AN APPARATUS FOR CORRECTLY TRANSCRIBING MUSICAL COMPOSITIONS."
Year: 1881

page_text: LETTERS PATENT to Alexis Paul Hodgson, of Paris (France), Engineer, for
an Invention of "AN APPARATUS FOR CORRECTLY TRANSCRIBING
MUSICAL COMPOSITIONS."
ALL
PROVISIONAL SPECIFICATION left by the said Alexis Paul Hodgson at the
Office of the Commissioners of Patents on the 10th February 1881.
ALEXIS PAUL HODGSON, of Paris (France), Engineer.
CORRECTLY TRANSCRIBING ALL MUSICAL COMPOSITIONS."
"AN APPARATUS FOR
My Invention relates to an instrument for effecting the accurate transcription of
all kinds of musical compositions. In all attempts and Inventions up to the
present the rhythm and the infinite variations of the unity of movement (which
is one of the essential parts of musical art) were overlooked. Hence arose the
impossibility of a correct transcription, each copyist being at liberty to interpret
according to his fancy. In short, a transcribing instrument has only become
possible since the application by Messrs. Winkel & Maelzel of the chronometer to
music.
The pianograph, herein described and illustrated in the accompanying Drawings,
is based on the principle of the metronome, and gives the following results :- -(1) An
impression of a melody which remains invariable in all variations of the movement;
(2) the time in which the musical composition should be executed by the
performer; (3) the intonation of the note played, whether natural, flat, or sharp,
with its position on the staff either in the key of G or in the key of F; (4) the
beat or time in which the composition is played, whether in 4, 3, or, or common
time; (5) the value of the note played from the note of longest duration down
to the demi-semi-quaver; (6) the value of the rests from the pause upwards;
(7) the key in which the composition is placed with the sharps or flats indicating
the same; (8) the accidental sharps, flats, and naturals; (9) the rigorous value
of appoggiaturas; (10) immediate transcription by the composer or copyist;
(11) the instrument does not require that the transcription should be executed by
the composer
or by a professional musician, the transcription is simply a
mechanical operation and can be done by any one, even though he be ignorant of
music; (12) the instrument admits of continuous impression.

page_text: The instrument consists of three different parts, vis. :-(1) An upright piano ;
(2) the printing apparatus; (3) the motive power.
PRINTING APPARATUS.
This apparatus is founded on the metronome and on the principle of inverted
lines or staves. It is divided into 5 parts:-(1). The keyboard with its metronome;
(2) the printing frame; (3) the printing cylinder; (4) the metronome frame;
(5) the clockwork.
(1.) A Keyboard with its Metronome.-This keyboard is exactly the same as
that of an upright piano. It may be moved backwards or forwards, and it may
assume a vertical position by means of a hinge placed at its back. A hammer is
attached to each key (or note) of the keyboard. The metronome placed outside
the upright part of the keyboard is a "Maelzel" metronome comprising the
different gradations of movement from 208 to 24.
(2.) The Printing Frame. This frame is of the same length as the keyboard,
and is provided with bands, the outer ends of which are retained in the upper part
of the frame, their rear and upper ends dipping in an ink trough fixed on the frame.
At a convenient part of each printing band and underneath it is fixed a small tri-
angular projections, on which the hammer acts directly. Each key acts independently
of the others and is capable of producing a distinct impression. At the foremost and
undermost part of the bands is placed a dripper. The ink for each band passes
from the ink trough to the dripper by the force of capillary attraction, and in
passing impregnates the triangular projection s without, however, loading it. The
bands are fixed underneath a movable bar, and by means of the said bar, which is
placed in the ink trough, the impregnation is caused, modified, or stopped. The
frame moves on a hinge placed at the rear.
(3.) The Printing Cylinder.-To this cylinder are attached two other cylinders,
the pressing cylinder and the dividing cylinder. The printing cylinder is placed
horizontally and its journals turn in the case of the instrument. It is provided at
its right side with a toothed wheel of similar diameter actuated by another toothed
wheel to be hereafter described. It is of the same length as the keyboard, and
engages under the printing frame in such a manner that when the printing hammer
falls the foremost extremity of the triangular projection comes into contact with
the same.
The dividing cylinder, which is also horizontal, is placed immediately
underneath the printing cylinder. The paper is wound round this dividing cylinder,
and when unwound it passes onto the printing cylinder placed under the frame.
The pressing cylinder, to which is communicated a motion contrary to that of the
printing cylinder by means of two cross transmission bands, carries the paper into
the lower part or case of the piano. The pressing cylinder also acts as a drying
cylinder.
The paper is ruled vertically on both sides, each inter line or space corresponding
with a key on the key board. If transparent paper be used it should not be ruled
on either side, but instead the noting board should be ruled. The course followed
by the paper is indicated in the Drawing by a dot and dash line. The rotating
movement of the dividing cylinder is caused by the impulsion communicated to
the said cylinder by the paper during the unwinding process..
(4.) The Metronome Frame.-This frame turns on one of its ends situated
exactly in line with the axis of the printing cylinder. It is provided internally

page_text: if we suppose n to represent the number of vibrations of the pendulum of the
metronome during 60 seconds, and for a given position of the centre of gravity for
the same space of time, and for all other positions of the centre of gravity of the
pendulum, the number of vibrations will be expressed by 15. The duration of
each vibration; which we will call b, will be therefore in inverse ratio to the
expression so that = —, or b
On the other hand the distance or
space a traversed by the printing cylinder being always the same, no matter what
may be the value of n, its velocity varies in direct ratio to the fraction
that V =
12
60'
22
=
60
22
SO
60'
V and bare thus two quantities inversely proportionate. Let us
suppose n = 120, as shown in the Drawings, and we will have b=
V
120
60
=
60
=
120
=2, that is to say, that the duration of the vibration being equal to 1,
the velocity of the printing cylinder must be twice as great as it would be were
n equal to 60; this is effected by the instrument. The driving wheel, B, the
velocity of which is uniform, has four times as many teeth as the wheel of the
metronome frame with which it meshes. Whilst the latter makes 4 complete
revolutions the exterior wheel of the frame makes also the same number, and the
cylinder wheel having twice the number of teeth makes only two complete
revolutions. Suppose now that you displace the driving wheel and cause it
to act on the wheel No. 60, that is to say, the wheel corresponding to n 60,
this latter wheel, whose diameter is double that of wheel No. 120 corre-
sponding to n = 120, will impart to the cylinder wheel motion equal in velocity,
to half its own velocity. All the other wheels of the metronome are provided with
a number of teeth calculated according to the different values of n.
=
In the accompanying Drawing the wheel R has a circumference double that of
the printing cylinder. The clockwork communicates to it a uniform circumferential
velocity fixed at of its circumference for a beat, equal to 4 vibrations of Maelzel's
metronome fixed at n=120.
The space a thus traversed by the printing cylinder is adopted as the geometrical
unity corresponding to the musical unity O or semibreve. The invariable number a
being determined, it only remains to arrange proportionately the dimensions of the

page_text: A small chapelet furnished with two cups moved by the apparatus and placed on
the left of the printing frame takes up at its lower end the ink of the dripper, and
at its upper part discharges it afresh into the ink trough so as to ensure continuous
impression.
The apparatus is provided with two pedals which act directly on the outside
wheel of the metronome frame so as to set in motion or stop the printing cylinder.
The clockwork apparatus is placed on the right of the instrument under the
metronome frame and is provided with a drum.
The tonic register has a double face and is provided with a hinge. On one face
is the major scale, as seen in the Drawing, on the other is the minor scale.
(1) Set the clockwork in motion; (2) lower the rack as far as it will go;
(3) set the metronome in the ordinary manner; (4) place the two rods on the
right of the instrument at the number set on the metronome.
In order to effect this it is necessary (according as the number chosen in the
metronome gives a beat of the pendulum equal to a semibreve, a minim, a crotchet,
or a demi-semi-quaver) to select the number on the horizontal column corresponding
to the one chosen on the metronome. The vertical column corresponding to this
number will give the number of the instrument. The instrument is now ready for
transcription but does not as yet effect the same. The performer than plays as on
an ordinary piano.
In order to transcribe it is necessary (1) to press the right treadle down with the
feet until it resists further pressure; (2) to press simultaneously on the two knobs
or buttons placed in front of the keyboard, then continue to play, and the instrument
transcribes. If it is desired to stop the transcription and cease playing it is
necessary to press with the feet on the left pedal until it resists further pressure,
to draw out fully the two buttons or knobs, and to raise the rack as far as it will
go; then leave the instrument in this position without touching any part of it and
proceed with the copy.
N.B. The composer should end his composition by a perfect chord in the key
of F, and not by the tonic, a third, or a fifth.
When the number chosen on the metronome is the same as that selected on the
instrument, the latter indicates a crotchet for each beat of the metronome.
THE COPYING OF THE PIECE.
Lower the noting board onto the keyboard and use ordinary music paper. Draw
the extremity of the paper over the board and fix it to the front roller. Place on
the lines of the music paper the signs (, O, as indicated on the frame. Read
on the plate of the metronome the time of the composition and mark it on the
right of each key. Read on the instrument the two notes to the left of the final
chord in the key of F. If there are three spaces between these two notes the piece
is in major. If there are only two spaces between them the piece is in minor.
The first note to the left of the final chord is the tonic note of the scale of the
piece. Place No. 1 of the tonic register opposite this same note on the frame
(whether major or minor scale, as the case may be).
The numbers 1, 2, 3, 4, 5, 6, 7, give the natural, sharps, and flats of the piece.
Set the keys accordingly.
If in the course of copying you meet a note placed opposite a blank square in
the tonic scale or register, or not corresponding with any of the numbers 1, 2, 3, 4,
5, 6, 7, such note will be a natural, a flat, or a sharp, as the case may be, and must
be so marked on the music paper. The keys being set, copy the first bar; place
the steel wire of the frame in the beginning of the first note played; place a

page_text: pencil mark on the printing paper at the place occupied by the wire corresponding
to the movement of the time in.which you have played; read opposite to this on
the frame commencing with the key: of G. the nature of the first note played, as
also its position on the staff; see under what copper wire the said note ends, and
read its value thus determined on the movable truck, and write accordingly on
the music paper. Proceed in the same manner for the key of F without stirring
the frame. This being done, move the frame until the steel wire corresponds with
the end of the first note played in the key of G. Generally speaking the steel
wire in this new position will also correspond with the commencement of the
second note played. This second note is treated in the same way as the first, and
you then pass to the key of F. This being done, push the frame until the steel
wire corresponds with the end of the second note played in the key of G, and so on
to the end of the first bar, at which point you have already placed a sign on the
printing paper, and at which sign the steel wire must be stopped. Mark the bar
on the music paper and proceed to copy the second bar, starting from the pencil
mark, and so on to the end of the piece.
If the steel wire does not, when placed on the pencil mark, correspond with the
commencement of any note, that will mean a rest, which is to be indicated as
afterwards described, and the next note proceeded with.
When the steel wire placed at the end of a note, either in the key of G or the
key of F, or on the pencil mark, does not correspond with the commencement of
another note, it means that there is a rest at this point. The nature of the said
rest will be indicated on the movable truck above the copper wire corresponding
immediately with the commencement of the following note. The rest being
marked on the music paper, push the frame until the steel wire corresponds with
the commencement of said note, which is the nearest one, and continue the copy.
. N.B.-When in place of a single note a chord is played, which is indicated by
several notes being placed on the steel wire, that is to say, in a horizontal line, the
nature of each note in the chord must be ascertained. Their value is determined
in the same way as that of a single note.
In copying, in order to transpose the piece into any given tone, move the reglet
so as to cause the first note of the scale, into which it is desired to transpose, to
take the place of the left hand note of the perfect final chord in the key of F.
Then set the keys by means of the tonic scale in the way already described, and
proceed with the copy.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed
by the said Alexis Paul Hodgson in the Great Seal Patent Office on the
10th August 1881.
ALEXIS PAUL HODGSON, of Paris, France, Engineer. "AN APPARATUS FOR
CORRECTLY TRANSCRIBING ALL MUSICAL COMPOSITIONS."
My Invention relates to an instrument for effecting the accurate transcription of
all kinds of musical compositions.
Apparatus of this nature have already occupied the attention of mechanical
engineers, and attempts in this direction have been made as far back as the last
century.
In 1747 Creed wrote a memoir in which he endeavoured to demonstrate the
possibility of a transcribing instrument, and it is said that in 1770 the monk
Engramelle successfully constructed a machine of this nature.
In 1774, Jean Frederic Ungher claimed Creed's Invention as his own.
In the month of August 1827 Carreyre made a trial before the members of the
"Institute de France" of a piano-melograph, consisting of a clockwork which
unwound from one cylinder and wound on another a thin sheet of lead, on which
were printed certain signs by the action of the keys of the piano, which signs
could be translated into ordinary notation with the help of an explanatory table.
About the same time Mr. Baudouin read to the members of the French Academy
a memoir describing another piano-melograph, but neither the institute nor the
academy took any action. Many attempts have since been made, but, like
Carreyre's Invention (which, though very restricted in its application, is the most
ingenious and practical of all), they did not meet with success.
In all attempts and Inventions up to the present the rhythm and the infinite
variations of the unity of movement (which is one of the essential parts of musical
art) were overlooked. Hence arose the impossibility of a correct transcription,
each copyist being at liberty to interpret according to his fancy. In short, a
transcribing instrument has only become possible since the application by
Messrs. Winkel & Maelzel of the chronometer to music.
The pianograph herein described is based on the principle of the metronome, and
I have therefore entitled it the "pianograph-metronome." This pianograph-
metronome gives the following results:-(1) An impression of a melody which
remains invariable in all variations of the movement; (2) the time in which
the musical composition should be executed by the performer; (3) the intonation'
of the note played, whether natural, flat, or sharp, with its position on the staff,
either in the key of G or in the key of F; (4) the beat or time in which the
composition is played, whether in 4, 4, or 4, or common time; (5) the value of the
note played from the note of longest duration down to the demi-semi-quaver;
(6) the value of the rests from the pause upwards; (7) the key in which the
composition is placed, with the sharps or flats indicating the same; (8) the
accidental sharps, flats, and naturals; (9) the rigorous value. of appoggiaturas;
(10) immediate transposition by the composer or copyist; (11) the instrument does
not require that, the transcription should be executed by the composer or by a
professional musician, the transcription is simply a mechanical operation, and
can be done by any one, even though he be ignorant of music; (12) the instrument
admits of continuous impression.

page_text: INTING AITARATUS.
This apparatus is founded on the metronome and on the principle of inverted
lines or staves. It is divided into five parts:-(1) the keyboard with its metro-
nome; (2) the printing frame; (3) the printing cylinder; (4) the metronome
frame; (5) the clockwork.
(1.) The Keyboard with its Metronome.-This keyboard is exactly the same as
that of an upright piano. It may be moved backwards or forwards, and it may
assume a vertical position by means of a hinge placed at its back. A printing
hammer is attached to each key (or note) of the keyboard. The metronome placed
outside the upright part of the keyboard is a Maelzel" metronome, comprising
the different gradations of movement from 208 to 24.
"
(2.) The Printing Frame. This frame is of the same length as the keyboard,
and is provided with bands, the outer ends of which are retained in the upper
part of the frame, their rear and upper ends dipping in an ink trough fixed on the.
frame.
At a convenient part of each printing band and underneath it is fixed a small
triangular projection 8, on which the printing hammer acts directly. Each key
acts independently of the others, and is capable of producing a distinct impression.
At the foremost and undermost part of the bands is placed a dripper. The ink for
⚫ each band passes from the ink trough to the dripper by the force of capillary
attraction, and in passing impregnates the triangular projections without however
loading it. The bands are fixed underneath a moveable bar, and by means of the
said bar, which is placed in the ink trough, the impregnation is caused, modified,
of stopped. The frame moves on a hinge placed at the rear.
(3.) The Printing Cylinder.-To this cylinder are attached two other cylinders,
the pressing cylinder and the winding cylinder. The printing cylinder is placed
horizontally, and its journals turn in the case of the instrument. It is provided at
its right side with a toothed wheel of similar diameter, actuated by another toothed
wheel-to be hereafter described. It is of the same length as the keyboard, and
engages under the printing frame in such a manner that when the printing haminer
falls the foremost extremity of the triangular projection s comes into contact with
the same.
The winding cylinder which is also horizontal is placed immediately
underneath the printing cylinder. The paper is wound round this cylinder, and
when unwound it passes onto the printing cylinder placed under the frame. The
pressing cylinder, to which is communicated a motion contrary to that of the
printing cylinder by means of two cross transmission bands, carries the paper into
the lower part or case of the piano. The pressing cylinder also acts as a drying
cylinder.
The paper is ruled in blue vertically on both sides, each interline or space
corresponding with a key on the keyboard. If transparent paper be used it should
not be ruled, but the noting board should be ruled instead. The course followed
by the paper is indicated in the Drawing by a dot and dash line. The rotating
movement of the winding cylinder is caused by the impulse communicated to the
said cylinder by the paper during the unwinding process.
(4.) The Metronome Frame. This frame turns on one of its ends situated
exactly in line with the axis of the printing cylinder. It is provided internally'
with a series of toothed wheels turning round a common shaft whose journals
rest on the sides of the frame. This shaft extends externally beyond one of the
larger sides of the frame, and carries a gear wheel which meshes with the wheel of
the printing cylinder. The various diameters of the interior wheels are calculated

page_text: The moveable frame is of rectangular form, and is moved by the hand upon the
board above mentioned. It is provided with 11 parallel mictal wires so placed as to
be perpendicular to the lines ruled on the paper. The front wire represents the
time of the bar or beat, and the distance which separates it from each of the other
wires represents the corresponding value of the note from the semi-breve to the
semi-demi-semi-quaver and of the rests from the pause downwards. On the left of
the frame is arranged a sliding truck, which moves over the wires and indicates
opposite each of the said wires the value of the corresponding note or rest. On the
frame is marked *,, or time. At the bottom of the frame are marked the notes
corresponding to the spaces, as also their position on the staves. The reglet on
which the notes are marked is also arranged so as to move longitudinally, in order
if necessary to admit of transposition. On the upper part of the frame are placed
the tonic registers moving in a horizontal direction and independently of the reglet.
The tonic registers mark the sharps and flats of the key and also the accidentals,
whether in minor or major, as will be explained hereafter.
The following is a theoretical description of the working of the apparatus:-
The apparatus is composed of the metronome properly so called, the driving wheel,
the frame of the metronome, and the printing cylinder.
Maelzel's metronome (No. 60) gives 60 vibrations per minute, during which space
of time the printing cylinder should traverse a certain space a, which remains
always the same in all changes or variations of movement from 208 to 24.
Now if
we supposen to represent the number of vibrations of the pendulum of the netro-
nome during 60 seconds and for a given position of the centre of gravity for the
same space of time, and for all other positions of the centre of gravity of the
pendulum the number of vibrations will be expressed by The duration of each
71

page_text: vibration, which we will call b, will be therefore in inverse ratio to the
expression, so that
On the other hand the distance or space a
73
=
60
1
or b
60
=
traversed by the printing cylinder being always the same, no matter what may be
the value of n, its velocity varies in direct ratio to the fraction
72
V ==
GO
=
120
23
60'
so that
120
GO
V and bare thus two quantities inversely proportionate. Let us suppose
22 = 120, as shown in the Drawings, and we will have b =
that is to say, that the duration of the vibration being equal to
printing cylinder must be twice as great as it would be were n equal to 60; this is
effected by the instrument.
V = === 2,
the velocity of the
The driving wheel B, the velocity of which is uniform, has four times as many
teeth as the wheel of the metronome frame with which it meshes. Whilst the
latter makes 4 complete revolutions the exterior wheel of the frame makes also
the same number, and the cylinder wheel having twice the number of teeth makes
only two complete revolutions. Suppose now that you displace the driving wheel
and cause it to act on the wheel No. 60, that is to say, the wheel corresponding to
60, this latter wheel, whose diameter is double that of wheel No. 120 corre-
sponding to n 120, will impart to the cylinder wheel motion equal in velocity to
half its own velocity. All the other wheels of the inetronome are provided with a
number of teeth calculated according to the different values of n.
N=
=
In the accompanying Drawing the wheel R has a circumference double that of
the printing cylinder. The clockwork communicates to it a uniform circumferential
velocity fixed at of its circumference for a beat equal to 4 vibrations of Maelzel's
metronome fixed at n=120.
The space a thus traversed by the printing cylinder is adopted as the geometrical
unity corresponding to the musical unity O or semibreve. The invariable number a
being determined, it only remains to arrange proportionately the dimensions of the
noting instrument.
The weight of the pendulum of the metronome is provided with a small plate
and adjusting screw destined to secure greater exactness of its different positions.
The metronome rests on a tripod furnished with screws, and on which is fixed two
air levels forming together an angle of 90°. In order to give stability to the
printing bands, each one of them is covered with flexible whalebone fastened in
position by means of two longitudinal bars. Behind the ink trough is placed a
vessel to hold water for the purpose of keeping the printing bands constantly
moistened.
Immediately under the line of contact between, the printing cylinder and the
pressing cylinder is a fixed piece in which the paper engages before falling to the
bottom of the instrument. On the front of this piece are marked on a reglet, notes
corresponding to those of the keyboard. The object of the reglet is to indicate the
final note or chord of the musical composition played. The piece on which the
bands are fixed at the bottom of the ink trough is provided with a vertical rack
acted upon by a small toothed wheel, and designed to regulate the inking of said
bands.
The shaft of the printing cylinder is provided with a fly wheel or regulator.
The winding cylinder is provided with a horizontal notch or indentation used for
fixing the extremity of the paper in a stationary manner.
A small elevator furnished with two cups moved by the apparatus and placed on
the left of the printing frame takes up at its lower end the ink from the dripper,
and at its upper part discharges it afresh into the ink trough so as to ensure
continuous impression.

page_text: cymaer.
The clockwork apparatus is placed on the right of the instrument under the
metronome frame, and provided with a drum.
The tonic register has a double face, and is provided with a hinge. On one face
is the major scale as seen in the Drawing; on the other is the minor scale.
USE OF THE INSTRUMENT.
Execution of the Piece or Musical Composition.
(1) set the clockwork in motion; (2) lower the rack as far as it will go; (3) set
the metronome in the ordinary manner; (4) place the two rods on the right of the
instrument at the number set on the metronome.
In order to effect this it is necessary (according as the number chosen in the
metronome gives a beat of the pendulum equal to a semibreve, a minim, a crochet,
or a demi-semi quaver) to select the number on the horizontal column corresponding
to the one chosen on the metronome. The vertical column corresponding to this
number will give the number of the instrument. The instrument is now ready for
transcription, but does not as yet effect the same. The performer then plays as on
an ordinary piano.
In order to transcribe it is necessary, (1) to press the right treadle down with
the foot until it resists further pressure; (2) to press simultaneously on the two
knobs or buttons placed in front of the keyboard, then continue to play and the
instrument transcribes. If it is desired to stop the transcription and cease playing
it is necessary to press with the foot on the left pedal until it resists further pressure
to draw out fully the two buttons or knobs, and to raise the rack as far as it will
go, then leave the instrument in this position without touching any part of it, and
proceed with the copy.
N.B. The composer should end his composition by a perfect chord in the key of
F, and not by the tonic, a third or a fifth.
When the number chosen on the metronome is the same as that selected on the
instrument the latter indicates a crotchet for each beat of the metronome.
THE COPYING OF THE PIECE.
Lower the noting board onto the keyboard, and use ordinary music paper. Draw
the extremity of the paper over the board and fix it to the front roller, place on
the lines of the music paper the signs (, ), as indicated on the frame, read on the
plate of the metronome the time of the composition and mark it on the right of
each key, read on the instrument the two notes to the left of the final chord in the
key of F. If there are three spaces between these two notes, the piece is in major ;
if there are only two spaces between them, the piece is in minor. The first note to
the left of the final chord is the tonic note of the scale of the piece. Place No. 1
of the tonic register opposite this same note on the frame (whether major or minor
scale, as the case may be). The numbers 1, 2, 3, 4, 5, 6, 7, give the natural sharps
and flats of the piece; set the keys accordingly.
If in the course of copying you meet a note placed opposite a blank square in
the tonic scale or register or not, corresponding with any of the numbers 1, 2, 3, 4,
5, 6, 7, such note will be an accidental natural, flat, or sharp, as the case may be,
and must be so marked on the music paper. The keys being set, copy the first bar.
Place the steel wire of the frame at the beginning of the first note played, place
a pencil mark on the printing paper at the place occupied by the wire corresponding
to the movement of the time in which you have played. Read opposite to this on
the frame, commencing with the key of G, the nature of the first note played, as
also its position on the staff. See under which copper wire the said note ends, and
read its value thus determined on the moveable truck, and write accordingly on the
music paper. Proceed in the same manner for the key of F without stirring the

page_text: -
frame. This being done, move the frame until the steel wire corresponds with
the end of the first note played in the key of G. Generally speaking the steel
wire in this new position will also correspond with the commencement of the
second note played.
This second note is treated in the same way as the first, and
you then pass to the key of F.
This being done push the frame until the steel wire corresponds with the end of
the second note played in the key of G, and so on to the end of the first bar, at
which point you have already placed a sign on the printing paper, and at which
sign the steel wire must be stopped. Mark the bar on the music paper and
proceed to copy the second bar, starting from the pencil mark, and so on to the
end of the piece.
If the steel wire does not, when placed on the pencil mark, correspond with the
commencement of any note, that will mean a rest, which is to be indicated as
afterwards described and the next note proceeded with.
When the steel wire placed at the end of a note either in the key of G or the
key of F, or on the pencil mark, does not correspond with the commencement of
another note, it means there is a rest at this point. The nature of the said rest
will be indicated on the movable truck above the copper wire corresponding imme-
diately with the commencement of the following note. The rest being marked on
the music paper, push the frame until the steel wire corresponds with the
commencement of said note which is the nearest one, and continue the copy.
N.B. When in place of a single note a chord is played, which is indicated by
several notes being placed on the steel wire, that is to say, in the same horizontal
line, the nature of each note in the chord must be ascertained. Their value is
determined in the same way as that of a single note.
In copying, in order to transpose the piece into any given tone, move the reglet
so as to cause the first note of the scale into which it is desired to transpose to take
Then.
the place of the left hand note of the perfect final chord in the key of F.
set the keys by means of the tonic scale in the way already described and proceed
with the copy.
Having described the nature of my Invention and the manner of performing the
same, I declare that what I claim as the Invention to be protected by the herein-
before in part recited Letters Patent is,
1st. An instrument for transcribing music formed by combining an upright
piano with a printing apparatus and noting instrument, substantially as shown
and described.
2nd. In a transcribing instrument or pianograph-metronome, the arrangement
of a printing apparatus consisting of a keyboard and metronome, a printing frame,
a printing cylinder, a metronome frame and clockwork, substantially as shown and
described.
3rd. In a printing frame, the arrangement of bands combined with a projection
of triangular form, on which the printing hammer acts, said projection being kept
inked by the bands, as and for the purpose specified.
4th. The combination with a printing frame of the key board of an upright
piano, hinged to admit of its being raised vertically or moved forwards or
backwards, as described.
5th. The arrangement of ink trough through which the printing bands pass,
said bands being attached to a bar having vertical movement by which the supply
of ink to said bands is regulated; as described.
6th. The combination of a printing cylinder with a pressing cylinder and
winding cylinder, the movement of said pressing cylinder being combined in such
manner that when the printing hammer falls, the foremost extremity of the
triangular projection s on the printing band shall effect contact with it, as
*specified.
7th. In a printing apparatus, the arrangement of a winding cylinder on which
the paper is wound before passing to the printing cylinder, substantially as
deconibad

page_text: Sth. In a printing apparatus, the arrangement of a pressing cylinder around
which the paper is passed after passing over the printing cylinder, and also serving
to dry the impression.
9th. The combination with a metronome frame turning on one of its ends of a
series of toothed wheels bearing numbers, whereby a corresponding rate of motion
to that given to the metronome may be imparted to the printing cylinder, as
specified.
10th. In a noting instrument, the combination of a board placed upon the key
board, over which the paper passes, and a frame moving on said board, as specified.
11th. In a noting instrument, the arrangement of moveable frame upon the
board, provided with wires placed perpendicular to the lines ruled on the paper,
for representing the corresponding values of the notes and rests, as described.
12th. The combination with the moveable frame of a truck sliding over the
wires to indicate opposite each the value of the corresponding note or rest, as
described.
13th. The combination with the board and moveable frame of the reglet on
which the notes are marked, and capable of moving in the direction of its length
for transposing when desired.
14th. The combination with the reglet on which the notes are marked of tonic
registers moving in a horizontal direction independently of the reglet, as and for
the purpose shown and described.
In witness whereof, I, the said Alexis Paul Hodgson, have hereunto set my
hand and seal, this Eighth day of August, in the year of our Lord One
thousand eight hundred and eighty one.
A. P. HODGSON. (L.S.)