IMPROVEMENTS IN CONCERTINAS AND OTHER MUSICAL INSTRUMENTS, THE TONES OF WHICH ARE PRODUCED FROM THE VIBRATION OF SPRINGS
Year: 1861

page_text: LETTERS PATENT to William Wheatstone, of 20, Conduit Street,
St. George's, Hanover Square, in the County of Middlesex, Musical
Instrument Maker, for the Invention of "IMPROVEMENTS IN CONCERTINAS
AND OTHER MUSICAL INSTRUMENTS, THE TONES OF WHICH ARE PRODUCED FROM
THE VIBRATION OF SPRINGS."
Sealed the 7th March 1862, and dated the 14th September 1861.
PROVISIONAL SPECIFICATION left by the said William Wheatstone at
the Office of the Commissioners of Patents, with his Petition, on the
14th September 1861.
I, WILLIAM WHEATSTONE, of 20, Conduit Street, St. George's, Hanover
Square, in the County of Middlesex, Musical Instrument Maker, do hereby
declare the nature of the said Invention for "IMPROVEMENTS IN CONCERTINAS
AND OTHER MUSICAL INSTRUMENTS, THE TONES OF WHICH ARE PRODUCED FROM THE
VIBRATION OF SPRINGS," to be as follows:-
My Invention relates to that class of musical instrument in which the
sounds or notes are produced by the action of wind upon vibrating tongues
situate in air cells or cavities, as in concertinas, accordions, and other similar
instruments.
The improvements which I herein-after describe as being effected in the
construction of these instruments have for their object the accomplishment of
the following desiderata :-1st, a more convenient method of supporting the

page_text: instrument, and of actuating the bellows whilst using it, whoreby the third and
fourth fingers of each hand are released from the necessity which at present
exists of their employment in that duty, and they are thereby set at liberty
to be used, in combination with the other two fingers of each hand, in operating
upon the finger studs or keys, thus affording greatly increased facilities in
manipulating upon the instrument; 2nd, a more convenient position of the
whole series of the finger studs in the "tops" of concertinas and similar
instruments, which enables the performer to act upon them in a manner less
cramped and restricted than at present; 3rd, an extensive enlargement of
the compass of the scales or series of notes to which such instruments have
hitherto been confined, without increasing the dimensions, or materially
augmenting the weight thereof; 4th, a great extension of the scale or compass
of duet concertinas; and, 5th, the production of an improved quality of tone,
by giving additional solidity to certain portions of these instruments.
The nature of my Invention and the manner in which the same is to be
performed will be more readily understood from the following description
thereof, that is to say :-
My first improvement in concertinas and other similar instruments consists
in the introduction or application of a new kind of key and valve (which I
propose to term the direct valvo), which will open a wind passage into a note
cell situated immediately underneath the finger stud, thus dispensing with the
ordinary levers and fulcrums, the space which they would have occupied being
made available for additional notes and valves. The employment of these direct
valves also enables me to shift the position of the entire series of finger studs
in each "top" from the central portion of the same to a more convenient
position near the outer edge of the instrument, by so doing the fingers of the
performer can act upon the studs or keys with greater ease and facility of
touch or fingering than hitherto. And, further, inasmuch as the position of the
finger keys controls or regulates that of the thumb strap, it follows of necessity
that when the finger studs are shifted forward that the thumb strap must also
be brought forward, so as to preserve their relative distance; in my improved
instrument, therefore, the thumb straps are placed in a much better position
for taking the weight and ensuring the balance of the instrument, and giving
greater command over the bellows; the finger plates are also dispensed with,
and the 3rd and 4th fingers of each hand not being required to assist in
supporting the instrument can be employed in operating upon the studs or
keys. And I still further facilitate the handling of concertinas and similar
instruments by providing a semicircular or other suitably shaped rest for the
wrist or ball of the palm of cach band.

page_text: "
In constructing this new direct valve, I form a small rod or pin of metal
or other suitable material, to the upper end of which is securely fixed a round
disc of metal or other material; if of metal, it may be enamelled or otherwise
finished to suit the touch of the fingers, and in colors usually employed to
indicate the various intervals of the notes. The lower end of this rod has a
small thread or screw turned upon it to receive a small nut, the thread tapped
in which nut extends only to half its thickness, so that when it is screwed on
to the pin the other or plain half of its thickness forms a cup or chamber for
the reception of the top of the valve shank. That portion of the "top" through
which the series of pins or studs passes is made of increased thickness, for the
purpose of guiding them, and ensuring a true and steady action, and previous
to screwing on the nuts a "packing" of felt, cloth, leather, or other elastic
"substance is attached to the under side of the "top" to prevent any
unpleasant noise, and also to act as a sort of spring to keep the nuts in contact
with the shanks of the direct valves, and the other finger studs in contact
with the ends of the levers, whether the instrument is being used or not. It
will be evident that these nuts will also prevent the finger studs from falling
out of their places, and any derangement of the keys when the parts of the
instrument are separated. Immediately under each of these studs is situated
the aperture in the key tray which forms the wind passage belonging to the
note cell, and which is opened or closed by the direct valve. This valve
consists of a thin plate of metal or other suitable substance, somewhat larger
than the wind passage it is intended to close. These plates are stamped out
of a form suited to the shape of the cells in which they are to act, and with
small projecting pieces formed at their two ends, which are afterwards turned
up at right angles to the plate to serve as guides by working into two holes
made in the key tray for that purpose. At the desired part of this plate, and
in. a true vertical line with the finger stud or pin, is connected the shank or
stem of the valve, which passes through a guide bar composed of a strip of
metal, curved or otherwise shaped, so as to receive the shanks of any desired
number of valves. The upper end of the valve shank fits into the cup or
chamber of the nut screwed on to the pin of the finger stud. The valve is
fitted on its upper surface with a "packing or stopping" of cloth coated with
soft kid leather, and is kept close against the under side of the key tray, when
not depressed by the performer, by a spring of any suitable form.
My second improvement in concertinas and other similar instruments consists
of a novel construction of the lever keys and finger studs, the use of which, in
combination with four of the direct valves before described, permits of the
shifting of the whole of the forty-eight studs of an ordinary concertina, in the

page_text: manner also before described. The finger stud or pin which I employ to act
upon my improved lever key is precisely similar to that described for working
the direct valve, so that all the finger studs in the instrument, whether acting
upon lever keys or direct valves, present the same external appearance so far
as shape and size are concerned. The levers are made of narrow strips or
pieces of wood or metal, or other suitable material, shaped according to the
positions they are intended to occupy in the key tray, and of lengths pro-
portionate to the distance of the apertures upon which they are to act, from
the finger studs by which they are to be worked. They are centred upon
metal fuleruins firmly secured to the upper surface of the key tray, which
fulcrums are made in one piece with two upright sides, and a knife-edged strip
between them, upon which the levers are free to move. The levers are kept
in their places, and their valves tight over the wind passages, by springs
secured to the rim of the key tray, one spring being made to depress two
levers; these springs act upon the upper surface of the levers at the valve
end, instead of underneath the arm nearest the finger stud as in ordinary
concertinas. The nut upon the finger stud is screwed a little beyond the
end thereof, which is coned so that the point of contact between the stud and
lever is reduced to the minimum amount, and the friction incidental to the
small segmental movement of the ends of the levers is further neutralized by
small pieces of vellum being attached thereto, and these same ends of the
levers have notches cut in them to work around small pins fixed to the key
tray to serve as guides.
My third improvement in concertinas and other similar instruments consists
in the employment of small note trays inserted in the central portion of the
ordinary note tray, left vacant by the described change in the construction of
and the removal of the finger studs before mentioned, for the purpose of con-
taining additional notes, which are acted upon by my "direct valves," and by
this means the scale or series of notes may be increased from 48 to 62 notes
when desired. The manner in which I carry out this part of my Invention is
as follows: The central portion of the note tray is cut out of the required
size and form, and a strip of lining of the depth of the cells is inserted, against
which the air cells in the ordinary note tray are stopped. To the under side
of the note tray, and surrounding the opening thus made, a rim of wood or
other suitable substance is attached, the inner diameter of which is smaller
than the opening it surrounds to form a rebate to receive the small note tray,
which small note tray is made to fit accurately into its place, and is divided
into as many cells as it is desired to insert notes, cach cell being made to
contain the proportionate quantity of air to reciprocate the vibrations of

page_text: its note springs, as is well understood in the construction of concertinas.
Immediately over each note in the cells of the small tray is placed the direct
valve, already described, for the admission and remission of wind to produce
the sound. To the under side of the first rim, of wood or other suitable
material, is secured a second rim of similar shape, but of considerably larger
dimensions, in order to project beyond the under notes for the purpose of
preventing their valves from opening more than the requisite distance, to
serve as a sounding board for these under notes, and to modify the passage
of the air in vibration through the same. The first or smaller rim is cut of a
tapering thickness or of a wedge form, so that the second rim is made to
approach nearer to the note tray at that portion in which are situated the
upper or smaller notes of the musical scale. By the introduction of these
ris an increasing solidity is imparted to the key and note trays, and con-
sequently a much greater solidity and improved quality of tone or sound is
obtained from the notes. These small note trays may be made either of a
circular, oval, or polygonal form, and the pieces of wood or other material
which surround the openings in the ordinary note tray may be of any suitable
shape and size. I prefer, however, to make these parts of my improved
instruments of an oval or circular shape. In those concertinas the scale or
compass of which I increase from 48 to 62 notes, I make use of 11 of the
new direct valves and 20 of the improved lever keys in each "top" or key
tray, seven of which direct valves are made to act upon seven pairs of note
springs placed in the small note tray, the other four direct valves act upon
notes placed in the ordinary note tray. I do not wish, however, to confine
myself to this precise arrangement, as it is evident that the number of direct
valves employed, and the number of additional notes to be contained in the
small note tray, may be varied at pleasure, but I have found this number
and disposition of direct valves and lever keys in the key tray, and of notes in
the small note tray, to be the best, so far as my experience at present extends,
for the production of a complete concertina, the scale of which is equal in
number of finger keys to that of the harmonium; nor do I confine myself to
the present dimensions of concertinas, accordions, and other similar instru-
ments, nor to any particular number of notes, or their arrangement; as the
employment of my direct valves, small note trays, and improved lever keys:
enables me to increase the musical scale of these instruments in a much
greater proportion than any increase in their dimensions or size. Furthermore,
by the employment of these new direct valves and these small note trays in
conjunction with the improved lever keys before described, I am enabled to
extensively enlarge the musical scale or compass of those concertinas known

page_text: "duet concertinas," the number of notes in which has heretofore been
limited to 24. By using 10 of the new direct valves and 17 improved lever
keys in each key tray of these instruments, and the introduction of a small
note tray containing 3 cells and 3 pairs of note springs, I can increase the
scale of the "duet concertinas" from 24 to 54 notes; but I do not confine
myself to any particular number of notes, or of lever keys, or of direct valves,
nor to their disposition or arrangement in these instruments.
SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said William Wheatstone in the Great Seal Patent Office on
the 14th March 1862.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, WILLIAM
WHEATSTONE, of 20, Conduit Street, St. George's, in the County of Middlesex,
Musical Instrument Maker, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Fourteenth day of September, 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 graut
unto me, the said William Wheatstone, Her special licence that I, the said
William Wheatstone, my executors, administrators, and assigns, or such others
as I, the said William Wheatstone, my executors, administrators, and assigns,
should at any time agree with, and no others, from time to time and
at all times thereafter during the term therein expressed, should and lawfully
might make, use, exercise, and vend, within the United Kingdom of Great
Britain and Ireland, the Channel Islands, and Isle of Man, an Invention
for "IMPROVEMENTS IN CONCERTINAS AND OTHER MUSICAL INSTRUMENTS, THE TONES
OF WHICH ARE PRODUCED FROM THE VIBRATION OF SPRINGS," upon the condition
(amongst others) that I, the said William Wheatstone, my executors or
administrators, by an instrument 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 immediately after the date of the said Letters
Patent.
NOW KNOW YE, that I, the said William Wheatstone, do hereby declare
the nature of the said Invention, and in what manner the same is to be

page_text: performed, to be particularly described and ascertained in and by the follow-
ing statement thereof, that is to say :-
My Invention relates to that class of musical instruments in which the
sounds or notes are produced by the action of wind upon vibrating tongues or
springs situated in air cells or cavities as in concertinas, accordions, and other
similar instruments.
The improvements which I herein-after describe as being effected in the
construction of these instruments, have for their object the accomplishment of
the following desiderata :-First, a more convenient method of supporting the
instrument, and of actuating the bellows whilst using it, whereby the 3rd and
4th finger of each hand of the player can be released from the necessity at
present existing of their employment in that duty, so that they may be used
in conjunction with the other two fingers of each hand in operating upon the
finger studs or keys, thus affording greatly increased facilities in manipu-
lating upon the instrument; second, a more convenient position of the whole
series of finger studs in the tops of concertinas and similar instruments, which
will enable the performer to act upon them in a manner less cramped and
restricted than at present; third, an extensive enlargement of the compass of
the scales or series of notes to which such instruments have hitherto been
confined without increasing the dimensions, or materially augmenting the
weight thereof; fourth, a great extension of the scale or compass of duet con-
certinas; and fifth, the production of an improved quality of tone, by giving
additional solidity to certain portions of the instruments.
The nature of my Invention, and the manner in which the same is to be
performed, will be more readily understood from the following description
thereof, reference, being had to the Drawings hereunto annexed, that is
to say:-
My first improvement consists in the introduction or application to con-
certinas and similar instruments of a new kind of key and valve (which I pro--
pose to term the direct valve). This direct valve is so contrived and arranged
as to open a wind passage into a note cell situated immediately underneath.
a finger stud, thus dispensing with the ordinary lever key and fulcrum,
and when a number of these direct valves are made use of in place of a
like number of lever keys, the space which such lever keys would have
occupied can be made available for additional notes and valves, and the em-
ployment of a number of these direct valves permits of the shifting of the
entire set of finger studs in each top from the central portion of the same to
a more convenient position nearer the outer edge of the finger board.
Furthermore, inasmuch as the position of the finger studs controls or regu-

page_text: lates that of the thumb strap, it follows of necessity that when the finger studs
are shifted forward, that the thumb strap must also be brought forward so as
to preserve the relative distance between them. The result of this change of
position in these parts of these instruments is the attainment of the desideratum
firstly herein-before mentioned, and which is herein-after more particularly
explained and illustrated.
The mode of constructing this new direct valve is shewn in detail in Figures
1 and 1. I first form a small rod or pin a (which will herein-after be termed a
stud) of metal or other suitable material, to the upper end of which is securely
fixed a round disc b of metal or other material, if of metal, it may be enamelled
or otherwise finished to suit the touch of the fingers, and tinted in the colors
usually employed to indicate the various notes. Tho lower end of this stud
has a small thread or screw turned upon it, to take a small nut c, the thread
tapped in this nut extends only to half its thickness (as shewn in section), so
that when it is screwed on to the stud, the other or plain half of its thickness
forms a cup or chamber for the reception of the top of the valve shank. The
valve itself consists of a thin plate d of metal or other suitable substance,
somewhat larger than the wind passage it is intended to cover, and I prefer to
make the valve plate of the form shewn, as it is adaptable to the shape of
most of the note cells in which the direct valves have to act. These plates
are stamped or shaped with small projecting pieces c, e, at their two ends,
which are afterwards turned up at right angles to the va've plate, and to
which they serve as guides by working into two holes made in the under side
of the key tray for that purpose. At a point of this valve plate d, determined
by the shape of the note cell in which it is situated, and its position relative to
the finger stud, is connected the shank or stem f of the valve, the upper end
of which fits into the cup or chamber of the nut c, screwed on to the pin a of
the finger stud. The valve is fitted on its upper surface with a "packing" or
"stopping" of cloth coated with soft kid leather, and is kept close against the
under side of the key tray when not depressed by the finger of the performer,
by a spring 9 (Figures 3 and 4) of the form shewn, or any other suitable
shape. A notch is made in the lower end of the valve shank f to receive the
end of the spring, and cause it to exert its influence always at a point of the
valve plate in a vertical line with the finger stud.
My second improvement consists in an improved lever key, and is repre-
sented in Figures 5 and 6. All of these levers are made of strips or pieces of
wood or metal, or other suitable substance, shaped according to the positions
they are intended to occupy in the key tray, and they are made of lengths
proportionate to the distances of the apertures or wind passages upon which

page_text: they are intended to act from the finger studs by which they are to be worked.
Each lever his centred upon a metal fulcrum i seen in elevation, section, and
plan in Figures 7, 8, and 9 respectively. This fulcrum is made in one piece
with two uprights i, and a rounded knife edged strip between them, upon
which the levers are free to move. The part of the fulcrum is firmly fixed
into the key tray, and retains it in an upright position. The lever key is kept in
its place, and its valve is kept tight over the wind passage by means of a
spring j, shewn in Figures 10 and 11, this spring is secured to the rim of the
key tray, and is made to depress two levers. Small grooves are formed in the
upper face of the levers to keep the two ends of the spring in their places.
The finger stud or pin which I employ to act upon my improved lever key is
precisely similar to that described for working the direct valve, so that all the
finger studs in the instrument, whether acting upon lever keys or direct valves,
present the same external appearance so far as shape and size are concerned.
Figure 1 represents one of these studs, it will be seen that the nut c* is
screwed a little beyond its end, which is tapered or coned so that the point
of contact between the stud and lever is reduced to the minimum amount, and
the friction incidental to the slightly segmental movement of the end of the
lever is further neutralized by a small piece of vellum m being attached
thereto; and this same end of the lever has a notch n cut in it, to work
around a small pin fixed to the key tray, which pin retains the lever in its
place, and ensures its vertical movement.
The third part of my Invention consists in the construction and employment
of small additional note trays to be inserted in the central portion of the ordi-
nary note tray for the purpose of containing additional notes, the wind passages
of which are to be opened or closed by my direct valves, and by these means
I am enabled to increase the musical scales or series of notes of concertinas
and other similar instruments from 48 to 62, or any intermediate number as
may be desired. The manner of carrying out this part of my Invention will
be more particularly set forth in the description of the concertina, having its
musical scale extended to the full compass of the harmonium, or 62 notes.
Before proceeding to explain the application and combination of these
several improvements to the construction of these different varieties of con-
certina and other instruments of like principles, it may be remarked that in
the Drawings hereunto annexed, and the description herein-after following, I
have confined myself to the illustration of the methods of constructing con-
certinas alone in accordance with the principles of my Invention, as their
application to other existing instruments, the tones of which are in like
manner derived from the vibration of springs, will be readily comprehended

page_text: by individuals conversant with such instruments; also, that in all the Draw-
ings I have represented the right-hand top only of concertinas and the com-
ponent parts thereof, for the reason that the left-hand tops of such instruments
in all cases are similar in arrangement and construction, differing only in the
position of the thumb and hand straps necessary to the accommodation of the
left hand of the performer.
All the Drawings and Figures shewn are drawn to a scale of the actual size
of the objects they depict, and in all the Figures and Plans shown, the same
letters of the alphabet, signs, and numbers, denotes similar parts of all the
instruments represented.
The mode in which I apply my several improvements to the ordinary 48 note
concertina is as follows:-Figure 18 represents a plan of the finger board of
one of these instruments; Figure 14 is a plan of the note tray; Figure 15 is
a plan of the key tray; Figure 16 is a plan of the under side of the same;
and Figure 17 is a vertical section through the entire top shewing the bellows
frame, and a portion of the bellows. In this instrument I employ 4 of my
direct valves, and twenty of my improved lever keys in each "top," and I
select the 4 notes situated nearest the outer edge of the finger board as those to
which I apply these 4 direct valves, for the reason that they do away with the
necessity of employing lever keys as the means of operating upon the wind
passages to the note cells, and as these direct valves occupy so small a portion
of the key tray, I can place them in a position in which it would be impossible
to employ lever koys, which lever keys must necessarily be of sufficient length
to raise the valve the height required for the freo and rapid passage of air
through the note and wind passage. I am thus enabled to shift forward the
whole series of finger studs in the finger board as represented in Figure 13.
This change of position of the finger studs effects a great improvement in the
method of holding the instrument, and of handling it during the performance
of music.
In the concertina as hitherto constructed the instrument is held, and the
bellows operated upon by means of a thumb strap and finger plate, in each
top." The studs by being arranged in the central position of the finger board
rendered it imperative to fix the thumb strap considerably out of the line of
the centre of gravity of the instrument, and occasioned the necessity of em-
ploying the 3rd and 4th fingers of each band to assist in steadying the instru-
ment, and actuating the bellows. The performer has thus but two fingers of
each hand entirely at liberty for the performance of music, and this central
position of the studs rendered the instrument still further inconvenient by
compelling the fingers whilst performing to be exercised in a very cramped

page_text: and restricted manner. These unsatisfactory impediments to a ready acquisi-
tion of the art of performing upon concertinas are greatly reduced by the
application to them of my several improvements.
I have before stated that the position of the thumb strap is controlled by
that of the studs, it will be seen on reference to Figure 13 that the thumb
strap is placed rather more outward from the performer than the centre
of the instrument, that the finger plate is dispensed with, and in lieu thereof a
semicircular or other suitably shaped rest for the wrist or ball of the palm of.
the hand is provided. By these appliances the cramping effect of the ordinary
manner of holding concertinas, upon the fingers and muscles of the hand is
obviated, a facile command over the bellows is obtained, and the still more
important advantages are gained of having the 3rd and 4th fingers of each
hand completely free to operate upon the studs, and of being able to employ
all the fingers in the performance of music in a more natural and less
disagreeable manner than at present, and it will also be apparent that each
finger of the performer will have its appropriate line of notes to operate upon,
and not as at present, when two fingers only are entirely free, be compelled to
shift from one line to the other.
In all the Figures A indicates the finger board; B; the key tray; C, the
note tray; D, the bellows frame, and D* represents a portion of the bellows.
That portion of the finger board A through which the studs a, a, pass is
increased in thickness by the addition of a piece of wood or other substance A*,
for the purpose of guiding the studs, and of ensuring their true and steady
action. To the under side of this piece A* is attached a packing A³, made of
a piece of felt, cloth, leather, or other material, to prevent any unpleasant
noise arising from the movement of the studs, and also to act as a sort of
spring to keep the nuts c, c, of the studs of the direct valves in contact with
their shanks f, f, and the other finger studs in contact with the ends of the
lever keys, whether the instrument is being used or not. The nuts c, c,
and c, c, prevent the finger studs from falling out of their places, and any
derangement of the keys when the parts of the instrument are separated;
d, d, are the direct valves, and g, g, their springs; h, h, are the improved lever
keys, i, i, their fulcrums, and j, j, their springs; k, k, are the small pins, around
which the notches in the ends of the levers work; and m, m, are the small
pieces of vellum which diminish the friction of the studs upon the lever keys;
0, 0, are small pieces of felt, cloth, or other substance to prevent the lever
striking the key board, and making an unpleasant noise; t, t, and u, u, are
rims of wood or other suitable substance surrounding the opening in the
central portion of the note tray, for the purposes more clearly set forth herein-

page_text: after; r,, are the notes, a, s, their vibrating tongues or springs; the notes are
made of the sizes and shapes and are arranged two to each cell, as is common
to the existing double-action concertina; v, v, are the small leather valves to
the notes; and w, w, are the wind passages to the note cells.
Figures 18, 19, 20, 21, 22, and 23, exhibit a concertina constructed according
to my improvements, in which the musical scale is extended from 48 to 62
notes without increasing the dimensions of the instrument, or rendering it
more cumbersome by augmenting its weight to any material extent. Figure
18 represents a plan of the finger board; Figure 19, a plan of the note tray;
Figure 20, a plan of the key tray; Figure 21, a plan of the under side of the
same; Figure 22, a vertical section through the entire "top," bellows frame,
and part of bellows; and Figure 23 is a plan of the under side of the finger
board. In constructing this instrument I make use of 11 of my direct valves
and 20 of my improved lever keys in each "top," and in this instrument I employ
the additional note tray inserted in the central portion of the ordinary note tray,
which constitutes the third part of my improvements, and in which auxiliary
note tray are placed 7 notes, the wind passages to which are opened or closed
by 7 of my direct valves; the other 4 direct valves are situated in the cells of
the ordinary note tray, in a position similar to those employed in the 48 note
concertina berein-before described, and these 4 direct valves are operated upon
by the studs of the 4 highest notes of the scale, that is, by the 4 studs nearest
the outer edge of the finger board. A indicates the finger board; B, the key
tray; C, the note tray; D, the bellows frame; and D)*, a part of the bellows.
The lever keys, studs, nuts, direct valves, the notes and vibrating tongues, or
springs, and other details are indicated by similar letters to those denoting
similar parts shewn in the Drawings of the 48 note concertina previously
described.
Figure 20 clearly exhibits the combination of my direct valves and improved
lever keys as applied to the 62 note concertina, and shews the method of
guiding the shanks f of the direct valves by small pieces =,, of metal, or
other suitable substance, which may be of any couvenient shape, and made to
take the shanks of any desired number of direct valves. The positions of the
fulcrums i, i, and springs g, g, are also shewn. Figure 21 indicates the
positions of the 11 direct valves and their springs on the under side of the key
tray, it also exhibits the wind passages to the lever keys; Figure 23 shews
the plan of the piece of wood or other substance A* employed to increase the
depth of the holes through which the finger studs pass, the packing A³ is
attached all over the surface of this piece A. The additional note tray is
seen in plan, in Figure 19, and in section in Figure 22. To form this small

page_text: note tray, I cut away the central portion of the ordinary note tray C to the
required size, and form and insert therein a rim or strip C¹ of wood, or other
lining, of the depth of the ordinary note tray C. To the under side of the
note tray C, and surrounding the opening thus made in it, is attached a rim t
of wood or other suitable substance, the inner diameter of which is made
smaller than the opening it surrounds to form a rebate or rest to receive the
small note tray C; this small note tray fits accurately into the rim C¹, and is
divided by partitions C³ into as many note cells as it is desired to insert notes,
cach cell being made to contain the proportionate quantity of air necessary to
reciprocate the vibrations of its note springs, as is well understood in the
construction of concertinas. The apertures w*, w*, (Figures 20 and 22,) to
permit the
passage of wind through the notes situated in the cells of this small
note tray C² are opened or closed by direct valves of the construction herein-.
before described. To the under side of the first rim or ring t is secured a
second rim u of similar shape, but of considerably larger dimensions, in order
to project beyond the notes situated in the under side of the ordinary note tray,
and also to project beyond the under notes placed in the small note tray, for
the purposes of preventing the leather valves v, v, from opening more than the.
requisite distance, and by forming a kind of sounding board to these under.
notes, to occasion a greater uniformity of sound between these under notes and
the corresponding notes situated in the note cells on the upper side of the note
trays. The first or smaller rim t is made of a tapering thickness, or of a
wedge form, so that the second rim u is made to approach nearer to the note.
tray C at that portion in which are placed the upper or smaller notes of the
musical scale. Both these rims are made of considerable thickness, to impart.
increased strength and solidity to the note and key trays, and thereby to render
the tones of the instrument much more full, firm, and sonorous. These small
note trays may be made either of a circular, oval, or polygonal form, and the.
rims t and u which surround the opening in the ordinary note tray may be of
any suitable shape and size. I prefer, however, to make these parts of my.
improved instruments of an oval or circular shape.
I will now proceed to describe the application of my several improvements
to the class of concertinas known as "duet concertinas," from the musical
scales of such instruments being so arranged in the right and left-hand tops as
to permit of the performance of the air or melody of any tune or piece of music
with one hand on the finger studs and notes of the one top, whilst the other
band can be engaged in executing the accompaniment to such air or melody on
the finger studs and notes of the other top. The scale of these duet concertinas
has heretofore been limited in consequence of the impediments occasioned by

page_text: the use of the old levers and keys, as before explained, to a series of notes not
exceeding 24 in number, whereas by the application to them of my direct
valves and additional note tray, I can extend the series of notes forming the
scales of these instruments to 40, 54, or any intermediate number, as might be
desirable. It would even be possible to still further extend the scales by
increasing the number of notes, but such extension would be attended by
certain disadvantages, such as an increase of the weight and size of the instru-
ments, which would be objectionable. In like manner the scales or compass
of the series of notes in the concertinas before described may be indefinitely
extended by enlarging the dimensions of the instruments, the employment of
my direct valves and lever keys affording peculiar facilities for such extension.
Figures 24, 25, 26, 27, and 28 represent a duet concertina, in which the
scale or series of notes is extended to 40 notes. Figure 24 is a plan of the
finger board, exhibiting the arrangement of the finger studs; Figure 25 is a
plan of the note tray; Figure 26 is a plan of the key tray; Figure 27 is a plan
of the under side of the key tray, and shews the position of the direct valvos
and springs, and of the wind passages to the lever keys; and Figure 28 repre-
sents a vertical section through the entire top, the bellows frame, and a portion
of the bellows.
In this instrument I make use of 4 of my direct valves and 16 of my
improved lever koys in each top. The 4 direct valves like those of the 48
note concertina open or close the wind passages to the 4 note cells, in which
are contained the 4 highest notes in the instrument. The particular arrange-
ment and combination of these direct valves and lever keys can be readily
understood by an inspection of the plan of the key tray, Figure 26.
The details of the construction of this instrument are similar to those of the 48
note concertina already described, with the exception of the method of holding
the instrument during the performance of music, and the arrangement and
number of the finger studs and lever keys. The method of supporting this and
other duet concertinas, and of working the bellows, is now in common use in
existing varieties of this class of instrument, but as it differs from that of the
concertinas herein-before described, it may be explained that the four fingers
of each hand are passed completely through the space between the strap P
and the firm rest P*, which rises from the finger board A, to which it is fixed
at each of its ends, so that the strap may come over the back of the hand, the
thumb resting upon the part of the strap at P, the four fingers will then be
directly over the finger studs. The performer will now have complete com-
mand over the instrument in every respect, and the increase in the number of
the notes or extension of the musical scale will enable him to execute music

page_text: hitherto impracticable on duet concertinas as before stated; the same letters,
signs, and numbers denote the parts of this duet concertina, similar to those to
which they refer in the concertinas previously described.
Figures 29, 30, 31, 32, and 33 represent a duet concertina, in which the
musical scale or number of notes is increased to 54. Figure 29 shews a plan
of the finger board; Figure 30, a plan of the note tray; Figure 31, a plan of
the key tray; Figure 32, a plan of the under side of the same; and Figure 33
shews a vertical section through the entire top bellows frame and part of the
bellows.
The method of holding this instrument is precisely similar to that described
for the 40 note duet concertina, and its construction is in most particulars also
similar, the differences consisting in the increased number and in the dispo-
sition of the direct valves and lever keys, and also in the employment of an
additional note tray in the central portion of the ordinary note tray, resembling
so far as regards the manner in which it is constructed and inserted into the
ordinary note tray that already described, as made use of in the 62 note con-
certina, but as shewn in Figure 30, it is of a circular instead of an oval form
in plan, and is divided into 3 note cells in place of 7. In this 54 note duet con-
certina I employ 10 direct valves and 17 improved lever keys in each top, 7
of which direct valves open and close the wind passages of the 7 note cells
marked in Figure 30 as 1, 2, 3, 4, 5, 6, and 7, both inclusive; the other 3
direct valves operate upon the wind passages leading to the 3 note cells, into
which the additional note tray C² is divided. Both this and the 40 note duet
concertina are fitted with the rims or rings t and u, constructed in the manner
and for the purposes before explained.
Having now described the nature of my said Invention, and the manner
in which the several improvements are carried into effect, I desire it to be
understood that I do not confine myself to tho precise arrangements, dispo-
sitions, or numbers of finger studs, or of notes forming the musical scales in the
various instruments herein-before described, nor to the numbers, dispositions,
or arrangements of direct valves, or of improved lever keys in any or all of
these instruments, nor do I confine myself to the sizes or shapes of such
instruments, nor to the sizes and shapes of the additional small note trays,
or the number of air cells into which they may be divided, as it is evident that
any or all of these particulars may be considerably varied without departing
from the spirit or principles of my Invention; but I do claim as my Invention
the methods herein-before described of constructing finger studs, direct valves,
and lever keys and fulcrums, and of their respective springs and other appur-

page_text: tenances, and also of the mode of constructing the additional note trays, all in
the manner and for the several objects and purposes also herein-before explained
and described.
In witness whereof, I, the said William Wheatstone, have hereunto set
my hand and seal, this Fourteenth day of March, in the year of our
Lord One thousand eight hundred and sixty-two.
WILLIAM WHEATSTONE. (L.S.)