Year: 1887

page_text: Date of Application, 20th Sept., 1887
Specification Accepted, 27th Jan., 1888

page_text: playing alternately on the three sets of keys C, D and E, the performer can produce,
both in pushing and drawing, all notes, including flats and sharps, in the scale, that is
the full chromatic scale.
The accompaniment board F, of the accordion A, is provided with three sets of bass
keys G H and I, of which the first set of accompaniment keys G, operates the key
valves G¹, connected with the reed valves G, containing the reeds G³, which produce
when pushing or drawing the bellows, the tones cdefgabe that is, the tones of
the scale. The second set of accompaniment keys H, operates the key valves H¹,
connected with the reed valves H2, containing the reeds H³, which produce in pushing
or drawing the bellows the tones c sharp d flat; d sharp e flat sharp g flat; g sharp
a flat; a sharp b flat. The third set of accompaniment keys I, operates the key
valves I, connected with the reed valves I*, containing the reeds 1', which when
pushing the bellows produce the tones ceg ceg fad fad c and f, and when drawing
the bellows the tones gbdf gbd fad fad gand fare produced."
The first key marked 7 (see Figure 2) of the set of. keys I, produces the notes ceg,
that is the high pitch of the tonic chord in pushing the bellows, and the same key 7,
produces the tones godf, that is the high pitch of the dominant chord, when drawing
the bellows. The next following key marked 8, of the set of keys I, produces the
tones ceg, that is the low pitch of the tonic chord in pushing the bellows, and the
same key when drawing the bellows, produces the tones gbd, that is the low pitch of

page_text: the dominant chord. The key marked 9 of the set of keys I produces, when pushing
and drawing the bellows, the tones fad, that is the high pitch of the sub-dominant
chord. The key marked 10 of the same set of keys produces the tones fad, that is
the low pitch of the sub-dominant chord, both in pushing and drawing the bellows.
The key marked 11 of the set of keys I, produces when pushing the bellows, the
tone c, that is the tonic, and when drawing the bellows the tone g is produced, that is
the dominant, and the last key marked 12, produces the tone f, that is the sub-
dominant, in both pushing and drawing the bellows.
Now if the performer plays in connection with the melody keys marked 1, 2, and 3
above mentioned and indicated in Figure 2, the key 13 (see Figure 2) in the accom-
paniment sets of keys, the chord and its base note
It will be seen that the performer is enabled to play any accompaniment necessary
for and in harmony with the notes and chords of any piece of music containing
whatever notes and chords.
Having now particularly described and ascertained the nature of the said Invention
and in what manner the same is to be performed, I declare that what I claim is :-
1. In an accordion, the combination, with the regular set of melody keys, keys
valves, reed valves and reeds, tuned to produce the tones of the ordinary German
accordion, of two sets of melody keys, keys valves, reed valves and reeds, tuned to
produce, when played in connection with the said regular set of reeds, all the notes in
the scale, including flats and sharps, whether pushing or drawing the bellows,
substantially as shown and described.
2. In an accordion, the combination, with sets of melody keys, key valves, reed
valves and reeds, tuned to produce all the notes in the chromatic scale and chords, of
an accompaniment consisting of keys, keys valves, reed valves, and reeds, tuned to
produce every tone in the chromatic scale, to form the fundamental bass tone for said
inelody set of keys, substantially as shown and described.
the
3. In an accordion, the set of keys C, D, and E, the key valves C, D₁ and E',
reed valves CD and E³, and the reeds CD and E³, in combination with the sets of
keys G, H, and I, the key valves G' H' and I', the reed valves G* H* and I, and the
reeds G H and I, substantially as shown and described.
4. In an accordion, the sets of keys C and D, the key valves C₁ and D', the reed
valves C and D, and the reeds C and D³, in combination with the sets of keys E,
the key valves E¹, the reed valves E*, and the reeds E³, substantially as shown and
described.

page_text: 5. In an accordion, the sets of keys G and H, the key valves G¹ and H', the reed
valves G and H2, and the reeds G³ and H³, in combination with the sets of keys I,
the key valves 1', the reed valves 12, and the reeds 13, substantially as shown and
described.