Keyboard and notation system

A keyboard for a piano, organ, or similar instrument in which the keys are arranged in groups of three, each having a pair of flat keys with a raised key inset between. The flat keys are on a common plane in the manner of the white keys of a conventional keyboard, the raised keys being short in length and spaced between the front edge of the flat keys and the back board of the instrument. In one form of the keyboard a second set of raised keys is positioned adjacent the backboard and mechanically coupled to the basic set of raised keys, so that either raised key in a pair may be used to play a particular note for the convenience of fingering. Four groups of three keys represent the twelve tones of the chromatic scale and a related notation system identifies each tone clearly, without the need for sharp and flat symbols. The keys also have a physical relationship to the note positions in the musical notation, which simplifies playing.

In the conventional or Christofori type keyboard there are seven white keys 
and five raised black keys for each octave of the chromatic scale. The 
white keys represent the basic tones of the diatonic scale and the black 
keys represent the sharps and flats of the basic tones to make up the full 
twelve tone chromatic scale. The black keys are not symmetrically arranged 
in the octave group and twelve different fingering patterns must be 
learned in order to play the twelve major scales. 
In the musical notation system using a five line staff, notes on a line or 
in a space between lines represent the basic tones, and symbols must be 
added to those notes for sharps and flats. Also, the notation for a 
particular tone in an octave is not always on a specific line or space in 
successive octaves, so the changing pattern for all octaves must be 
memorized. 
SUMMARY OF THE INVENTION 
In the keyboard described herein, the keys are in symmetrical and 
consistent groups of three, four such groups making one twelve tone 
octave. The keyboard is adaptable to existing pianos and similar 
instruments and is easily coupled to the conventional action, the 
operation and tuning of the instrument being unchanged. Only the physical 
arrangement of the keys and the fingering techniques are changed. 
In each group of three keys two are flat and are on a common plane 
throughout the keyboard in the manner of conventional white notes. The 
third key in each group is centrally inset between the pair of flat keys 
and is raised in the manner of a conventional black key. However, instead 
of extending under the back board, the raised key is short in length and 
is situated between the back board and the front edge of the keyboard, so 
that the full width of each flat key is available in front of and behind 
the raised keys. In one form of the keyboard there are two sets of raised 
keys, each raised key having two raised sections on a common lever. One 
set of raised keys is spaced from the back board and the other, 
corresponding set, is immediately adjacent the back board. The flat keys 
are thus accessible in front of and between the sets of raised keys, 
allowing for very versatile fingering. The flat key representing the tone 
C in each octave is distinctively marked or colored for reference. The 
size and spacing of the keys and the span of an octave are similar to 
those in a conventional keyboard, so that hand motion and finger action is 
within normal capabilities. 
In the notation system used with the keyboard, a basic four line staff is 
used instead of the usual five. For convenience, a double four line staff 
is used, with the first and fifth lines from the bottom made heavier, or 
otherwise marked, for ease of reading. A note on a line always represents 
a raised key, the same note being on the same staff line in any octave, so 
that only one pattern must be memorized. Each space between lines is used 
for two notes representing the flat keys. A note against the underside of 
a line represents the flat key immediately below that raised key on the 
keyboard. A note resting on top of a line represents the flat key 
immediately above that raised key. Thus each tone in an octave is 
represented by a specific note position, without the use of additional 
symbols for sharps, flats and naturals. The positioning of notes on a 
line, or above or below the line also has an easily recognizable physical 
relationship to a group of three keys and is consistent throughout the 
keyboard. 
With this keyboard, all fingering is made in thirds and only three 
fingering patterns are needed to play all twelve major scales in an 
octave, compared to twelve different patterns on a conventional keyboard. 
It thus becomes a simple matter to transpose a piece of music learned in 
one key. By shifting the hands up and down the keyboard in thirds, a piece 
may be played in another key signature using the same fingering pattern. 
The primary object of this invention, therefore, is to provide a new and 
improved keyboard for a musical instrument. 
Another object of this invention is to provide a keyboard having keys 
arranged in symmetrical and consistent groups of three, with four such 
groups to an octave. 
Another object of this invention is to provide a keyboard and an associated 
notation system, in which each key is represented by a distinctively 
positioned note. 
A further object of this invention is to provide a keyboard and notation 
system, wherein the notation has a distinctive and consistent physical 
relationship to the keys in their groups of three.

DESCRIPTION OF THE PREFERRED EMBODIMENT 
The keyboard 10, illustrated in FIG. 1--3, is mounted in conventional 
structure of an instrument such as a piano, and extends between the front 
rail 12 and back board 14 of the structure. The keys include elongated 
flat keys 16 and raised keys 18, comparable to the white and black keys, 
respectively, of a conventional keyboard. 
Each octave has twelve keys in four groups of three, each group including a 
pair of flat keys 16 and one raised key 18. The keys are similar in width 
to conventional keys, so that one octave occupies a standard hand span for 
ease of playing and to match the existing instrument action. Keys 16 are 
all in a common plane and extend under back board 14 for attachment in any 
suitable manner to the instrument action. Raised keys 18 are short in 
length and project upwardly through equal cut out portions 20 in the 
exposed portions of the associated pair of keys 16. The groups of three 
are thus symmetrical and the raised keys are equally spaced along the 
keyboard. For convenience the raised keys are spaced approximately midway 
between back board 14 and the front edge of the keyboard, so that the flat 
keys can be played in front of or behind the raised keys for added 
versatility. As illustrated, the raised keys 18 are slightly closer to the 
front edge for added leverage when used with a mechanical piano action, 
and are mounted on arms 22 which extend under the back board 14 for 
attachment to the action. Arms 22 are concealed beneath keys 16 in 
undercut channels 23. When the keyboard is used on an electrical 
instrument and leverage is not important, the raised keys can be centered 
in the keyboard if desired. The raised keys are shown as being of 
rectangular configuration, but could be of any other suitable form for 
decorative appearance. 
For descriptive purposes, the flat keys 6 in each group of three keys will 
be designated 16a and 16b. In each octave the key representing the note C 
is distinctively marked or colored and will be designated 16c. Due to the 
symmetrical nature of the keyboard, it has been found that such marking is 
necessary, and the use of C as a reference makes the notation system more 
compatible with existing music. The raised keys may be colored or marked 
in any suitable manner for contrast and appearance. 
In FIG. 4, the keyboard 10 is illustrated in association with a 
conventional five line musical staff 24, on which the diatonic scale is 
marked. The note for middle C is on a line spaced below the bottom line of 
the staff, and the notes progress upwardly in spaces and on lines to the 
next C, which is in a space rather than on a line. Thus the positioning of 
notes relative to lines and spaces is not consistent and the entire 
notation system must be memorized. Also, the notes represent only the 
tones of the diatonic scale, and symbols must be used to designate sharps 
and flats in the full chromatic scale. 
In the notation system adapted to the keyboard 10, a basic four line staff 
is used, on which a complete chromatic scale is represented. For 
convenience the actual music is written on a double staff 26 to encompass 
two octaves and avoid an excess of separate notes and lines outside the 
basic staff. In the double staff 26, the first line 28 and the fifth line 
30, from the bottom, are made heavier for visual reference, or a color 
line may be added on or below these lines for visibility. The notes of the 
treble clef 32 are illustrated, starting from middle C at 34 and 
progressing upwardly for two octaves to B at 36. The bass clef would be 
similar but progressing downwardly from B below middle C. 
It can be seen that every note on the line of the staff represents a raised 
key 18 and that there are two notes between each pair of lines to 
designate the flat keys 16. The lines are spaced apart substantially 
further than the height of a note symbol, so that the note can be placed 
against the upper or lower line of a pair with a clear separation from the 
other line. A note against the underside of a line designates the flat key 
immediately below (in scale) the raised key which is identified by that 
line. Similarly, a note resting on top of a line designates the flat key 
immediately above the raised key identified by that line. This is more 
clearly illustrated in FIG. 5, in which the line spacing is greatly 
exaggerated for clarity. In each group of three keys in FIG. 5, note 38 on 
the line 40 represents the raised key 18. Note 42 below the line 
represents key 16a and note 44 above the line represents key 16b. This 
notation is consistent throughout the keyboard and the written music, so 
there can be no confusion as to the identity of notes. From FIG. 5 it can 
also be seen that there is a definite physical relationship of the notes 
above and below the line to the keys above and below the raised key in 
scale. In sight reading a piece of music, particularly by an inexperienced 
player, this has been found very helpful in clarifying note 
identification. In the actual staff the individual notes would occupy from 
one half to two thirds of the spacing between lines in order to leave a 
clear separation, as in FIG. 4. 
Since each key and tone in the full chromatic scale is represented by an 
individual note on the staff, it is not necessary to know whether the tone 
is diatonic or sharp or flat. The conventional notation is shown on the 
keyboard for reference in FIG. 4, but the sharp and flat symbols are not 
used in the subject notation system. Other conventional musical symbols 
for time signature, note value, expression, accent and the like are used 
in the normal manner. It is thus a simple matter to convert existing music 
to the simplified notation system. 
Since the keyboard is arranged entirely in thirds, only three fingering 
patterns need to be learned in order to play all twelve major scales in an 
octave. One other advantage of the keyboard of thirds is that it is a 
simple matter to transpose a piece of music from one key to another in 
thirds. Once a piece is known in one key, the hands can be moved up or 
down one or more note groups and, using the same fingering pattern, the 
piece can be played in three other key signatures. 
Playing convenience is further improved by the keyboard 50, illustrated in 
FIGS. 6-8. The basic keyboard is as described above, but a second set of 
raised keys is added. Each group of three keys includes flat keys 56a and 
56b, between which is a raised key 58 spaced forward of backboard 14. Each 
raised key 58 is fixed to a lever or arm 62 extending under the associated 
flat keys in a channel 64. On each arm 62 is a second raised key 58a, 
projecting upwardly immediately forward of backboard 14. Thus either 
portion 58 or 58a of a raised key may be depressed to sound the particular 
note. 
The full width of the flat keys is available forward of raised keys 58 and 
between the raised keys 58 and 58a. As indicated in FIG. 7, the length of 
the raised key 58, the spacing from the front edge of the flat keys and 
the spacing between raised keys 58 and 58a are substantially equal. The 
raised keys 58a are somewhat shorter, about one half to two thirds of the 
length of raised keys 58. These proportions have been found to be the most 
convenient to fit into a keyboard of standard width, but may be varied if 
necessary. The octave group of four sets of three keys is also a standard 
octave width to fit conveniently on a conventional piano action. 
It will be apparent that the keyboard with double raised keys permits a 
very versatile playing technique. The flat keys can be played in front of 
or behind the raised keys 58, and either raised key section may be used, 
depending on the convenience of finger positioning. This makes it 
unnecessary to double certain fingers under to reach raised keys and 
facilitates a more natural hand shape and motion. As in keyboard 10, the 
first key of each octave representing C in the scale, may be distinctively 
colored for reference as indicated by flat keys 56c. 
In combination with the notation system, in which the keys and the notes 
are in groups of three, with clear visual and physical relationship, the 
learning and playing technique is greatly simplified. This relationship 
does not exist in conventional keyboards and notation. The visual and 
physical relationship enables a player to sight read and pick out a piece 
of music with a minimum of instruction and assitance, since the note 
progression is consistent and logical.