CERTAIN IMPROVEMENTS IN THE PIANOFORTE.
Year: 1861

page_text: LETTERS PATENT to Joseph Rogerson Cotter, of Donoughmore Rectory,
in the County of Cork, Ireland, Clerk, for the Invention of "CERTAIN
IMPROVEMENTS IN THE PIANOFORTE.
Sealed the 7th January 1862, and dated the 11th July 1861.
PROVISIONAL SPECIFICATION left by the said Joseph Rogerson Cotter at
the Office of the Commissioners of Patents, with his Petition, on the
11th July 1861.
I, JOSEPH ROGERSON COTTER, of Donoughmore Rectory, in the County of
Cork, Ireland, Clerk, do hereby declare the nature of the said Invention for
"CERTAIN IMPROVEMENTS IN THE PIANOFORTE," to be as follows:-
The principal novel feature of this Invention consists in eliciting or pro-
ducing the tone from the central point or part of the strings throughout the
whole range of the instrument,, instead of eliciting the same from a point
nearer to one end of the string than to the centre, as hitherto practised. By
these means the vibrations of the string commence in the centre (instead of
commencing near to one end), and hence the vibrations are more perfect, and.
the tone consequently more powerful and pure.
In putting this Invention into practise, I find that for the lower or base.
notes any of the ordinary arrangements of pianoforte mechanism and the
ordinary percussion hammer will answer the purpose, producing the full tone

page_text: at once by percussion at the central part of the string, but that in the middle
and upper parts of the scale or keyboard, when the string is struck at or near
the centre, the vibrations are so rapid that it is impossible to get the hammer
out of the way before the return vibration of the string, and consequently the
vibrations would be immediately checked and the tone greatly deteriorated.
The second part of my Invention is designed to remedy this defect, and
consists in attaching to the ordinary mechanism of the pianoforte (at the
middle and upper part of the scale). "claws" or " fingers" instead of per-
cussion hammers, such "claws "being so arranged and constructed as to strike
past the string and retire (again past the string) without touching the same,
instead of striking against the string and then falling back as the ordinary
percussion hammer does. The action of these "claws" or "fingers" is very
similar to that of the human fingers on the strings of a harp; that is to say,
the strings are pulled (or they may be pushed) the requisite distance, and then
released and allowed to vibrate, thus producing the required effect. The
particular construction of these "claws" or "fingers" may be varied to
almost any extent, the principal feature being still retained, that is, that they
shall pass by and repass the string, each time a key is struck, striking, pulling,
or pushing the string on passing, and repassing or returning without touching
the same.
SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said Joseph Rogerson Cotter in the Great Seal Patent Office on
the 11th January 1862.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOSEPH
ROGERSON COTTER, of Donoughmore Rectory, in the County of Cork, Ireland,
Clerk, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Eleventh day of July, in the year of our 'Lord One'
thousand eight hundred and sixty-one, in the twenty-fifth year of Her reign,
did, for Herself, Her heirs and successors, give and grant unto me, the said
Joseph Rogerson Cotter, Her special licence that I, the said Joseph Rogerson
Cotter, my executors, administrators, and assigns, or such other as I, the said
Joseph Rogerson Cotter, my executors, administrators, and assigns, should at
any time agree with, and no others, from time to time and at all times there-
after during the term therein expressed, should and lawfully might make,
use, exercise, and vend, within the United Kingdom of Great Britain and

page_text: Ireland, the Channel Islands, and Isle of Man, an Invention for "CERTAIN
IMPROVEMENTS IN THE PIANOFORTE," upon the condition (amongst others) that I,
the said Joseph Rogerson Cotter, my executors or administrators, by an instru-
ment in writing under my, or their, or one of their hands and seals, should
particularly describe and ascertain the nature of the said Invention, and in
what manner the same was to be performed, and cause the same to be filed
in the Great Seal Patent Office within six calendar months next and imme-
diately after the date of the said Letters Patent.
NOW KNOW YE, that I, the said Joseph Rogerson Cotter, do hereby
declare the nature of my said Invention, and in what manner the same is to
be performed, to be particularly described and ascertained in and by the fol
lowing statement in writing, and on reference to the accompanying Drawings,
that is to say-
The principal novel feature of this Invention consists in eliciting or pro-
ducing the tone from the central point or part of the strings throughout the
whole range of the instrument, instead of eliciting the same from a point
nearer to one end of the string than to the centre, as hitherto practised. By
these means the vibrations of the string commence in the centre (instead of
commencing near to one end), and hence the vibrations are more perfect, and
the tone consequently more powerful and pure.
In putting this Invention into practice, I find that for the lower or bass
notes any of the ordinary arrangements of pianoforte mechanism and the
ordinary percussion hammer will answer the purpose, producing the full tone
at once by percussion at the central part of the string, but that in the middle
and upper parts of the scale or keyboard, when the string is struck at or near
the centre, the vibrations are so rapid that it is impossible to get the hammer
out of the way before the return vibration of the string, and consequently the
vibrations would be immediately checked, and the tone greatly deteriorated.
The second part of my Invention is designed to remedy this defect, and
consists in attaching to the ordinary mechanism of the pianoforte (at the
middle and upper part of the scale) "claws" or "fingers" instead of per-
cussion hammers, such "claws "being so arranged and constructed as to strike
past the string and retire (again past the string) without touching the same,
instead of striking against the string and then falling back as the ordinary
percussion hammer does. The action of these "claws" or "fingers" is very
similar to that of the human fingers on the strings of a harp, that is to say,
the strings are pulled (or they may be pushed) the requisite distance, and
then released and allowed to vibrate, thus producing the required effect. The
particular construction of these "claws" or " "fingers" may be varied to

page_text: almost any extent, the principal feature being still retained, that is, that they
shall pass by and repass the string each time a key is struck, striking, pulling,
or pushing the string on passing, and repassing or returning without touching
the same.
"Certain
Such being the nature and object of my said Invention for
Improvements in the Pianoforte," I will now proceed to describe more in detail
the manner in which the same is to be or may be performed or carried into
practical effect, and in order that the same may be distinctly understood,
I have annexed hereunto a Sheet of Drawings illustrative thereof, and have
marked the same with figures and letters of reference corresponding with
those in the following explanation thereof, that is to say :-
It will be evident that, as before stated, the particular arrangement of
mechanism whereby my Invention may be carried into practical effect is
capable of a great variety of modifications, and my Invention may be applied
to any of the ordinary forms of pianoforte now constructed, but for the sake
of illustration I have represented in the annexed Drawings a novel form of
pianoforte, which I have had especially constructed for the application of my
Invention, and also a peculiar arrangement of apparatus for eliciting the sound
from the strings, which I have found in practice to be both simple, and
effectual.
The pianoforte (which I propose to call the "Lyrachord ") is of the upright
class, and is of the peculiar form shown in Figure 1; its beight at the bass
side from A to B being about five feet six inches, and at the treble side from C
to D about three feet six inches, The length of the strings, the breadth of
the case from E to F, and of the keyboard are as usual, the scale of notes
being from A altissimo down to the lowest C, the strings being so arranged
that the central point of each lies in the straight line E, F. In this instru-
ment I use the ordinary "action" so far as "under dampers," "keys,"
hoppers," "stickers," "butts," and "shanks," and other apparatus as in the
ordinary pianoforte, but so adjusted as to strike, push, or pull (in the manner
hereafter described) the central point or part of each string, as shown by the
line E, F.
44
For sounding the bass notes from the lowest C up to E natural in the lower
tenor, I use ordinary percussion hammers, buffed with felt, as I find that from
the slowness of the vibrations of the strings of the lower notes the ordinary
hammers will elicit the full tone at once from the central part of the string
without "jarring," but from the next note (or F natural) up to the highest
note on the instrument, I use an entirely new mechanism for striking,
pushing, or pulling each pair of strings. It consists of what I call "the hand,"

page_text: (see Figure 2.) It is fixed on the top of the "shank "x in place of a hammer,
and is constructed in the following manner:-There is first what I call the
"cradle." It is made of timber, and when viewed laterally it presents the
form shown in Figure 3. The middle or upright part C, D, G, I call the
"fork," (see Figure 4.) Its "butt" H, K, D, G, is about a quarter of an
inch square, and about five-eighths of an inch long from D, G, to H, K,
where it is narrowed to about three-sixteenths of an inch upwards to L, N.
The "butt" of the "fork" has a hole underneath at D, G, to fit the shank x.
The "fork" is about two inches and one-eighth long from D, G, to C. At
about half an inch from the bottom D, G, the fork is divided into two prongs
by a slit or opening about one-eighth of an inch wide, reaching to the top, as
seen in face view at Figure 5. Figure 6 represents the "bar as detached
from the "fork." It is about one inch and five-eighths of an inch long, and
about three-sixteenths of an inch square, and is tenoned or grooved in the
middle at H, K, to about one-eighth of an inch, so as to fit down in the
bottom of the opening between the prongs, with a slight inclination downwards
towards the shank a, as seen in Figure 2, and with a slight shoulder at each
side of the tenon; it is made fast by a small screw running through the
prongs and tenon at H. K. The arms of the bar A, B, and E, F,
(Figures 2 and 6) are morticed and glued or cemented on at each end,
reaching upwards. The front arm E, F, or one next the strings, is about
three-quarters of an inch long from E to F. It is shaped as seen in Figure 7,
and its upper member O, E, is about three-sixteenths of an inch wide. In the
upper member of this front arm there is a hole at N at about three-eighths of
an inch from the upper surface of the "bar," suited to receive a cloth
"bushing" similar to that used in the "butts" of pianoforte hammers. This
bushing is to receive the head of the "guide pin" of the forceps (hereafter
described), which "guide pin" is of pianoforte "centre-wire." The hinder
"arm" A, B, (Figures 1 and 8), is about three-quarters and one-sixteenth of
an inch long, and has two holes at N and P (Figure 8). The upper hole at N
is also bushed with cloth similarly to that in the front arm, and receives the
tail of the "guide pin." This hole also is about three-eighths of an inch from
the upper surface of the "bar." The lower or smaller hole at P (Figure 8),
is about one quarter of an inch below the upper hole at N, and is suited to
receive the "regulator" or regulating screw pin R, V, (Figure 6). This
regulator is about five-eighths of an inch long from R to V. It is wound up
to the curve R, and has a small brass button screwed and soldered upon the
end of it at V. Each of the arms is about one-eighth of an inch thick
sidewise.

page_text: The "forceps," (Figures 9 and 10) is made of brass (except the "foot
Z, M, to be berein-after described), and consists of, first, the " "fingers M, Y,
and M, X, (Figure 10.) Each of these "fingers" is about one inch and three-
quarters long from M to Y (exclusive of about one-tenth of an inch reserved
for the "claw," to be described hereafter). Each "finger" is made of hard
spring brass, in thickness No. 8, plate guage (but the softer kind will also
answer, though I do not consider it so durable), and each pair varies in
breadth from about one-quarter of an inch in the lowest note to one-eighth of
an inch in the highest, which breadth may be graduated between, all through
the scale. The "body," (Figure 11,) is of the same quality sheet brass as the
fingers, and of the same breadth with them respectively. It is about one inch
long from Z to N (Figure 11), and it is soldered at one edge. on the "guide
pin" A, E. The "guide pin" is of pianoforte "centre wire," is about one inch
and three-quarters long, and projects beyond the body at the ends Z and N
about three-eighths of an inch. The "fingers" are attached to the body by
the spring or "muscle," Figures 12 and 13). The spring is of hard spring
sheet brass, No. 1, plate gauge (the softer kind will also answer, but I do not
consider it so durable), and is of the same breadth as the fingers respectively.
When extended (as in Figure 12) the spring is about one inch and one-
quarter long. It is to be doubled up in the centre at Z, so as that when the
angle at Z is clasped in close to the back part of the body at Z, it will
extend forwards at each side towards O and S (Figures 10 and 13). The
spring is soldered to the "body" at the angle Z, and care must be taken that
the soldering shall not reach above about one-sixteenth of an inch from the
angle Z. On this spring the "fingers" are attached by soldering one at each
side at M, M, so as to leave about five-sixteenths of an inch bare behind them
from Z to M (Figure 9), where the soldered end of each "finger" terminates.
When soldered together the "forceps" will appear laterally, as in Figure 9,
and edgewise, as in Figure 10. A small hole is drilled between Z and M, a
little back from the centre (as shown in Figure 9), for rivetting on the "foot."
The "foot" consists of two square pieces of close leather or felt (see Figure 14).
These are glued on each side of the bare part of the spring, and rivetted
with a pin through the small hole. The "foot" is then buffed over with a
slip of soft leather, glued on all round from M to M, Figure 10, adjusted
carefully at M on each side, so as to fit close into the angle made by the ends
'of the foot leather and the spring at each side. The "claws are small
projections (X and Y, Figure 15,) at the end of the "fingers." They consist
of part of the brass fingers turned inwards, so as to form rather less than a
right angle with the inner surface of the fingers, each claw being about

page_text: one-tenth of an inch on its flat top at X and Y, Figure 15. In the very high
notes the claws are brought to a point. This pointing may be continued from
the highest note downwards for about an octave, whence the claws may be left
a little blunt or of truncated shape. This tapering may be decreased gradually
downwards till the "claws" of the lowest "fingers" in the tenor are of the
same breadth with the fingers themselves. To prevent the brass from cracking
or breaking in turning the "claws" that part of the fingers should (if hard
spring brass is used) be softened by heat. These "claws" are buffed in the
following manner :-Glue on to the flat top of the claw a bit of doe-skin
leather of the same size as the claw, and shaped according to the size of the
surface of the "claw" or part that strikes the string. Then glue a slip of
soft kid-skin or other leather over this, laying half of this slip against one side
of the flat surface of the "finger," doubling it over to the other side, and
pressing it up into the angle of the "claw," so as to press round and over the
bit of leather before glued on the top of the "claw." This buffing may be
carried upwards from the lowest note, having the "forceps" action diminishing
the thickness of the under piece of doe-leather, till it is omitted at about
middle D, from which note single leather (kid-skin or other) may be used to
about the lowest note of the highest octave, where the buffing may cease
entirely, the bare metal answering in that part of the scale. The best glue for
this buffing is the Macintosh or india-rubber glue.
When the "forceps" is thus completed, it is to be fitted into the arms of
the "bar," (this being detached from the fork by removing the screw), pushing
the head of the "guide pin" (E, Figure 10) through the bushed hole in the
front arm E, F, (Figure 6,) and then the tail of the "guide pin" A, through
the bushed hole in the hinder arm A, B, and care must be taken that these
bushed holes be large enough for the "guide pin" to move quite freely in
its own line backwards and forwards through them. When the hand is.
completed by inserting the "bar" and its arms containing the "forceps,"
and screwing it in its place at the bottom of the "fork," it must be adjusted
on the shank, and the latter placed in its butt, with the "claws" turned
towards the strings, so that each claw will bear straight and equally on
each of the two strings. The regulator must be then adjusted so as to give
each "claw "just a sufficient "bite," to make the string sound properly in
passing. The upper part of the "fork" will on each stroke come in contact
with the "check rail," (a bar placed at a convenient distance in front of the
"hand" above the "fingers," and softly buffed), and the claws and fingers
sliding forward by the impetus already received are thereby relieved from the
pressure of the "fork," and will open out by the spring or muscle, and on

page_text: the performer withdrawing the pressure from the key will retire without
retouching the strings until the "forceps" again assumes the striking position
either by the shank reaching the "rest rail" at the back, or by the per-
former's finger pressing the key again. The "check rail" is a bar of wood
covered with soft buffing, placed in the "action," so as to receive the upper
part of the fork (N, C, Figure 4,) just after it has carried the claws about a
quarter of an inch behind the strings. The "striking distance" from the claw
to the string when the "hand" rests on the "rest rail" may be the same as
usual in pianoforte hammers.
In all the parts of the keyboard where the new or "forceps" action is
used the hoppers are to be screwed up, so as to block and allow of no
." escapement" there, the escapement being in the "hand" and forceps above.
In regulating this kind of escapement the springs or "muscles" should not be
allowed to have a greater expansive force than is barely necessary to cause the
fingers to open out to the retiring position, and this retiring position, which
the fingers assume on the fork striking the "check rail," need not be greater
than is necessary to clear the strings on the retiring of the "forceps," and the
expansive power of each side or half spring should be equal. Care must also
be taken that the back part of the "fingers" near M (Figure 10), shall not
touch the prongs, except in the pinching point, which is the front inside edge
of each prong at N, K, Figure 4. The better to effect this, the flat part of
the fingers at the soldering near M, M, Figure 10, should be filed down at
that part, and polished up past the pinching point, the part of the fingers next
the foot being equally and slightly curved inwards, as shewn in Figure 10,
and the inside of the opening between the prongs should be smooth. Should
the maker think it desirable to give a stronger pinching power, the pinching
point may be carried forward by a small staple of sheet brass (shown in dotted
lines at V, W, in Figure 3) screwed under the bar, and having its parallel
sides reaching up to the upper edge of the fingers at each side. This staple
may be buffed with thin leather, or with slender felt split so as to receive each
prong of the staple, but it will answer without buffing.
Having now described the nature and object of my said Invention for
"Certain Improvements in the Pianoforte," together with the manner in
which the same is to be or may be performed or carried into practical effect, I
would remark, in conclusion, that I do not intend to confine myself to the
arrangement of mechanism which is shewn in the Drawings, and above
described for the sake of illustration, as it is capable of almost infinite modifi-
cation, without departing from the essential features of my Invention; but
what I claim as my Invention is,―

page_text: Firstly, eliciting or producing the tone from the central point or part of the
strings throughout the whole range of the instrument.
And, secondly, the employment in pianofortes of "claws" or fingers (in
place of the ordinary hammers), so constructed that they shall pass by
and repass the strings each time a key is struck, striking, pulling, or
pushing the string on passing, and repassing or returning without touching
the same.
In witness whereof, I, the said Joseph Rogerson Cotter, have hereunto
set my hand and seal, this Eleventh day of January, in the year of
our Lord One thousand eight hundred and sixty-two.
JOSEPH ROGERSON COTTER. (L.S.)
Witness,
BRISTOW HUNT,
Sol & Patent Agent,
1, Serle Street, Lincoln's Inn.