spaces, an acoustic space (Ac) and (i.e., distal surface) of the tuning chamber. a fluid space (F) (FIG. 3A-FIG. 3B). The air stream directed [0021] FIG. 3A-FIG. 3B. View ofhead-joint of instrument into the instrument is, in part, a laminar-like flow (reference and player's face when instrument is held in a playing posi- numeralS) that spreads to fill the fluid space (F) of the sound tion. (A) Perspective allowing view of anterior surfaces of the chamber. Interference by the acoustic air space on the air-flow instrument and/or head joint. (B) Cross section of (A), sagittal within the fluid air space (F) is minimized, preventing irregu- plane through line "CS" in (A). lar flow in the fluid airspace and enabling the fonnation of [0022] FIG. SA-FIG. 5B. Representative figures showing laminar-like flow in the sound chamber. In particular, the specific embodiments of differing playing positions encom- design of the positioning of the acoustic air-space and the air passed by the present invention. (A) Vertical playing position, reed minimizes or eliminates turbulent flow at or near the air typical of end-blown flutes; (B) Horizontal playing position, reed and/or embouchure of the instrument. However, because typical of trans verse flutes, effected by having a curved head- the boundary of the two spaces is a gaseous wall, the two joint. airspaces can interact to enable the production of rich, vigor- ous tones that are harmonic across at least three octaves, 4. DETAILED DESCRIPTION which, in particular, allows the correct tuning of the instru- [0023] Embodiments of the present invention are described ment in the third octave relative to that of the first and/or below with reference to FIG. 1A to FIG. 4B. second octave(s). [0024] In the drawings, reference numeral 1 denotes the [0028] Because of the aforementioned intimate contact tuning chamber that is formed at the proximal end of a musi- between the proximal surface of the tuning chamber and the cal instrument, e.g., a flute. The tuning chamber may be a lower face of the player, the embouchure hole may be component of the head-joint of the instrument, or may be a designed to receive at least part ofthe lower face ofthe player. component of the instrument itself where the instrument does As an example, FIG. 2 depicts a head-joint and/or instrument not comprise a separable head-joint as described herein. Ref- of the invention wherein the embouchure is of suitable size to erence numeral 2 denotes the body of the instrument com- allow the player to direct an appropriate air-stream against the prising a fluid air space (F), i.e., that air space generally air reed; in sectional view, such an embouchure hole may be defined by the sound chamber and central bore of the instru- represented by the distance depicted by 3b in FIG. 3B. In ment. Reference numeral 3 denotes the embouchure hole, contrast, FIG. 1A depicts a relatively larger embouchure hole, which hole is located, at least in part, through the proximal wherein the proximal surface of the tuning chamber is sealed, surface of the tuning chamber, and reference numeral 4 at least in part, by the lower face of the player; such an denotes the air reed on the anterior surface of the head-joint embouchure hole may be represented by the distance and/or instrument, which, in some embodiments, is formed depicted by 3a in FIG. 3B. from a portion of the embouchure hole. Reference numeral 7 [0029] As exemplified in comparing FIG. 1 and FIG. 2, the denotes the point of joining between the head-joint and body tuning chamber may be ofvariable size and geometry in order of the instrument. In certain embodiments, the instrument of to fonn a suitable acoustic air-space to allow the proper tuning the invention does not comprise a separable head-joint. of the instrument across three octaves. In particular, the vol- [0025] As depicted in FIG. 1A to FIG. 2C, in specific ume of the tuning chamber is such that the 3rd or higher embodiments, the tuning chamber (reference numeral 1) is octave( s) of the instrument are correctly tuned relative to that nd positioned on the posterior surface at the proximal end of the ofthe 1st and 2 octaves. In specific embodiments, the tuning flute. In one aspect in accordance with this embodiment, the chamber is of variable volume to allow adjustment by the proximal surface of the tuning chamber forms a surface player. Design modifications to enable such variable acoustic against which the lower face of the instrument player is posi- space volume or modifications to the size and shape of the tioned (see, e.g., FIG. 3B). An air-stream is then directed by tuning chamber are readily apparent to one of skill in the art. US 2009/0293701 Al Dec. 3,2009 5

[0030] The head-joint and/or instrument of the invention joint, a central bore and a tuning chamber, wherein the air may be designed so that the sound chamber is held vertically space defined by the tuning chamber is in communication in the manner of an end-blown flute, or may be designed such with said central bore and said tuning chamber is opposite that the sound chamber is held in the manner of a transverse said air reed. flute. In specific embodiments, the head-joint and/or instru- 2. The head-joint of claim 1, wherein said embouchure hole ment of the invention is designed to be played vertically in the comprises said air reed. manner of an end-blown flute (FIG. 4A). In other embodi- 3. The head-joint of claim 1, wherein said embouchure hole ments, the head-joint and/or instrument of the invention is is proximal to said air reed. designed to be played horizontally in the manner of a trans- 4. (canceled) verse flute (FIG. 4B) 5. (canceled) [0031] It should be understood that the above description is 6. The head-joint of claim 1, wherein said tnning chamber only representative of illustrative examples of certain is of sufficient interior volume to enable correct tuning of the embodiments of the invention. For the reader's convenience, instrument in the 3rd octave relative to the first and/or second the above description has focused only on certain aspects of octave. embodiments for the purpose of teaching the principles of the 7. A musical instrument comprising the head-j oint of claim invention. Other embodiments may result from different 1. combinations of the various aspects of the invention. The 8. The musical instrument of claim 7, wherein the head- description has not attempted to exhaustively enumerate all joint is removable. possible variations. Since numerous modifications and varia- 9. The head-joint of claim 1, wherein said central bore is tions will readily occur to those skilled in the art, it is not tubular or conical. desired that the present invention be limited to the exact 10. The head-joint of claim 2, wherein the proximal surface construction and operation herein illustrated. Accordingly, all of the tuning chamber is partially open. suitable modifications and equivalents that may be accom- 11. The head-joint of claim 2 or 10, wherein the proximal plished using the teachings herein are intended to fall within surface ofthe tnning chamber is shaped to receive a portion of the scope of the claims. the face and/or lower lip of the instrument player. 1. A head-joint of a wind instrument comprising an embouchure hole, an air reed on the anterior surface of the head- * * * * *