Improvements in Music Sheets for Mechanical and other Musical Instruments.
Year: 1895

page_text: Date of Application, 28 h Nov., 1895-Accepted, 23rd May, 1895
COMPLETE SPECIFICATION.
Improvements in Music Sheets for Mechanical and other Musical
Instruments.
We, OSKAR PAUL LOCHMANN and THE FABRIK LOCHMANN'SCHER MUSIK-
WERKE AKTIENGESELLSCHAFT both of 17 Langestrasse, Leipzig Gohlis in the
Empire of Germany, Manufacturers, do hereby declare the nature of this invention
and in what manner the same is to be performed to be particularly described aud
ascertained in and by the following statement :-
In mechanical musical instruments, hitherto, music sheets have been used which
represent exactly and fully the whole of the piece of music with all repetitions and
with all the details necessary for time or measure, rests, pauses and the like.
For this reason such music sheets on the one hand extend to considerable length
and on the other hand leave nothing to the initiative of the player, who, when the
system is applied for instance to a zither or the like, has only to strike the strings
by which those left uncovered or undamped by the music sheet are sounded while
those damped by the sheet remain silent.
In other more completely mechanical musical instruments, even this, in itself
mechanical, act of the player is superseded by the action of the mechanism of the
instrument.
The present invention in music sheets is intended for use with zithers and in stringed
instruments of a similar class where the strings are to be struck by hand or with a
plectrum or by other mechanical device operated by and under control of the hand
so that the notes may be sounded as hereinafter described, and the purpose of the
invention is not only to enable a long piece of music to be condensed in a short
space of the sheet, but also to enable the player to exercise some art in the playing
and provide an introductory means for instruction in the rudiments of music
playing. The sheets are usually so placed that the strings are sounded by sweeping
the finger or some instrument across the sheet so that it passes across the holes and
sounds the strings beneath. The improvements are attained by omitting all
repetitions and by representing the number of repetitions and the time duration of
single notes or groups of notes by means of a figure or sign; by connecting the
notes which are to be played simultaneously by means of a line so that single notes
or note groups which are to be played one after the other may so far as possible be
arranged in one dine irrespective of the several duration of the notes or repetitions.
The annexed drawings will illustrate how repetitions are shown, how note groups
are formed and how, in the case of songs, or hymns the text may be brought before
the eyes of the player.
Fig. 1 shows the extended form of a setting of the hymn "Nun danket alle Gott"
and Fig. 2 shows the condensed form of this hymn in which the figures show that
the first line is to be played three times, and the second twice, before the music
sheet is pushed forward either directly by hand or through suitable intervening
mechanism, the minim signs "2" indicating the duration of the chords, and the
connections by lines, that all notes in each line are to be played simultaneously or
practically so.
Fig. 3 illustrates the commencement of the valse "An der schonen blauen
Donau" (Blue Danube).
Fig. 4 shows the first verse of the song "An den mond" (To the moon).

page_text: ""
Referring to Fig. 4 the first line shows single notes for the word of two syllables
gu-ter (good), the second line shows, by the connection of the notes by a line
projecting on the left, that these are to be played together or substantially
so from left to right. The number 2 appended to this line shows that this
chord is to be played twice, once for the word "mond " (moon) and once for
"du" (thou). In the third line two groups of notes are shown connected by strokes
projecting on the left, the group on the left being played together for "gehst'
(goest) and that on the right for "so" (so). The fourth line shows that the two
notes on the right are first played followed by the single note on the left. The
seventh line shows that the two first notes are to be played from right to left, the
second and third from left to right. If this figure is carefully scanned it will be
seen that a piece of music is fully represented in 16 lines that formerly required
30 lines.
In making this form of music representation the player cannot strike false notes,
the play being thus far mechanical, but on the other hand the more interesting and
instructive part of the play is reserved for the player, which has not been the case
with mechanical musical instruments.
To play with these music sheets the repetitions and time, the grouping of notes
and the text must all be kept well before the eye, which will help to form an
understanding of music generally and serve as a convenient introduction to self
instruction.
Having now particularly described and ascertained the nature of this said inven-
tion and in what manner the same is to be performed we declare that what we
claim is :-
In music sheets for use in the automatic or other operation of musical instruments
in the manner described.
1. In place of the repetition of individual notes or note groups a corresponding
number placed in relation thereto.
2. Several notes arranged in one line, those which belong together or require to
be played together being connected by a stroke for the purpose of employing the
shortest possible music sheets, and
3. The text of the piece of music, if any, placed alongside the separate note lines
in order that the player may have in view the character and contents of the piece
of music.
Dated this 28th day of November 1895.
HERBERT HADDAN & Co.,
18 Buckingham Street, Strand, London, W.C.,
Agents to the Applicants.