IMPROVEMENTS IN MEANS FOR FACILITATING THE ACQUIREMENT OF THE KNOWLEDGE OF MUSICAL SCALES AND INTERVALS, AND OF ALL POSSIBLE CHORDS, THEIR INVERSIONS AND RESOLUTIONS, AND OF THE ART OF THOROUGH "BASS
Year: 1879

page_text: LETTERS PATENT to Friedrich Wilhelm von Kornatzki, of Rutland Villas,
Perry Vale, Forest Hill, in the County of Surrey, for the Invention of
IMPROVEMENTS IN MEANS FOR FACILITATING THE ACQUIREMENT OF THE
KNOWLEDGE OF MUSICAL SCALES AND INTERVALS, AND OF ALL POSSIBLE
CHORDS, THEIR INVERSIONS AND RESOLUTIONS, AND OF THE ART OF THOROUGH
"BASS"
Sealed the 13th February, 1880, and dated the 18th August 1879.
PROVISIONAL SPECIFICATION left by the said Friedrich Wilhelm von
Kornatzki at the Office of the Commissioners of Patents on the 18th August
1879.
FRIEDRICH WILHELM VON KORNATZKI, of Rutland Villas, Perry Vale, Forest
Hill, in the County of Surrey. "IMPROVEMENTS IN MEANS FOR FACILITATING
THE ACQUIREMENT OF THE KNOWLEDGE OF MUSICAL SCALES AND INTERVALS,
AND OF ALL POSSIBLE CHORDS, THEIR INVERSIONS AND RESOLUTIONS, AND OP
THE ART OF THOROUGH, BASS."
2.
The Invention has for its object improvements in means for facilitating the
acquirement of the knowledge of musical scales and intervals and of all possible
chords, their inversions and resolutions, and of the art of thorough bass, which for
convenience I will call the "chord denoter," such being a compendium of thorough
bass by which I can represent the coustruction of all the major and minor, scales,
all possible intervals and their inversions, the construction of the thirteen primitive
chords and their inversions, the normal resolutions of all discords, the enharmonic
transitions of the existing three different chords of the diminished seventh and
other matters relating to the theory of music.
:
Although as a matter of fact the system of musical notation is founded on eleven
lines there are generally used only five lines grouped together which are collectively
called "the stave," except in the case of some keyed instruments where two of
suchi "staves" are used at the same time with a considerable space between them.
When using the eleven lines the upper five lines are used for the treble with the
G or treble clef.

page_text: The lower five lines are used for the bass with the F or bass clef, and counting
from the lowest the sixth, seventh, eighth, ninth, and tenth lines for the soprano
with the C clef; the fourth, fifth, sixth, seventh, and eightli for the alto with the
C clef; and the third, fourth, fifth, sixth, and seventh for the tenor with the C clef.
The contrivances beretofore in use for a similar purpose are almost imperfect,
clumsy, impracticable for use, and very incomplete, and principally for the reason
that they are all founded on one or more staves, entirely forgetting that there are
eleven collective lines upon which the entire musical system can be notated.
The "chord denoter" is founded on these eleven lines which are used collectively
at the same time; they may be painted or otherwise marked on glass or on any
other suitable transparent substance, or they may be printed on any suitable
transparent material, or exhibited on a frame by means of wires, strings, or other
similar materials.
For facilitating the reading of the middle line (the sixth) upon which the C clef
is placed I mark or indicate such line in a different color to that employed for the
other ten lines.
The transparent material upon which the eleven lines or represented, or the frame
on which they are placed; is suitably fitted on a stand, base, or other suitable
contrivance, and it is divided into two parts, a sinaller one on the left and a longer
one on the right side. The smaller part is for the signature of all the major and
'minor scales, the longer is to be used for the representation of the musical matter.
The "signatures" and the representation of the musical matter are placed
underneath the eleven lines and chords written in music which would fit the eleven
lines in any key would fit also for any other key, provided that the corresponding
signature is shown, and that the music itself is either moved up or down accordingly
on the right line or space upon which it is desired to see it represented. A con-
venient mode of bringing the "signatures" and music below the eleven lines so
that they can be seen as though printed on them is to provide a number of slides,
smaller ones for the signatures to be passed under the above mentioned smaller
part on the left side and larger ones to be passed under the larger part on the right
hand side, the larger slides contain all that can be represented by music in thorough
bass. The "signatures" and the music may however be mounted on endless or
other bands so arranged as to enable any part thereof to be brought into position
as required.
It is obvious that the music may be adapted to any musical system or theory of
music, but the "chord denoter" is for general use founded on the orthodox princi-
ples of the theory of music which are still adhered to in all books on the science
of thorough bass" destined for general use.
The slides for the "signatures" contain the necessary number of flats or sharps
of the different scales and are marked with the three clefs, the G clef for the
eighth line, the F clef for the fourth line, and the C clef for the sixth line, which
is the only one represented with the same color as the sixth line to adjust the
slides correctly. Above the signature stands the name of the respective major
scale, and also the name of its dominant (fifth degree); below the 'signature stands
the name of the relative minor scale and also the name of its dominant (fifth
degree).
'
The various slides containing the musical matter represent all the major and minor
scales, all possible intervals and their inversions, the construction of the thirteen
primitive chords and their inversions, the normal resolutions of all discords. The
construction of each primitive chord is mentioned, how it is figured in thorough
bass, and on what degree of the major and minor scale it has its original seat. All
inversions are likewise figured.
The three chords of the diminished seventh with their enharmonic transitions
and their resolutions in the twenty four different keys. They will also contain
some general remarks about connecting chords and some descriptive matter how to
use the different slides.

page_text: The notes are represented without lines but in such a way that they fit the
eleven lines upon the transparent matter under which they are to be placed.
All notes which are to be raised according to the signature are indicated with a
particular color, another color being used for all notes which are to be depressed a
semitone.
The figures of the bass have similar colored lines or dashes through them,
according as the intervals they represent are depressed or raised a semitone.
The chords with few exceptions which are particularly mentioned are preferably
constructed on the fifth degree (the dominant) of the major scale.
It will be evident that the slides may be placed over instead of under the eleven
lines, in which case the slides would be suitably guided into position.
By the aid of my Invention the student is enabled to see before him and learn at
once what would require months of hard study by books only.
The "chord denoter" is also very useful for class teaching, as constructed on a
large scale it can be adjusted to an ordinary school board, and the master has simply
to adjust the necessary slides when the class can see and compare in music before
them what he teaches more fully than the master could write it on the board, and
without the loss of time which would be incurred in doing so.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed by.
the said Friedrich Wilhelm von Kornatzki in the Great Seal Patent Office on
the 18th February 1880.
:
FRIEDRICH WILHELM VON KORNATZKI, of Rutland Villas, Perry. Vale, Forest
Hill, in the County of Surrey.
"IMPROVEMENTS IN MEANS FOR FACILITATING
THE ACQUIREMENT OF THE KNOWLEDGE OF MUSICAL SCALES AND INTERVALS,
AND OF ALL POSSIBLE CHORDS, THEIR INVERSIONS AND RESOLUTIONS, AND.. OF
THE ART OF THOROUGH BASS."
•
i The Invention has for its object improvements in means for facilitating the
acquirement of the knowledge of musical scales and intervals and of all possible
chords, their inversions and resolutions, and of the art of thorough bass; which for
convenience I will call the "chord denoter," such being a compendium of thorough
bass by which I can represent the construction of all the major and minor scales,
all possible intervals and their inversions, the construction of the thirteen primitive
chords and their inversions, the normal resolutions of all discords, the enharmonic
transitions of the existing three different chords of the diminished seventh and
other matters relating to theory of music.
Although as a matter of fact the system of musical notation is founded on
eleven lines there are generally used only five lines grouped together which are
collectively called "the stave," except in the case of some keyed instruments where
two of such "staves" are used at the same time with a considerable space between
them.
When using the eleven lines the upper five lines are used for the treble with the
G or treble clef.
The lower five lines are used for the bass with the F or bass clef, and counting
from the lowest the sixth, seventh, eighth, ninth, and tenth lines for the soprano
with the C clef; the fourth, fifth, sixth, seventh, and eighth for the alto with the
C clef; and the third, fourth, fifth, sixth, and seventh for the tenor with the C clef.
The contrivances heretofore in use for a similar purpose are all most imperfect,
clumsy, impracticable for use, and very incomplete, and principally for the reason
that they are all founded on one or more staves, entirely forgetting that there are
eleven collective lines upon which the entire musical system can be notated.
The "chord denoter" is founded on these eleven lines which are used collectively
at the same time. They may be painted or otherwise marked on glass or on any
other suitable transparent substance, or they may be printed on any suitable
transparent material, or exhibited on a frame by means of wires, strings, or other
similar materials.
For facilitating the reading of the middle line (the sixth) upon which the C clef
is placed I mark or indicate such line in a different color (preferably yellow) to
that employed for the other ten lines which are represented in black.
The transparent material upon which the eleven lines are represented, or the
frame on which they are placed, is suitably fitted on a stand, base, or other suitable
contrivance, and it is divided into two parts, a smaller one on the left and a longer
one on the right side.
The smaller part is for the signature of all the major and minor scales, the longer
is to be used for the representation of the musical matter.
The "signatures" and the representation of the musical matter are placed under-
neath the eleven lines, and chords written in music which would fit the eleven
lines in any key would fit also for any other key, provided that the corresponding
signature is shown and that the music itself is either moved up or down, accordingly
on to the right line or space upon which it is desired to see it represented.
A convenient mode of bringing the "signatures" and music below the eleven
liness that they can be seen as though printed on them is to provide a number

page_text: of slides, smaller ones for the signatures to be passed under the above mentioned
smaller part of the left side, and larger ones to be passed under the larger part on
the right hand side; the larger slides contain all that can be represented by music
in thorough bass. The "signatures" and the music may however be mounted on
endless or other bands so arranged as to enable any part thereof to be brought
into position as required.
'
It is obvious that the music may be adapted to any musical system or theory of
music, but the "chord denoter" is for general use founded on the orthodox principles
of the theory of music which are still adhered to in all books on the science of
"thorough bass" destined for general use.
Figure 1 represents a plan, and Figure 2 an edge view of the frame of my
"chord denoter." Figure 3 represents a plan thereof with two slides in position.
Figures 4 and 5 represent two slides in plan. Figure 6 represents an edge view
thereof; and Figure 7 a plan of a modification of the slide shewn at Figures 4, 5,
and 6.
a represents a sheet of glass or other suitable transparent material on which the
eleven lines above mentioned are marked; these eleven lines are preferably marked
on the under surface of the sheet of glass or other transparent material a in order
that when the slides b, c, are placed in position underneath such sheet a the eleven
lines and the matter represented on the slides may be in contact with each other,
and consequently in the same plane, thereby ensuring a correct vision thereof.
The sheet a of transparent material mounted on blocks or distance pieces d, d¹,
d², fixed to a base plate e or other suitable contrivance; the base plate e has mounted
thereon springs e' which serve to put an elastic pressure on the slides b, c, to hold
them securely in the desired position.
The space between the blocks or distance pieces d, d', is comparatively narrow
and fits the slides b whilst the space between the distance pieces d', d², is broader
and fits the slides c.
The notes on the slides b, c, are similarly spaced to the lines on the sheet a, and
on the various slides b are represented all the signatures to major and minor scales,
whilst on the longer slides c is represented the musical matter herein described.
At Figure 7 I have shewn a modification of the slides represented at Figures 4,
5, and 6. In this case a plain slide c is employed formed with a pocket c¹ at each
of the lower corners, into which pockets the corresponding corners of a thin card or
paper slide c upon which is represented the musical matter are received; this
combination slide may be slidden into position under the transparent material as
previously described.
By this arrangement I am enabled to print the musical matter upon thin card or
paper instead of upon thick card as previously shown and described.
The slides b for the "signatures" contain the necessary number of flats or sharps
of the different scales and are marked with the three clefs; the G clef for the
eighth line, the F clef for the fourth line, and the C clef for the sixth line, which
is the only one represented with the same color (yellow) as the sixth line to
adjust the slides correctly.
Above the signature stands the name of the respective major scale, and also the
name of its dominant (fifth degree); below the signature stands the name of the
relative minor scale and also the name of its dominant (fifth degree).
The various slides c containing the musical matter represent all the major and
minor scales, all possible intervals and their inversions, the construction of the
thirteen primitive chords and their inversions, the normal resolutions of all discords.
The construction of each primitive chord is mentioned, how it is figured in
"thorough bass," and on what degree of the major and minor scale it has its
original seat. All inversions are likewise figured. The three chords of the
diminished seventh with their enharmonic transitions and their resolutions into
the twenty four different keys.
They will also contain some general remarks about connecting chords, and some
descriptive matter how to use the different slides.

page_text: 海
1
The notes are represented without lines, but in such a way that they fit the
eleven lines upon the transparent matter a under which they are to be placed. All
notes which are to be raised according to the signature are indicated with a
particular color (red), another color (blue) being used for all notes which are to
be, depressed a semitone. 11
"T
16
:li
The figures of the bass have similar colored lines or dashes through them,
according as the intervals they represent are depressed or raised a semitone.
The chords with few exceptions which are particularly mentioned are preferably
constructed on the fifth degree (the dominant) of the major scale,
T
It will be evident that the slides b, c, may be placed over instead of under the
eleven lines, in which case the slides would be constructed of transparent materiál,
and the matter thereon, marked on the underside thereof; whilst the lines are
indicated, on an opaque material...
.
**
In either case the slides must be suitably, guided into position.
[ 1841 1. TH
Med
By the aid of my Invention the student is enabled to see before him and learn at 1
once what would require months of hard study by books only.
جدد
"
J
nir
دير
. P
The chord denoter" is also very useful for class teaching, as constructed on a
large scale it can be adjusted to an ordinary school board and the master has simply
to adjust the
st the necessary, slides, when the class can see and compare in music. before
them what he teaches more fully than the master could write it on the board and
without the loss of time which would be incurred in doing so.
I have not thought it necessary to represent in the Drawings all the "matter.
which will be indicated on the various slides as such will, aided by the above
description, be readily understood by a competent musician.
Having thus described the nature of my said Invention, and the mode in which
I prefer to carry, the same into effect, I would have it understood that what "Í“
claim is the chord denoter" substantially y as herein shwn and described.
B
M..
.1
In witness whereof, I, the said Friedrich Wilhelm von Kornatzki, have
hereunto, set my hand and seal, this Fourteenth day of February, in
the year of our Lord One thousand eight hundred and eighty.
..t.