IMPROVEMENTS IN CERTAIN STRINGED AND WIND MUSICAL INSTRUMENTS
Year: 1844

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, I, DANIEL
CHANDLER HEWITT, of Hanover Street, Hanover Square, in the County of
Middlesex, Musical Instrument Maker, send greeting.
WHEREAS Her present most Excellent Majesty Queen Victoria, by Her
Letters Patent under the Great Seal of Great Britain, bearing date at
Westminster, the Ninth day of November, in the eighth year of Her reign,
did, for Herself, Her heirs and successors, give and grant unto me, the said
Daniel Chandler Hewitt, Her especial licence, full power, sole privilege
and authority, that I, the said Daniel Chandler Hewitt, my exors, adñiors,
and assigns, or such others as I, the said Daniel Chandler Hewitt, my exors,
admors, or assigns, should at any time agree with, and no others, from time
to time and at all times during the term of years therein expressed, should
and lawfully might make, use, exercise, and vend, within England, Wales,
and the Town of Berwick-upon-Tweed, my Invention of "IMPROVEMENTS IN
CERTAIN STRINGED AND WIND MUSICAL INSTRUMENTS;" in which said Letters
Patent is contained a proviso that I, the said Daniel Chandler Hewitt, shall
cause a particular description of the nature of my said Invention, and in
what manner the same is to be performed, to be inrolled in Her said
Majesty's High Court of Chancery within six calendar months next and
immediately after the date of the said in part recited Letters Patent, as
in and by the same, reference being thereunto had, will more fully and at
large appear.
NOW KNOW YE, that in compliance with the said proviso, I, the said
Daniel Chandler Hewitt, do hereby declare that the nature of my said Inven-
tion, and the manner in which the same is to be performed, are fully described

page_text: and ascertained in and by the following statement thereof, reference being
had to the Drawings hereunto annexed, and to the figures and letters marked
thereon, that is to say:-
The first improvement applies to the mode of arranging the front parts
of pianofortes and other instruments having similar keys, so that the cover
or flap to the keys may be moved out of the way with more convenience and
without the use of hinges.
I
Figure 1 shows so much of the section of the front part of a pianoforte as
will enable me to describe this part of my Invention. The key is arranged
according, to another part of my Invention, which will be hereafter described.
is the inner surface of one of the end cheeks of a pianoforte or other keyed
instrument; and 6 is an end view of the flap or cover to the keys. This flap
bas at its ends two studs or projections e, d, which enter two grooves e and f
formed in the cheeks of the frame or case of a pianoforte, the pin centering
the groove f, and the pin d entering the groove e. Hence the flap can be
forced or slided back out of the way, when the instrument is to be used, into
the position shown by dotted lines in Figure 1; and when it is desired to
remove the flap or cover for any purpose, then the pin c is caused to enter
the groove, and the pin d into the groove e, and the flap or cover may
then be slided back so as to be removed. g is an upper flap or cover which
has.also two studs or projections .h, h, which move in the grooves i formed
in the two end cheeks of the piano or other keyed instrument. Figure 2
shows end views of the flaps 6 and 9; and Figure 3 shows one of the
cheeks of the instrument separately, showing by dotted lines the covers or
flaps b, g, when shut..
Another part of my Invention is shown at Figure 4, which shows a section
of five neighbouring keys; and Figure 1 shows a side view of one of the
keys. This part of my Invention is intended to facilitate the playing of the
chromatic scale, by having on the black as well as on the white keys, and at
the back part thereof, projections j, as shown in Figure 4, so as to produce

page_text: an angular surface to each key, all the keys being brought to the same level;
by which means the performer will, by passing the finger from key to key
across the instrument, perform the chromatic scale with great facility, owing
to the black and white keys at their back ends being all on the same level.
I will now proceed to describe another of my improvements which relates
to the so constructing pianofortes where two or more strings are used to each
each note, that one or more of such strings shall be on one side of the
sounding board, and one or more strings for each note shall be on the other
side of the sounding board, the action to each note being arranged that the
strings on each side of the sounding board shall be struck to produce the
note.
And at the same time I will describe other of my improvements, one of
which consists in so arranging the action of pianofortes where strings are on
both sides of the sounding board, that there shall be means of striking the
strings behind the sounding board, and also for striking the strings which are
before sounding board; and also another improvement, which relates to the
striking each note by hammers placed at intervals apart, so that the strings
are struck simultaneously in several places; and also another improvement,
which consists in an arrangement of bars to obtain greater resistance to the
strain of the strings.
Figure 5 shows a front view of so much of the framing of a pianoforte
where, in order to get greater lengths of strings, the treble strings and part
of the bass are in front of the sounding board, and run in a diagonal direction.
as is shewn by red lines; and the other of the bass strings are at the back of
the sounding board, as is indicated by blue lines.
And I would here remark, that I do not claim the placing the bass strings
on one side of the sounding board, and the treble on the other side of the
sounding board, instruments having before been made with somewhat similar
arrangements of strings. In this instrument, Figure 5 and also Figure 6, which
is a section of the framing by which the construction will be readily under-
stood, it will be seen that the tuning is in the ordinary way by the upper
rows of pins, though it should be stated that the heads of the tuning pins
come through to the front of the piano, so that all the strings may be. turned
from the front. And as the action suitable for this instrument will be described
when I come to describe the other instrument, all that need further be said
as to this Drawing is that a, a, is the mode of arranging the bars for receiving
the strain of the strings. These bars stand in a slightly inclined position at
intervals across the instrument at the back of the sounding board, and pass
through openings in the sounding board; and rest between the top and bottom

page_text: bars c and d; and the tendency of the strain of the strings will be to draw
the two bars c and d together, and to bend the bars a, a; but these bars are
resisted bending by the compound bars b, e, one of which is bent (as is
shewn), let into the two ends of the frame of the instrument. And it is the
use of these two bars b, e, in combination with the bars a, a, which constitutes
the peculiarity of one part of my Invention.
The section of the frame Figure 6 shews the position of one of the bars a,
and also the position of the bars b, e; and Figure 7 shews a plan of the
bars b, e, and the bars a, a, in section. Figure 8 shews the arrangement of
instrument where each note has strings before and behind the sounding board,
and hammers to act on the strings of the same note, before and behind the
sounding board.
Figure 9 shews a section of this instrument by which I shall not only be
able to describe the action suitable for this instrument hut also the action to
be used to the previously mentioned instrument.
The Drawing shews that there are two strings to each note in this
arrangement, one being before and one behind the sounding board, so
that the strings at the back correspond with those of the front; and in
order to obtain length of strings the strings cross each other, as is shewn;
but I do not claim the crossing of the strings, neither do I claim the having
corresponding strings on each side of the sounding board, as those arrange-
ments have been before resorted to, my Invention being the baving haminers
to the notes back and front of the sounding board. The Drawings also shew
the mode of arranging the tuning screws in bent metal castings or plates i, i,
which partly embrace the upper parts of the wood framing of the instrument as
shewn, and the sliding nuts j, to which the strings are hitched, are moved in
grooves formed for them to slide in. And I would mention, that such de-
scription of tuning screws and sliding pieces have been used before, the only
novelty in the arrangement being the combining their use with the bent metal
plates or castings i, i, such castings i, and the screws, being shewn full size in
Figures 10, 11, and 12. The action for this arrangement of pianoforte, when
according to my Invention, is to be so arranged that the keys acted on by
the performer shall give motion to hammers at the back and front of the
instrument; thus, supposing any hammer is put down, it will cause the string
at the front and the string at the back of the sounding board to be simul-
taneously struck by means of one hammer in front and one hammer at the
back, or, when desired, by two or more hammers in front and at back. And I
do not confine myself to the details of the arrangement of the action shewn,
provided the action is so arranged as to put in motion a hammer at the back

page_text: and a hammer at the front to strike the string or strings of the same note
before and behind the sounding board. k is one of the keys of the instru-
ment; it is not of the ordinary construction, but is formed into a lever hinged
at k', the descending portion of the lever giving motion to the hammers at
the front and the back of the sounding board; and there are three hammers
to the same note in front of the sounding board and three hammers to the
same note at the back of the sounding board; but the number may be varied.
(1) 2) 3) are the front hammers, and (4) 5) 6) are the back hammers,..
each moving on an axis carried by its hammer rail; and motion is com-
municated to the hammers in front by means of the lever acting on
the swinging piece (7) hinged to the rail (8), and a piece (9) hinged to
the swinging piece (8), through which there are two adjusting screws pass
into the block (10), such block passing through a slit in the enlarged part
of the stem of the hammer. Hence it will be seen that the key and each
of the hammers is in constant connection, by which the hammer at all times
follows the key; all which will readily be traced on examining the Drawing..
I is the damper which is put in motion by the key in the manner shewn in
the Drawing. At the lower end of the lever proceeds a wire (13), to which
is affixed the swinging piece m, which gives motion to the hammer (4), and.
the swinging piece n, which gives motion to the hammer (5), and the swinging
piece (o), which motion to the hammer (6), as will readily be traced in the
Drawing, and also to the swinging piece p, which gives motion to the
damper q. Hence it will be seen that each note, having one or more strings
before and behind the sounding board, may be simultaneously struck with
hammers placed before and behind; and it will be evident, if desired, only
one hammer at back and one at the front may be used for each note, actuated
in a similar manner. In constructing an action for the previously mentioned
instrument, in place of the same key giving motion to the hammers at the
back of the sounding board as well as the front of the sounding board, each
key will only give motion to a hammer or hammers in the front, or to a
hammer or hammers at the back, but in the manner shewn, because in the
other instrument the strings at the back are for different notes to those in
the front, hence they are to be played with different keys, in place of by: the
same keys, as shewn in the Drawing.
Another part of my Invention consists in the use and application of what
I call a dead damper, and consists in using a damper rail with a damper for
each note, which is to be worked by a pedal or other convenient means, so
that the performer may damp all the strings at the same time, without
reference to the dampers put in motion by the keys.

page_text: Figure 13 shows a back view and section of this dead damper. The dead
damper is applied by me as near the striking points of the strings as
convenient.
Another part of my Invention consists of applying what I call a transposing
key board, by which the performer may transpose at pleasure any piece of
music.
Figure 14 represents a section of the transposer or additional key board.
A, B, is one of the keys belonging to a pianoforte or other keyed instrument;
and C is the height to which a black key will rise. D, E, is a frame made
to lay over the front extremity of the white keys, and so formed at E as to
become a support to the lever F, G, above. The frame D, E, is to be firmly
attached to the instrument at both ends by any convenient means that may
be applied for that purpose. The upper part of E is united with the lower
part of G by means of a flexible hinge, to admit of the motion required in
the lever F, G; and over the frame D, E, a spring is attached, which by
pressing upon the lever near G is adapted to support the lever F, G, and
also the substituted key N, O, above, which is made to rest upon it by means
of the connecting link c, d. a is that portion of the lever F, G, which
comes in contact with the key. A, B; and when this is a white key, the part a
must be extended down to the point b, in order that the levers F, G, may all
stand exactly upon the same level. H, I, and J, is another portion of the
framework, for the purpose of supporting the hinge of the key N, O, at the
part H and the key pin at the part J; e, f, is that portion of the frame by
which it is connected together at both ends; and K, L, is another portion of
the frame, which is also united with D, E, at both ends. Q is the elevated
part of the key N, O, to be made use of in chromatic slides, as before
explained, and to which the upper part of the franie D, E, answers as a
finger guide instead of a name board, and P shows the height to which the
black keys will rise. In attaching the transposer to a pianoforte or other
keyed instrument, the lever F, G, together with the frame D, E, with which
it is united, must be put on first. After this is done, then the parts above
come on together. And since the whole of this upper part can be shifted to
the right or left, and by means of a pin in the frame H, I, J, and a series of
holes made to receive them, be fixed to the position required, it is evident that
a transposition will be thereby effected, in the manner and in the degree
required, and also that it may be made use of without transposing, provided
corresponding keys are placed over each other. With respect to the opera-
tion of the keys one upon another, it is effected thus:-Upon striking the
key N, O, the effect of the blow, by means of the part c, d, is transferred to

page_text: the lever F, G, and thence through the part a, b, to the key A, B, below,
which may or may not correspond with the substituted key N, O, which
stands over it. An index containing the semitonic scale of the octave will
be placed in some convenient part of the moveable frame and key H, I, J,
and N, O, P, Q, and also in connection with the fixed frame, for the purpose of
exhibiting the nature and practical effect of the transposition (if any) at that
time in operation. Figures and other devices may also be introduced for this
and other similar purposes. It is also to be observed, that where the keys
of the instrument are bound up or blocked in on both ends of the instrument,
the compass of the transposer must be less than that of the instrument itself,
in order to have space to work in; but that where this is not the case the
compass of the transposer may be extended at pleasure, and, if required, so
as at all times to bring into operation the entire compass of the instrument to
which it is attached.
Another part of my Invention consists in so arranging the strings of a note
of a pianoforte that the hammer in striking two strings shall strike a point
which shall be at a different distance in each from its bearing point, and by
having the hammer rail made capable of sliding the hammer may be caused
to strike only one string of a note in place of both strings.. Figure 15 shows
parts of two strings for the same note, the bearing point of the one being
caused to be at x, and the bearing point of the other at y, so that they
will at the point z, where the hammer strikes them, be struck at different
distances from their points of bearing, which will be found to be a useful
arrangement.
I will now proceed to describe my improvements in wind musical instru-
ments. These improvements are shewn in the Drawings marked B, which I will
now proceed to describe:-Figure 1 shows a transverse section of an instru-
ment having part of my improvements applied thereto, and the cover to the
keys is arranged according to the means described in respect to pianofortes,
and such means are claimed as being equally applicable to this class of
instruments as well as to pianofortes, and in fact to all similar keyed instru-
ments. Figure 2 is a longitudinal section of the instrument. a is one of
the keys, having the valve or cover b applied thereto, as is shown. This valve
or cover is for closing the opening into the wind chest, where the reed or
metal spring of this key is placed, as is well understood. c is the wind chest,
which is supplied with air by means of the bellows or feeders d, d, worked by
the treadles e, e; and thus far the parts are very similar to what are commonly
used, differing only in slight details, to which I make no claim. f is a reser-
voir, which is capable of being brought into action or put out of action

page_text: according to the wish of the performer, by simply moving the slide 9, which
is capable of closing the opening between the wind chest and the reservoir.
The air passes from the feeders a, a, through the passages h, h, into the wind
chest; and when the slide 9 is drawn out the air passes down through an
opening i from the wind chest into the reservoir; and so long as the air has
not force enough to press the upper board of the reservoir up against the
spring i, the pressure of the wind acting will be that consequent on the weight
or pressure of the upper part of the reservoir; but so soon as the supply of air
is such as to press the upper part of the reservoir up against the spring j
fixed in the chamber of the reservoir, the pressure of that spring will by its
reaction cause the air to be forced out of the reservoir into the wind chest,
and therefore through the openings covered by reeds or springs, with greater
force than is due to the descent of the the upper part of the reservoir, and this
state of the working will continue so long as the slide be out; but if the slide
be forced in them, the reservoir will no longer influence the result, and the
pressure of the air acting on the reeds from the wind chest will depend on the
pressure of the feet on the treadles.
Another improvement which I have invented, applicable for varying the
effect of the air in the wind chest, by means of which the performer may
vary and uniformly sustain the pressure under which the air is to act under
varied circumstances on the reeds or tongues at pleasure. The wind chest
c is made deeper than usual, and I introduce four or other convenient
number of pressure apparatus, each apparatus being kept expanded by means.
of springs. Figure 3 shows a longitudinal section; Figure 4 a plan; and
Figure 5 an end view of a wind chest, of such description of instrument as
work with metal reeds, tongues, or springs, in which there are applied four,
what I call, pressure apparatus. These apparatus consist each of the upper
plate 1, which is connected to the lower part of the wind chest by means of
leather or other suitable flexible material, so formed as to fold as is shown in
the Drawing. In each of these apparatus is a spring or springs m tending
to keep the apparatus open or expanded; and I so arrange the strength of the
springs that they offer different degrees of strength of resistance to the
pressure of the air in the wind chest; but all the apparatus will be only so
acted on by springs that they will, when called into action, give way to a
pressure below the greatest pressure which at any time is desired to be exerted
on the metal springs or reeds. And the interior of each pressure apparatus
has an opening n from its interior to the outer air, over which opening a
slide or stop o is applied, by which the performer may at any time have any one
of the pressure apparatus in action, or shut off the whole. The effect of using

page_text: these apparatus will be found to be, that on the player opening any one of the
slides o that apparatus will be called into action, and the performer, in forcing
air into the wind chest, will have the pressure of the air to the metal tongues
or reeds modified by stronger or weaker springs, according to the pressure
apparatus called into action, and when all the slides are closed the instrument
will depend on the pressure of the feet supplying the air to the wind chest,
by which capability of change a great improvement is obtained in these
classes of instruments.
I will now describe another improvement in this class of instruments, which
consists of so arranging the passages and apparatus leading to the metal reeds
or tongues that each key may have several powers and qualities of the same
note, which may be played separately, or any number of them together.
The apparatus is arranged for having four metal reeds or springs for each
key, though apparatus may be arranged for employing other numbers, retain-
ing the same character of action, whereby a key may act or any one of the
reeds separately, or more than one, according to the desire of the performer.
Figure 6 shews a section of the apparatus in which the passages for the metal
reeds of tongues are formed. Figure 7 is part of a side view of part of one
of the reed boards. Figure 8 shews part of a side elevation of the apparatus.
Figure 9 shews an under side view of the apparatus, shewing how the same is
divided from front to back into as many sets of passages as there are sets of reeds
or springs. Figure 10 shews some of the details of the slides, and Figure 11.
shews a section of part of the apparatus in connection with the wind chest,
and this Figure also shews the action of one of the keys; and this Figure
further shews another part of my Invention, which consists of employing a
bammer to give the metal tongue reed a blow at the moment of opening the
passage for air between the wind chest and the reed or spring of the particular
key which may be touched; and this apparatus may, if desired, be arranged
so that the hammer might be put out of action by lifting the board o, or by
other convenient means. It will be seen that the metal reeds or springs are
arranged in octaves on the same reed board, so that any octave of reeds. may
be removed without interfering with the others. From the wind chest c pro-
ceed four passages for each key; hence the cover or valve p of the key shewn
will allow any or all the reeds of that key to speak on opening, according
as the slides are open or closed.
At the lower end of the passages
(1), (2), (3), (4), is a board containing openings into the passages and into
the wind chest; and there are four slides q, having openings as shewn, which
correspond with the openings in the lower board r, so that according as the
slides are closed or opened so will be the passages (1), (2), (3), (4), of each

page_text: note; and I propose to have to each note four or other number of metal reeds
of different power and quality, so that the performer may call either into
action, according to his wish, by adjusting the slides q, q.
Having thus described the nature of my Invention, and the best means
I am acquainted with for performing the same, I do not confine myself to the
details of either part of my Invention, so long as the peculiar character of
either part of the improvements be retained. But what I claim is,―
First, the mode of applying flaps or covers to the keys of pianofortes and
other instruments having similar keys. And I also claim the mode of ar-
ranging and constructing keys of pianofortes and other keyed instruments, so
as to facilitate the playing of the chromatic scale, as herein described.
Secondly, I claim the so arranging the strings and action of pianofortes
that each note having two or more strings shall have part in front and part
at the back of the sounding board, each note so arranged having a hammer at
front and back of the sounding board.
Thirdly, I claim the applying hammers to the strings at the back and to the
strings at the front of the sounding board, as herein described; and I also
claim the mode of constructing and hinging the lever keys of pianofortes, as
herein described.
Fourthly, I claim the so arranging the action of pianofortes that the string
or strings of each note may be struck in two or more places at the same time,
as above described.
Fifthly, I claim the mode of arranging bars to sustain and resist the strain
of the strings as herein described.
Sixthly, I claim the mode of constructing the bent plates i for receiving
the tuning screws, as shewn and described.
Seventhly, I claim the application of what I have called a dead damper to
the strings of pianofortes.
Eighthly, I claim the application of an additional key board to pianofortes
and other keyed instruments, for transposing the same, as herein described.
Ninthly, I claim the so arranging the strings and action of pianofortes that
the strings of the same note may be struck by the hammer at different dis-
tances from their bearing points, and in such manner that either or both the
strings may be struck.
Tenthly, I claim the so arranging the feeders, reservoir, and wind chest (to s
the classes of wind instruments herein described) that the wind may be caused
to pass direct to the wind chest, or to the wind chest and reservoir, as herein
described.
Eleventhly, I claim the applying what I have called pressure apparatus ?,

page_text: of different degrees of elasticity, of determing, at the pleasure of the performer,
the degree of pressure which for the time be sustained.
And twelfthly, I claim the mode of arranging metal reeds or springs with
wind passages that the same key may cause to bring into action several reeds
or springs, or any one or more of several reeds or springs. And I also claim
the giving blows by hammers to reeds or springs of such instruments.
In witness whereof, I, the said David Chandler Hewitt, have hereunto
set my hand and seal, this Ninth day of May, in the year of our
Lord One thousand eight hundred and forty-five.