IMPROVEMENTS IN MUSICAL INSTRUMENTS
Year: 1850

page_text: TO: ALL TO WHOM THESE PRESENTS SHALL COME, I, JoпN
HENRY PAPE, of Paris, send greeting.
:
WHEREAS Her present inost Excellent. Majesty Queen Victoria, by Her
Royal Letters. Patent under the Great Seal of the United Kingdom of Great
Britain, and Ireland; béaring date' at Westminster, the Twentieth day of
December. (One. thousand eight hundred and fifty), in the fourteenth year of
Her reign, did, for Herself, Her heirs.and successors, give and grant unto
me, the said John Henry Pape, my exors, adññors, and assigns, Her especial
license, full power, sole privilege' and authority, that I, the said John Henry
Pape, my exors, admors, and assigns, or such others as I, the said John
Henry Pape, my.exors,. adiñors, .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 MUSICAL INSTRUMENTS;" in. which said Letters Patent is
contained a proviso that I, the said John Henry Pape, shall cause a particular
description of the nature of my said Invention, and in what manner the same
is to be performed, by an instrument in writing under my hand and seal, 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

page_text: Letters Patent, as in and by the same, reference being thereunto had, wi
more fully and at large appear.
NOW KNOW YE, that in compliance with the said proviso, I, the said
John Henry Pape, do hereby declare that the nature of my said Invention,
and the manner in which the same is to be performed, are fully described 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:-
Figure 1 represents a new method, which consists in making different
musical bodies vibrate together.. A, key of the finger board; B, lever, in which
is placed the hopper C, having its centre in D and escaping by the screw E;
F, hopper spring; G, check; H, screw to regulate the lever B; K, damper;
L, damper lever moving on its centre I; J, coiled spring which presses the
damper R against the string M, and at the same time throws back the
hammer N by means of the brass wire O, by touching the hammer nut P;
Q, centre of the hammer nut. The hammer N when striking puts in vibration
the string M, and also at the same time the tongue R, by means of the silk
thread S, which is attached to them in a slight manner, so that the wire and
the tongue will vibrate together without being disturbed by the silk thread;
and although I have shown a piece of silk thread between the wire and the
tongue as the means of connection, the action of the hammer may otherwise
produce the required action upon the tongue; the sound is thus kept on as
long as the flap T of the wind box U is kept open, which is produced by
the lever V moving in its centre W when lifted by the key A by means
of the hooks X and Y. A, A, harmonic rods made in preference of wood
of the same thickness as the keys, and placed close one to the other in
the case, facing the keys; their width is proportioned to the tension of the
strings, so that each rod can sustain the tension of its own strings. The said
width can vary from one inch to three inches, according to the scale either for
short or long strings, as also the quantity of strings mounted upon each note,
which can vary from one to six strings, and can all be tuned by one pin, as it is
shewn in Figure 10. A, A, harmonic rod; M strings; b, b, small bridges;
c, c, hedge pin; d, d, tuning pin; f,f, ribs placed on the sounding board g, g,
to which the rod A, A, is fixed; H tube through which the wind passes to go
against the tongue R; j key of the second finger board, placed below the other,
containing the hammer k, which is brought to strike the metal spring when
the key is pressed down by means of the hook m, which catches the hammer
nut close to its centre p; the metal spring is fixed in the iron block », and
pressed by the screw 5. The brass wire q forms a square angle, and serves to

page_text: touch the tongue t by the hammer blow, and to produce its immediate speaking;
the tone is kept on by the wind, when the lever u, having its centre in v, is
pressed by the brass wire w communicating by means of the lever u. This
last lever u has its centre in y, communicating by means of the wire z to the
key j.
Figure 2, view of the instrument; O, harmonic rods with their strings Z;
X, rest pin; W, hedge pins; A, A, wind box; V, rest pin block; Y, bellows.
Figure 3 elastic system applied to hammers; c, hammer; d, centre consisting
of a wire g bent into a double square angle in which rolls the bammer, and
the open ends pass through two holes B lined with kerseymere and stopped by
two leather buttons F. These leather buttons are covered with an elastic
ribbon S, which forces the hammer back to its place after the stroke. H, second
hammer made on the same principle as the other, but with a metal spring j,
(I only mention this here to demonstrate that these hammers can be made in
different ways; but the principle I intend to claim in this part of the Invention
Patent is that of hammers being made elastic by mechanical means, which
never before has been practised for pianoforte hammers.
Figure 4 action used for grand or table pianofortes. A, key; B, lever,
having its centre in C (this lever contains the hopper D); the button E serves
for the escape; F, centre of the hopper; G, second lever, having its centre in J.
and a screw button at the back end standing on a solid piece m, which, when
the key is brought down, presses the lever B, which causes the speaking of the
hammer by means of the hopper D; K, brass lever, having its centre Z and
surmounted by a coiled spring M, which touches under the fixed square
piece N, passing through the hammer nut O; this hammer nut has its centre
in P, and a weaker coiled spring Q is also placed on the brass lever K and
touches the hammer nut O. To raise the hammer h the brass wire R with
three buttons S is fixed to the brass lever, and serves to bring up the lever B,
as well as the key A, by means of the screw button T, which serves at
the same time to regulate the key. V, screw to fix the whole on the
brass plate W; X damper lever lifted by the leather button Y fixed at the
end of the brass wire m*; Z, rod on which is fixed the damper z, serving to
lift it up to operate the forte.
Figure 5 represents a new form of pianoforte, combining the forms of the
grand and console pianos. Its vertical disposition, that is to say, putting it
on the smaller side, as shown, gives it the great advantage of occupying less
space than the ordinary grand pianofortes, and its construction does not
become so expensive. The Figure represents.the face view of the instrument.

page_text: A, rest pin block; B, small bridge; C, strings; D, belly bridge; E, pin
block; H, sounding board, placed, as in the consoles, behind the braces;
I, pedal; J, wooden rods, forming the solid part of the case. These rods are
placed on the same line as the strings, and distanced according to the tension
of the instrument. This mode of construction gives a much greater resistance
in proportion to the weight of the case.
Figure 6. To this piano is equally adapted the system of traction. This
application is brought here in use for the rest pin block, which requires a
great deal of strength. C, hard wooden rod, through which passes an iron
wire B, having at its extremities nuts D, by means of which it is braced until
it has taken the form of a violon bow. It is then grooved in the block A,
and glued in this state by beginning at the ends. The block is then forced
quite hollow, and by this means never returns, as is generally the case.
Figure 7. Action for upright pianoforte.-A, key; B, lever; C, regulating
screw; D, hopper; E, centre of the hopper; F, brass wire, with two leather
buttons J. The top one, when the key is lifted, touches another leather button
H, which turns the hopper and makes it escape on the hammer nut I. G, new
check; K, damper lever; L, coiled spring, which presses the damper against
the string, and at the same time pushes back the hammer through the wire
M, as already explained.
Figures 8 and 9 represent a hollow key for action above the strings. This
key is formed in such a way that the head of the hammer passes through
it for the purpose of touching the string, which gives the advantage of making
the action simpler and of reducing considerably the length of the instrument.
A, key; B, centre; C, brass plate, adapted and rivited in D at each side of
the key, and serving to give it the solidity and strength required; E, hole for
the passage of the hammer. (I shall not represent here any action, this key
being susceptible of application to different sorts of action, and the new idea
consisting entirely in the passage of the hammer through the key.
Figures 10, 11, and 12 represent a new pianoforte with 7 octaves, being
only three feet high. The strings are mounted on harmonic rods, being on
the same principle as those already explained in Figure 1, but still differing
in some parts, as will be seen in Figure 11. Figure 12 represents an action
with short keys, being only 6 inches in length, having the advantage of
reducing the width of the instrument, and it is still more powerful than any
common action.
Figures 10, 11; and 12 (the same letters refer to the same parts). A, key;
B, centre; C, long lever, or second key; D, centre of the lever; E, hopper;

page_text: F, centre of the hopper; G, hammer; H, hammer nut; I, screw, by means
of which, and the screw button K, this hopper escapes; L, check; M, damper
lever; N, centre; O, brass wire surmounded by a coiled spring Q, which presses
by means of the leather button P the damper against the string v, and at the
same time the hammer nut H; T, moveable piece which operates the forte
by the hook S; U, harmonic rod; Y, small bridge on which lay the strings v,
drawn by the rest pin X, by means of the screw nut Z; to this screw nut are
riveted two small brass rollers a, a, on which the springs pass, and when the
pin is turned this nut moves up or down according to what is required.
b, b, small hook for the third string, if required. These six strings can be
regulated; if necessary, by the three screws c, c, as well as by the rest pins d, d,
placed at the bottom. These same six strings are put in vibration by one
hammer by means of the brass wire f, f, and the leather buttons g, g, which
are each brought by the hammer stroke to jump against the three strings v
placed behind, and the vibration is kept up by the wind, the tongue h, h, and
the silk thread i, i. O, O, wind box which receives the tube q, q, through
which the wind passes to go against the tongue h, h. P, P, brass button which
is screwed in the slip N, N, and opens the flap M, M, by means of the brass
wire S, S, when pressed by the lever T. T, having its centre in f,f,f, and lifted
by the lever C. When the key A is pressed upon it the brass wire S, S, passes
through the lever R, having its centre in L, L. u, u, bridge on which are
placed the harmonic rods U and fixed by the hooks V*, V*; the bridge u, u, is
also fixed to the sounding board z, z. W, W, double bellows (Figure 10),
constructed in such a way that when one part opens the other shuts, so that
one part serves for the aspiration and the other for blowing.
reservoir X; X, is placed above, and made in the form of a mattrass of india
rubber, and by these means it gives way to the pressure of the air, and also
possesses the great advantage of being able to be placed in any space with
great facility; it can also be made of any other air-tight fabric or material, and
in this case the strings B, B, must be elastic, so as to produce the same effect.
C, C, pedal having its centre in D, D, can be used with both feet.
The new air
Figure 13. New method of constructing the solid part of the case for
pianofortes, consisting in thin wooden rods instead of the heavy iron or
wooden braces generally used. The form represented here is an upright
piano; the rods mentioned are distanced in the same way as the keys,
that is to say, one for each note, which leaves an opening for each tongue
plate (in French "anche") placed in it, and by means of a separation
forms a part of the tube, through which the wind passes to go against
the tongue. In this instrument the sounding board instead of being

page_text: placed behind the braces is placed in the middle of the solid part, which is
done in the way explained hereafter; this solid part is manufactured in one
piece, and afterwards parted or cut in two, as will be seen in the section, and
the sounding board is fitted in between, and the whole is screwed and bolted
together; in this position the tension of the strings as well as the atmosphere
cannot affect the sounding board. The top part serves for braces and the bottom
for bracing, and a regular space is by these means reserved for the springs
according to the acoustic conditions. In this instrument the strings run the
same as in the grand one, and a common "anche" is used for it, which is
placed exactly under the strings, so that the hammer can strike at the
same time the string and also the tongue, so as to put them in immediate
vibration. When the "anche" is not adapted to this, the bass strings are placed
as marked in red. A, rest pin block. B, hedge pin block. C, side piece.
D, thin wooden rods. E, slips for side bracing them. All this forms the solid
part of the case. F, small bridge. G, belly bridge. H, strings. I, crossed
strings in the second plan. j, bolts for keeping the two parts together.
Figure 14 (section).-To this instrument is adapted a second set of rest pins
which serve to maintain the instrument better in tunc.-A, rest pin block; B,
wooden rods; C, sounding boards; D, pin block; E, belly bridge; F, strings;
G, rest pin; H, anche (or tongue plate); I, second rest pin with a double
string K, which passes round the rest pin G, and serves by this means to
counterbalance the tension.
Figure 15. Different shapes of "anches" and vibrating springs.-1, 2, and 3
are different views of the same "anche" with a round flap, and this is very
favorable to be placed on tubes; it is also very useful for the reason that the
spring can be placed outside notwithstanding the flap is placed inside of the
hole, and by this means it can be very easily set in vibration by a part of the
action. 4, 5, and 6 are also one same "anche" and similar to the first, but
with a long flap which becomes necessary in the extreme bass. 7, 8, 9, and
10 are vibrating springs fixed in their iron block; 7 is fixed before a draft of
air, which keeps up the vibration.
Figure 16.
New mode of constructing the solid part of the case in piano-
fortes, in which are employed partly strings and partly springs, and the whole
put in vibration with the double hammer explained in Figure 17.-A, case in
the form of an oval table and made in a new way, with thin wooden rods instead
of braces; B, rest pin block; C, hedge pin block; D, belly bridge; E, small
bridge; F, strings (only one for each note); G, iron block containing the
vibrating spring H, with two or three springs i for each note, according to the
power wanted for the proportion of the bass; that is to say, if the same con-

page_text: struction is applied to the horizontal grand piano, where the strong's are longer,
three of them would be necessary. This instrument has the great advantage of
being easily tuned, having only one string which requires to be tuned only to
the unison of the spring, and by these means my system of tuning by sight
can be also applied to keep it constantly in tune.
.
Figure 17. Action with double hammers.-These hammers have the advan-
tage of striking two musical bodies at once, one above and the other below; as
it is the case here, the string is below and the vibrating spring above; notwith-
standing the action is quite simple and the note repeats with great facility.
This advantage is due to the new disposition of the hammer, which consists in
giving two blows at one time instead of one. A, key; B, pilots 1, 2, 3, and 4.
No. 1 touches the hammer C behind its centre D to make it strike the string h.
No. 2 presses the hammer on the other side of its centre and keeps it from
trembling; the same hammer C lifting up again damps the vibrating spring i.
K. tuft. No. 3 lifts up the second hammer G to strike the vibrating spring i
fixed in the block P and pressed by the screw R. No. 4 retains the hammer
after the stroke and damps by its fall the string h. 4, tuft. The forte is
operated by the iron tubes M lined with woollen stuff, and by these tubes the
hammer can be prevented from striking either the strings or the springs, and
thus the hammer will play only on the strings or only on the springs. The
hammer C is lifted by the coiled spring O, but it can be done as well with an
elastic ribbon, of which I often make use now.
Figure 18, a similar action striking two springs and a seraphine tongue,
together with a horizontal tube adapted under the key frame. The wind box
is covered with india rubber or with any other air-tight fabric or material.
A, spring fixed to the iron block B, and pressed by the screw C; D, elastic
hammers; E, small hammers which strike the string F, and serve at the same
time for damping, as well as the tuft H; i, wind box; R, india-rubber sheet,
through which passes the wire L, on the top of which the hammer D strikes,
by means of a shoulder O adhering to it, and in the same time the button P
touches the tongue of the "anche;" q, flap of the wind box; R, horizontal
tube.
Figure 19. System of tuning two, three, four, or six strings together, which
I have partly put in use for my double-stringed harp.-This application is
very favorable for upright or grand pianos, where the strings can pass on both
sides. They can be placed also on the contrary end; that is to say, instead of
the hedge pins; and then it perfectly forms a regular balance; and in this
position the two strings are tuned with one pin, as it is shewn in the Figure 20.
A, iron wire on the bottom part of the nutches are used to regulate the

page_text: balance, which is made a groove; a small iron rod' B is passed in it, which
moves on the centre C like a balance. D, brass nuts, on which pass the
strings F, and which can be screwed off and on so as to regulate the balance
or tension of the strings; that is to say, if one string comes to the pitch
before the other it is to be screwed off, and so the contrary will take place by
screwing it on. By these means this nut can serve for tuning the instrument
without touching the top nut E, particularly if the strings are used on one
side only, for increasing the vibration, as it often is the case.
Figure 20. The tuning system is placed to the contrary of that of
Figure 19, and in this case two strings are drawn by one rest pin A. The
acting part being the same as that of Figure 19 (I do not explain it here).
B, brass plate fixed to the rest pin block C, where the strings D pass through
holes E instead of lying against the pins.
Figure 21, a sliding piece in two parts, to be used instead of the common
lever to give an opening to the air for the seraphine. This sliding piece has
the advantage of producing the tone more gradually than in the ordinary
system. It is made of zinc, or any other sheet metal, and is covered with
paper, leather, or any other sort of stuff, and several openings are made in
such way that they cover one another when shut, and all open again when the
slide is drawn out about a quarter of an inch. It is well understood there
must be more openings in the bass than in the treble.
It must be well understood that as far as regards some of the improve-
ments mentioned in this Patent I do not wish to confine myself merely to the
details given in it, for this reason, that it is the idea which is of a more
patentable nature than the mechanical process to which it has been submitted.
The system of bringing musical bodies to vibrate together not only by such a
substance as thread, but also through the action of air, as is detailed, shown in
this description (the draft of air itself increasing the vibration of the strings),
is one for which I have long been desirous of obtaining a satisfactory result.
Having thus described the nature of my said Invention, and the manner in
which the same is to be performed, I would have it understood that I do not
confine myself to the precise details herein given, as variations may be made
without departing from the Invention. But what I claim is, the various
improvements herein described.
In witness whereof, I, the said John Henry Pape, have hereunto set
my hand and seal, this Twentieth day of June, in the year of our
Lord One thousand eight hundred and fifty-one.
JOHN HENRY (L.s.) PAPE.

page_text: AND BE IT REMEMBERED, that on the Twentieth day of June, in
the year of our Lord 1851, the aforesaid John Henry Pape came before
our said Lady the Queen in Her Chancery, and acknowledged the Specification
aforesaid, and all and every thing therein contained and specified, in form
above written. And also the Specification aforesaid was stamped according
to the tenor of the Statute made for that purpose.
Enrolled the Twentieth day of June, in the year of our Lord One
thousand eight hundred and fifty-one.