A New System of Musical Notation for Simplifying the Mode of Teaching, Learning, or Reading Music by the use of Essentially New Signs, Names, and the like.
Year: 1892

page_text: Date of Application, 6th Jan., 1892
Complete Specification Left, 4th Oct., 1892-Accepted, 4th Feb.. 1893
PROVISIONAL SPECIFICATION.
A New System of Musical Notation for Simplifying the Mode of
Teaching, Learning, or Reading Music by the use of Essentially
New Signs, Names, and the like.
I, STEPHANIE ELIZABETH COPPINGER, now temporarily residing at No. 30 Rue
de la Bienfaisance, Paris, France, do hereby declare the nature of this invention to
be as follows
--
"
for
My invention has reference to a "New System of Musical Notation'
simplifying the mode of teaching, learning, or reading music by substituting for
the usual printed formula and signs now used in books or sheets of music to indicate
the relative duration of the notes, the sharps, the flats, the key signatures, the time
signatures the mode of counting, and the mode of fingering, essentially different
formula and signs "logically" indicative or suggestive of what they represent.
Before proceeding to describe the aforesaid features of novelty of " my invention,"
I must premise that in my "New System of Notation "the seven degrees of the
natural diatonic major scale are represented by the first seven successive cardinal
numbers in Arabic figures, and the consecutive octaves of that scale (commencing
with the lowest) by the first seven ordinal numbers in Roman figures.
In my "New System of Musical Notation" the seven different sorts of notes which
indicate the relative duration of the sounds which they produce have the following
signs, names, and relative duration (Figure V).
FIGURE V.
Signs.
Names:
Duration.
0000 The quadruple-circle is equal to 4 circles
GO
The double-circle
The circle
وو
2
"
"
"
"
"
"
1 circle
"
وو
"
$
"
a
I
V
The half-circle
The quarter-circle
The angle
""
"
"
"
The semi-angle
"
دو
"
"
د,
دو
or quarter circle
18 "
or
"
. "
Thus the "circle" (which is equivalent in duration to the "crotchet" of the
established staff notation) is the "unity of time," or standard of comparison for the
notes indicative of a longer or a shorter period of duration. This "circle " is
logically represented by the geometrical figure which bears that name, or (when
necessary to economise space) by an ellipse or equivalent of the "circle." The
signs of the divisions and subdivisions of the "circle" given in Figure V are those
used for theoretical purposes, and for certain special purposes: for general
practical purposes these divisions and sub-divisions are represented as follows in
Figure VIA, while Figure VIP gives the same notes with the same periods of
duration in the "established Staff Notation for comparison.
A large "dot," or series of "dots," placed after a note indicates that the sound
is prolonged during the portion of a beat, the beat, or the number of beats
represented by the geometrical figure, or figures, with which the said "dot" or
"dots" is, or are, connected. Therefore a dotted-circle is represented as in

page_text: Figure VIIA; while Figure VII" gives the same notes with the same periods of
relative duration in the established staff notation for comparison.
"Rests "
are indicated by "noughts." A "nought" placed instead of an Arabic
figure indicates. that there is no sound during the period represented by the geome-
trical figure with which it is connected. A "nought" placed in the centre of a bar
indicates that there is no sound during that bar. Triplets," (called thirds in
my new system of musical notation) and the "shake are represented as follows in
Figure VIIIA, while Figure VIIIB gives the same notes with the same periods of
duration in the established staff notation for comparison.
66
"
"
The time signatures are represented in my "New System of Musical Notation
as in Figure IXA, while Fignre IXB gives the marks of the corresponding "time
signatures" in the "Staff Notation" for comparison.
Thus the geometrical figure always indicates the duration of the beat, while
the Arabic figure within it indicates the number of beats in each bar.
66
"
In my 66
New System of Musical Notation" the Italian words "primo,"
"secondo," "terzo,"
," "quarto" (which indicate the first four ordinal numbers) are
used, for audible counting, instead of the words "one," "two," "three," "four,'
now employed in the "Staff Notation." But, for uniformity, the word "secondo"
is abreviated to " seco."
of these words (viz.: "pri," "se,"
In very rapid movements, only the first syllable of each
2966
ter," quar,") is pronounced; while in very
slow movements, or in practising, each of the two syllables of these words is
subdivided, and pronounced thus: "Pri-i-mo-o"; 66
se-e-co-o"; "te-er-zo-o ;
qua-ar-to-o." "For "thirds" (or triplets) these syllables are divided thus:
"Pri-i-i-mo-o-o"; "se-e-e-co-o-o"; "te-e-er-zo-o-o ; qua-a-ar-to-o-o.' Where
the beat is the dotted-circle (or dotted-crotchet) a third syllable is added to each
word thus time is counted as follows: "Pri-mo-ho"; "se-co-ho."
66
6
8
<<
"
66
"
?"
"
;
Besides these "tune time names," "rhythm time names". are (in my "New
System of Musical Notation") used for elementary exercises in reading music and
for various theoretical purposes. The "rhythm time names
" are as follows:
"Whole word," for "circle³ "twice the whole word," for "double-circle
i
sylla." (abreviation of syllable), for "half-circle"; "1." abreviation of letter),
for "quarter-circle"; a., (abreviation of
366
angle"), for "angle"; 88.
(abreviation of semi-angle, for "semi-angle." Thus the "ear time names" (viz.: the
tune time names "
and the "rhythm time names") correspond logically with the
"eye time names (viz. the names of the geometrical figures representing
the relative duration of the notes): for the "circle" corresponds with the "word,"
the "half-circle" with the "syllable" (or half-word) and the " 'quarter-circle
with the "letter" (or half of the syllable).
:
"
In my "New System of Musical Notation" (which is intended to be international)
the initial letter of the name of each finger (viz.: "i.," for index; "m." for medius,
or middle finger"; "a." for annular or ring finger; "p." for petty, or little finger;
and "c." for counter finger or thumb) is used to indicate the fingering instead of
the signs (viz. X, 1, 2, 3, 4) now used in the "Staff Notation." The word "petty
is used instead of "little" because the initial letter of the former word is similar to
the initial of the name of this finger ("piccolo") in Italian; and the word
is used instead of "thumb" because the corresponding word in Italian,
contra is used instead of the anatomical name "pollice to avoid the confusion
which would otherwise arise from having the letter "p." to represent two fingers.
The anatomical names of the three other fingers have the same initials in Italian as
in English.
66
66
counter."
"
In music intended for beginners, a five-cornered geometrical figure with dots in
the corners (to suggest the idea of the position of the tips of the five fingers when
playing five consecutive semitones on the pianoforte) is used in conjunction with a
larger dot, or with the initial letter of whichever finger is to be used. The thumb
is indicated thus
or thus. ; the index finger thus
or thus
.. J
the middle

page_text: finger thus
or thus
; the annular noger thus
, or thus
'petty" (or little) finger thus
-
543
In my "New System of Musical Notation" the raising of a note a semitone (called
a "sharp" in the established Staff Notation) is indicated by the algebraic sign of
addition (+) placed at the right hand side of the Arabic figure which denotes the
pitch of the note. The lowering of a note a semitone (called a "flat" in the
established Staff Notation) is indicated by the algebraic sign of subtraction (-)
placed at the left hand side of the Arabic figure which denotes the pitch of the
is called "minus." These
note. The sign is called "plus" and the sign
signs should not be more than half, or two thirds, of the height of the Arabic
figures which denote the pitch of the notes; and these signs should be on a line
with the upper half of the said Arabic figures. A double-sharp is indicated by
two "plus" signs: therefore "G" double-sharp is indicated thus 5. A double-
flat is indicated by two "minus" signs: therefore "G" double-flat is indicated
thus
5. The "plus" (or sharp) sign is used after each and every note which is
raised a semitone, and the "minus" (or flat) sign is used after each and every note
sharps'
which is lowered a semitone, whether these "
or "flats" belong to the
"key "in which the air or movement is written, or that they be introduced
accidentally. A sign for "naturals" is unnecessary except for theoretical purposes;
in which cases a "natural" is denoted by a small " put in the place of the "sharp
or the "flat" sign which it contradicts; that is to say, to the right of the Arabic
figure if it contradicts a "sharp," and to the left of the Arabic figure if it
contradicts a " flat." The ascending chromatic scale is represented as in Figure X^,
and the descending chromatic scale as in Figure XB.
-
n
وو
"
"
"
In vocal exercises the vowels of the words " Do, re, mi, fa, sol, la, si, do," are
replaced by the vowel of the word "plus" (the "u being pronounced as in the
English word plural) whenever these notes are raised a semitone; and they are
replaced by the vowel "i" of the word "minus" whenever these notes are lowered
n " is
a semitone; but the vowels of "mi" and "si" are retained, and the letter "
added to them; while the vowel of " SO is also retained, and the vowel "i" is
added to it (the oi" being pronounced like "oy" in joy). The syllables used
for the chromatic scale are therefore as follows: "Do, du, re, ru, mi, fa, fu, sol, su,
la, lu, si, do," when ascending; and as follows: "Do, si, sin, la, li, sol, soi, fa, mi,
min, re, ri, do," when descending.
"
"
are indicated
In my
"New System of Musical Notation" the "key signatures
only by the Arabic figure denoting the tonic of the key in which the air or move-
ment is written. This Arabic figure (which is two or three times larger in size
than the figures denoting the pitch of the notes) is placed between the soprano and
and the bass signatures (or octave marks) in music for the piano or the organ, and
immediately after the octave (or clef) signatures in the music of vocal solos, or of
one part instruments.
"
My "New System of Musical Notation simplifies the method of teaching, learn-
ing, or reading music still further by the use of additional signs called "Harmony
Signs" and "Musical Punctuation Signs," as well as by the use of "Music Octave
Guides," "Music Batons," "Music Printing Presses," "Music Composteurs,'
Music Dominos," & "Music Loto," and "Music Counters." "Harmony signs" are
conventional signs used in my "New System of Musical Notation" to facilitate the
understanding of the various changes of key and of the musical construction of the
airs or pieces. Thus the tonic, the dominant, and the subdominant chords are
indicated by a difference in the form of the line which connects the Arabic figures
representing the pitch of these notes with the geometrical figure which represents
their duration, The tonic is indicated by a line of dots (thus), the subdominant

page_text: by a line of dots through which runs a plain line (thus
); and the dominant by
a double line (thus ||) ); while all other chords are indicated by a plain single
line. Further the positions of a chord in relation to the bass are indicated by one
dot for the first inversion, and by two dots for the second inversion, these dots
being placed on the under line of the geometrical figure which represents the
duration of the notes. The absence of a dot, or dots, indicates the direct form of
the chord.
"Musical punctuation signs are signs used, for musical dictation and musical
manuscript exercises, as well as for the rapid noting down of an air or composition, to
replace the geometrical figures employed in the ordinary printed music of my new
system to represent the duration of the notes. These "punctuation signs" are as
'follows: A crescent-shaped stroke, similar to the manuscript comma, for the quarter-
circle; two crescent-shaped strokes, placed close together, for the half-circle; and a
dot, or a round stroke, for the circle; these strokes and dots being placed immediately
under each of the Arabic figures which denote the pitch of the notes. Each beat
is separated from the following beat by a horizontal stroke equal in length to the
lateral space between each quarter-circle; and the end of each bar is indicated by
a vertical line crossing this horizontal line. Music for special purposes is printed
with these " punctuation duration signs"; but in the printed music the quarter
circles and the circles are miniature reproductions of the geometrical figures given
in Figure V. The size of these printed "punctuation duration signs
should not
exceed one half, or two thirds, of the size of the Arabic figures which denote the
'pitch of the notes. Whenever these "punctuation duration signs
are used,
substitutions for the octave pitch signs can also be used: that is, all the notes
**above the principal octave can be written with one 8 over the Arabic figures of the
notes which are one octave higher, with over the Arabic figures of the notes
which are two octaves higher, with
which are one octave lower, and with 8
1
.
1
8
8
31
one 8 under the Arabic figures of the notes
8
under the Arabic figures of the notes which
are two octaves lower. In chords this 8 refers only to the Arabic figure imme-
diately under or over it. If two or more notes of the chord are to be played an
octave higher, or an octave lower, these notes are linked together thus: 1
8
In certain cases, in the ordinary printed music of my new system, this 8 is also
used as a sign that the notes must be played an octave higher or an octave lower.
Likewise, in the ordinary printed music of my new system, the double-circle may
I
be represented thus:
or thus:
6
and the quadruple-circle may

page_text: used to assist beginners in distinguishing easily the various octaves of the pianoforte,
organ, or harmonium.
Figure XI gives an example in miniature of this "octave guide" by which it
will be seen that a double line still further indicates the end of the bass octaves
and the beginning of the soprano (or treble) octaves.
The "music batons" are used for musical dictation, and musical manuscript
exercises to form the Roman figures, the Arabic figures, and the signs representing
the pitch of the notes and their duration, as well as the signs of the separa ton of
the beats and bars. These " batons are of two sorts: "printing batons' which
print the figures and signs in ink on the paper, and "
prick the form of the figures and signs on the paper.
perforating batons" which
These "batons" (which, when
finished, are about two and a half inches long, and similar in shape and thickness to
the sticks of sealing wax used by ladies) are made of wood, bone, or other material,
into the end of which is inserted permanently indiarubber, or printers, type for the
"printing batons," or perforating apparatus (similar to that used for dating railway
tickets) for the "perforating batons."
The "music printing presses "and the "music composteurs" employ the Arabic
and the Roman figures and the signs representing the pitch of the notes and their
duration, and the separation of the beats and bars, to print one or more bars of
music.
The music dominos " and the "music loto" cards bear the seven Arabic
figures representing the pitch of the notes with the "plus" sign, with the “minus”
sign, and without either of these signs, as well as the "nought" and the large
dot"; each of these twenty three figures being combined with one of the "punc-
tuation signs" of the circle, the half-circle, or the quarter-circle.
66
On each of the "music counters" is printed, or engraved, or painted, or embossed,
or cut out, one of the aforesaid twenty three figures representing the pitch of the
notes, or one of the "punctuation duration signs," or the 8, or the 8
8'
or the crossed
or uncrossed bar indicating the separation of the beats or bars, or one of the first
seven Roman figures. These counters are all of the same size, and have the form
of a perfect square: they are made of wood, bone, or other material.
When they
are of different colours, the order of the colours of the rainbow is followed': thus,
the 1 is violet, the is red, the 3 is orange, the 4 is yellow, the 5 is green, the 6 is
blue; while the 7 is grey, the large "dot" is brown, the 0 is black, and the
duration and separation signs are white. The "music dominos," the "music loto,"
and the "music counters " are used for various musical exercises or for instructive
games. The music counters are also used for musical dictation.
"
My "New System of Musical Notation" comprises further (for the use of pro-
fessional musicians and advanced amateurs) a "three line stave
"with dots on,
below, and above these three lines (instead of the seven Arabic figures) to represent
the seven successive degrees of the natural diatonic scale, which however retain' the
"names "
of the first seven cardinal numbers. The different octaves are separated
and limited by lines much thicker than those of the stave. The "sharps" and
"Hats" are indicated by the "plus" and the "minus" signs (viz.: the + and the -)
printed in red. The "nought" indicative of a rest is always placed on one of the
lines which limit, or separate the octaves. A "slur "connecting two notes is used
to indicate that the sound of the first is prolonged during the beat, or portion of a
beat, represented by the geometrical figure with which the second is connected.
All the other signs and signatures are the same as those used in the ordinary music
my "New System of Musical Notation" heretofore described. This "three line
tave" is intended to be used whenever economy of space or concentration is a
matter of great importance.
of
Dated this Fifth da
T
1000

page_text: 21
"
۱۹
.COMPLETE SPECIFICATION.
A New System of Musical Notation for Simplifying the Mode of
Teaching, Learning, or Reading Music by the use of Essentially
New Signs, Names, and the like.
I, STEPHANIE ELIZABETH COPPINGER now temporarily residing at No. 30, Rue
de la Bienfaisance, Paris, France do hereby declare the nature of this invention
and in what manner the same is to be performed, to be particularly described and
ascertained in and by the following statement:-
My invention has reference to "A New System of Musical Notation for
Simplifying the Mode of Teaching, Learning or Reading Music" firstly by
substituting for the usual formulæ, names and signs now used in books or sheets of
music to indicate the relative duration of the notes, the time signatures, the mode
of counting, the mode of fingering, the sharps, the flats, the naturals and the key
signatures essentially different formulæ, names and signs logically indicative or
Buggestive of what they represent; secondly by the use of additional essentially
new signs which I call " Harmony Signs" and "Manuscript Duration Signs";
and thirdly by the use of my "Three Line Octave Stave," my Octave Guide," my
"Music Batons," my "Music Printing Press," my "Music Composteur," my
"Music Dominos," my "Music Loto "and my "Music Counters"; all of which
are hereinafter fully described.
And in order that my said invention may be more fully understood and readily
carried into effect, I now proceed to describe the same by aid of the accompanying
drawings, reference being had to the letters and figures thereon marked (that is to
Bay): the Figures numbered respectively 1A, 2A, 3A, 44, 5, 64, 74, 84, 94 and 10^
represent according to my "New System of Musical Notation": Fig. 14, the
relative duration of the equivalents of the divisions and of the subdivisions of the
crotchet; Fig. 24, the equivalents of a dotted crotchet, two quavers, and a quaver
rest; Fig. 3, the equivalents of two triplets; Fig. 4A, the shake; Fig. 5ª, the
time signatures; Fig. 6, the ascending chromatic scale; Fig. 7A, the descending
chromatic scale; Fig. 84, my "manuscript duration signs"; Fig. 94, my "three
line octave stave and Fig. 10, a portion of a sheet of music: while
Figures 1B, 2B, 3B, 4B, 8B, 9B and 10B represent the same notes with the same
periods of relative duration; and Fig. 5B, the corresponding time signatures; all
in the established Staff Notation for purposes of comparison. Fig. 11ª represents
my "octave guide" in miniature.
"
" of my
Before proceeding to describe the aforesaid "features of novelty
invention, I must premise, that in my "New System of Musical Notation" the
seven successive degrees of the diatonic major scale are represented by the
first seven successive cardinal numbers in Arabic figures, and the consecutive
octaves of that scale (commencing with the lowest) by the first seven consecutive
ordinal numbers in Roman figures.
I now proceed to give a detailed description of my "New System of Musical
Notation."
The seven different sorts of notes which indicate the relative duration of the
sounds which they produce have the following signs, names and relative duration;
that is to say the signs, names and relative duration which are given in the
synoptical table Figure T. Sheet 3. of the accompanying drawings.
.
Thus the "circle" (which is equivalent in duration to the crotchet of the
established Staff Notation) is the unit of time, or the standard of comparison for
the notes which indicate a longer or a shorter period of duration than that of the
unit of time. This "circle" is logically represented by the geometrical figure
which bears that name or (to economise space) by an ellipse or equivalent of the
circle. The signs of the divisions and subdivisions of the "circle"
given in
Figure T are those used for theoretical purposes and for certain special purposes.

page_text: In general, these divisions and subdivisions of the "circle are represented as in
Figure 1A.
A large "dot" placed after a note indicates that the sound of this note is
prolonged during the period of time represented by the geometrical figure with
which the said "dot" is connected; and a series of "dots" indicates that the
sound of the note is prolonged during the periods of time represented by the
geometrical figures with which the said series of "dots" is connected.
Rests"
are indicated by "noughts." A "nought" standing in the place of
an Arabic figure indicates that there is no sound during the period of time
represented by the geometrical figure with which it is connected. A "nought."
placed in the centre of a bar indicates that there is no sound during that bar; and
an Arabic figure placed in the middle of this "nought," or above it, indicates that
there is no sound during the number of bars represented by this Arabic figure.
Thirds of circle" (called triplets in the established Staff Notation) are
represented as in Figure 3.
£6
The shake is represented as in Figure 4^.*
The Time Signatures" are represented as in Figure 5. Thus the geometrical
figure always indicates the duration of the beat, while the Arabic figure within it"
indicates the number of beats in each bar. These "time signatures" may be
omitted whenever the composer thinks them unnecessary.
66
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22.66
For "counting," the Italian words "primo," "secondo," "terzo,". "'quarto
(which indicate the first four 'ordinal numbers) are used instead of the words "one,"
two," "three," "four now employed in the established Staff Notation. But,,
for uniformity, the word "secondo" is abbreviated to "seco." In very rapid
movements, only the first syllable of each of these words (viz.: "pri," "se," ter;"-
quar," is pronounced; while in slow movements, or in practising, each of the "
two syllables, of these words is subdivided and pronounced thus: pri-i-mo-o";
"se-e,-co-o
“te-er,-zu-o”; qua-ar-to-o." For "thirds of circles" (the "
equivalents of triplets) these syllables are divided thus: "pri-i-i,-mo-o-o";
"
se-e-e,-co-o-o"; te-e-er,-zo-o-o"; "qua-a-ar,-to-0-0." When the beat is the
dotted." circle (the equivalent of the, dotted "crotchet") a third syllable is added
to each word; thus the equivalent of time is counted as follows: "pri,-mo,-ho";
"se,-co-ho.'
"
tr
"
"
'8
Besides these "tune time names," "rhythm time names" are used in counting for
elementary exercises in reading music and for various theoretical purposes. The
rhythm time names
are as follows: "whole word" for the circle; "twice the
whole word" for the double-circle; "syl." (abbreviation of syllable) for the half-
circle; "1." (abbreviation of letter) for the quarter-circle; a." (abbreviation of
angle) for the angle; and. "sa." (abbreviation of semi angle) for the semi-angle.
Thus the ear time names" (viz. the "tune time names and the "rhythm time
names"),correspond logically with the "eye time names" (viz.: the names of the.
geometrical figures representing the relative duration of the notes): "for the
circle" corresponds with the "word"; the "half-circle" with the "syllable" (or
half-word); and the quarter-circle with the "letter" (or half of the syllable).
For fingering (in order to give to my "New System of Notation" an International
character) the initial letter of the name of each finger (viz.: "i" for iudex;
for medius, or middle finger; "." for annular or ring finger ;“p.” for “petty
finger, or little finger; and "c." for counter finger, or thumb) is used to indicate
the fingering instead of the numbers (X, 1, 2, 3, 4.) now used in the established
Staff Notation. The word "petty." is used instead of "little" because the initial'
letter of the former word is similar to the initial letter of the name of this finger
(piccolo") in Italian; and the word "counter" is used instead of "thumb"
because the corresponding word in Italian," contra," is used instead of the
anatomical name, "pollice," to avoid the confusion which would otherwise arise from
having the letter "p" to represent two different' fingers. The anatomical names of³

page_text: the three other fingers have the same initials in Italian as in English. In music
intended for beginners, a five-cornered geometrical figure with a dot in the corners
(to suggest the idea of the position of the tips of the five fingers when playing five
consecutive semitones on the pianoforte) is used in conjunction with a larger dot as
in Figure FA or with the initial letter of whichever finger is to be used as in
Figure FB.
-
The raising of a note a semitone (called a "sharp" in the established Staff
Notation) is indicated by the algebraic sign of addition (+) placed at the right-
hand side of the Arabic figure which denotes the pitch of this note.
The lowering
of a note a semitone (called a "Hat" in the established Staff Notation) is indicated
by the algebraic sign of subtraction (-) placed at the lefthand side of the Arabic
figure which denotes the pitch of the said note. The sign is called "plus"; and
the sign
is called "minus." These signs should not be more than half, or two
thirds, of the height of the Arabic figures which denote the pitch of the notes.
The raising of a note a tone is indicated by two "plus" signs; and the lowering of
a note a tone is indicated by two "minus" signs: therefore the note now called
"G. double sharp" is represented thus 5++; and the note now called "G. double
flat" is represented thus 5. The "plus" sign is used after each and every note
which is raised a semitone; and the "minus" sign is used after each and every note
which is lowered a semitone, whether these alterations of pitch belong to the "key"
in which the air or movement is written or that they be introduced accidentally.
When they are accidental, they are generally represented in red, or in some other
colour, or they are printed, or otherwise represented, so as to appear in white (or in
the colour or shade of the paper) on a small black square as in Figure S. or on a
small black lozenge as in Figure L. A sign for "naturals is unnecessary except
for theoretical purposes, in which cases a "natural" is indicated by a small "n"
put in the place of the "plus" sign (viz.: at the right hand side of the Arabic
figure) or of the "minus" sigo (viz.: at the lefthand side of the Arabic figure)
which it contradicts. The ascending chromatic scale is represented as in Figure 64
and the descending chromatic scale, as in Figure 7ª.
si
"
"
"
In vocal exercises of Solfeggi, the vowels of the words "Do, re, mi, fa, sol, la,
are replaced by the vowel of the word "plus" (the "u" being pronounced as
in the English word "plural") whenever these notes are raised a semitone ; and
they are replaced by the vowel "i" of the word "minus" whenever these notes
are lowered a semitone; but the vowels of "mi" and S1 are retained and the
letter "n
" is added to them, while the vowel of " So is also retained and the
vowel "i" is added to it (the "oi" being pronounced like "oy" in the word "joy."
The syllables used for the chromatic scale are therefore as follows: Do, du, re
ru, mi, fa, fu, sol, su, la, lu, si, do," when ascending; and as follows: "Do, si, sin,
la, li, sol, soi, fa, mi, min, re, ri, do" when descending.
"
"
The "key
in which an air or movement is written is indicated only by the
Arabic figure which represents the pitch of the tonic of the said key. This Arabic
figure (which is two or three times larger in size than the Arabic figures denoting
the pitch of the notes) is placed between the soprano and the bass octave marks
in music for the piano or the organ, as it is indicated in Figure 10A; and it is
placed immediately after the octave marks in the music of vocal solos or of one
part instruments.
"Harmony signs" are conventional signs used in order that the various changes
of key and the musical construction of the airs or pieces may be more easily under-
stood. Thus, the tonic, the dominant and the subdominant chords are indicated
by a difference in the form of the line which connects the Arabic figures which
represent the pitch of the notes with the geometrical figures which represent their
duration. The tonic is indicated by a line of dots, the subdominant, by a line of
dots through which runs a vertical line and the dominant, by a double line; as in
Figure H; while all other chords are indicated by a plain single line. Further,
the positions of a chord in relation to the bass are indicated by one dot for the

page_text: first inversion, and by two dots for the second inversion; these dote being placed
on the under line of the geometrical figure which represents the duration of the
notes.
The absence of a dot, or dots indicates the direct form of the chord.
"
"
The "manuscript duration signs are signs used, for musical dictation and for
musical manuscript exercises as well as for the rapid noting down of an air or
musical composition, to replace easily the geometrical signs of duration represented
in Figure T. These "manuscript duration signs" are as follows: a crescent-
shaped stroke (similar to the manuscript comma) to represent the quarter-circle ;
two similar crescent-shaped strokes, placed close together, to represent the half-
circle a dot, or a circular stroke, to represent the circle; a straight line, or a
line forming an angle, connecting two Arabic figures, and having a comma under
the centre of this line, to represent two angles; and a straight line, or a line form-
ing an angle and containing two other lines forming angles, connecting four Arabic
figures, and having a comma under the centre of this line, to represent four semi-
angles. All these strokes, dots and lines are placed directly under each of the
Arabic figures which denote the pitch of the notes. Each beat is separated from
the following beat by a horizontal stroke equal in length to the lateral space
between the commencement of one Arabic figure and that of the next; and the
end of each bar is indicated by a vertical line crossing this horizontal line. Music
for special purposes (or for economy) is sometimes printed, or otherwise represented,
with these "manuscript duration signs"; but, in the printed music the circle, the
quarter-circle, the angles and the semi-angles are generally miniature reproductions
of the geometrical figures represented in Figure T, and their size should not (in
most cases) exceed one-half or two-thirds of the size of the Arabic figures which
denote the pitch of the notes. Whenever these "manuscript duration signs are
used, substitutions for the octave pitch signs may also be used; that is to say:
all the notes above or below the principal octave may be represented with one 8 over
the Arabic figures representing the notes which are one octave higher, with 8
the Arabic figures representing the notes which are two octaves higher, with one 8
under the Arabic figures representing the notes which are one octave lower and
with under the Arabic figures representing the notes which are two octaves
lower. In chords this 8 refers only to the Arabic figure immediately under it or
immediately over it. If two or more notes of the chord are to be played or
sung an octave higher or an octave lower these notes are connected together
thus: }.
A chain of little dots or short strokes following the 8 indicates that all
the notes under the chain must be played or sung an octave higher. Figure 8ª
represents the said "manuscript duration signs" and the manner of employing
them.
In certain cases, in the ordinary music of my new system" the figure 8 is used,
in the said manner, to indicate that the notes must be played or sung an octave
higher or an octave lower; and the double-circle may be represented as in
Figure D; and the quadruple-circle may be represented as in Figure Q to avoid
confusion or to economise space.
8
6:
8
over
Likewise in certain cases, or in certain editions, different colours, or a different
form or size of type, may be used to indicate the different parts of a composition :
thus the figures and dots which indicate the soprano part may be in red (or
any other colour) and those which indicate the alto part may be in black or vice
versa.
"
The "three line octave stave is a stave of three lines with dots on, below and
above these three lines (instead of the seven Arabic figures) to represent the
seven successive degrees of the diatonic major scale: these seven degrees however
retain the names of the first seven cardinal numbers. The different octaves are
limited and separated by coloured lines or by lines much thicker than the three
R

page_text: :
The
lines on which the notes are placed. The "plus" and the "minus" signs (viz.: +
and,) are in red, or in some other colour, or they are printed, or otherwise
represented, so as to show in white (or in the colour or the shade of the paper)
surrounded by a black lozenge, or by a black square (as heretofore illustrated):
that is by a black lozenge if these pitch alterations belong to the "key," and by
a black square if these pitch alterations be accidental; or vice versa.
"nought" which indicates a "rest" is always placed on one of the lines which limit
or separate the octaves. A "bind" or "tie "connecting two notes is used to indicate
that the sound of the first note is prolonged during the beat, or the portion of a
beat, represented by the geometrical figure with which the second note is connected.
All the other signs and formulæ are the same as those used in the ordinary music
of my "New System of Musical Notation" heretofore described. This "three line
octave stave is intended for professional musicians and for advanced amateurs,
and to be used principally in cases where it is necessary, or useful, to concentrate a
great deal of music on each page. Figure 9 represents this "three line octave
.stave."
The "octave guide" consists of a combination of lines and Roman figures (or
Arabic figures, but in preference Roman) which indicate the limit and the number
of each octave. These lines and these figures are painted, engraved or otherwise
represented in gold, in silver, in black, in white or in some colour on the vertical
piece of wood which is at the back (or inner end) of the black and white digitals of
the piano, the organ or the harmonium; or they are painted, printed, or otherwise
represented, on a card, or on a wooden board, or on something similar, which is
placed at the back (viz.: at the inuer end) of the aforesaid black and white digitals,
and which is sometimes coloured so as to match the wood (or to resemble the colour
of the wood) of the said musical instruments. The "octave guide" is used to
assist beginners, and others, in distinguishing easily the different octaves of the
pianoforte, organ or harmonium. Figure 11 represents in miniature this "octave
guide"; and it will be seen by this figure that a double line still further indicates
the end of the bass octaves and the beginning of the soprano octaves.
The "music batons" are batons used for musical dictation, musical manuscript
exercises and the like to form the Roman figures and the Arabic figures (which
represent the pitch of the notes) and the signs representing the duration of the
notes, as well as the signs of the separation of the beats and bars. These "batons"
are of two kinds: "printing batons" which print the figures and signs in ink, or
otherwise, on the paper; and "perforating batons" which prick the form of the
figures and signs on the paper. These "batons" (which when finished are generally
about two and a half inches long, and similar in shape and thickness to the sticks
of sealing wax used by ladies) are made of wood, bone or other substance into the
end of which is inserted permanently india-rubber, printer's or other type for the
"printing batons," or a perforating instrument for the "perforating batons."
The "music printing press" and the "music composteur" employ the figures
and the signs representing the pitch of the notes and their duration and the
separation of the beats and bars, to reproduce or to print one or more bars of
music.
The "music dominos" and the "music loto " cards bear the seven Arabic figures
which indicate the pitch of the notes, with the "plus" sign, with the "minus "sign
and without either of these signs, as well as the "nought," and the prolonging
'dot," each of these twenty three figures having under it one of the duration signs
of the circle, the half-circle, the quarter-circle or the angle.
66
"
"3
The "music counters are counters on each of which is printed, or engraved, or
painted, or cut out, or embossed, or otherwise represented, one of the seven Arabic
figures which indicate the pitch of the notes, with the "plus" sign, or with the
minus" sign, or with the double "plus" sign, or with the double "minus" sign,
or without any of these signs; or one of the "manuscript," or the ordinary, signs
of the duration of the notes; or the 8, or the
8
8
; or one of the signs which indicate

page_text: the separation of the beats or the bars; or one of the seven first Roman figures.
These "music counters "
are all of the same size; and they have the form of a
square or of a cube. They are made of cardboard, of bone, of wood, of metal or
of some other substance. When they are of different colours, they follow the order
of the colours of the rainbow; so that the counter number 1 is grey, the 2 is violet,
the 3 is red, the 4 is orange, the 5 is yellow, the six is green, the 7 is blue, while
that of the large prolonging "dot" is brown, that of the O is black, and those of
the duration signs and of the separation signs are white. When these counters
have the form of a cube, each cube bears six of the signs which indicate the pitch
of the notes (one on each face) or six of the signs which indicate the duration of
the notes and the separation of the beats and the bars. The "music dominos," the
"music loto" and the "music counters 55 are used for various musical exercises or
for instructive games. The "music counters " are also used for musical dictation.
Having now particularly described and ascertained the nature of my said
invention, and in what manner the same is to be performed, I would observe:
that I am aware that prior to my invention Arabic and Roman figures have been
used in books and sheets of music to indicate the pitch of the notes; I therefore do
not claim the exclusive right to use the said figures for the said purpose; but I
declare that what I do claim as my invention, and desire to secure by Letters
Patent is:
1° The sole and exclusive right of employing in books, pamphlets, sheets of
music or otherwise all or any of the other formulæ, signs and names which I have
described in this Specification and the accompanying drawings to represent the
relative duration of the notes, the "time signatures," the mode of counting, the
mode of fingering, the "sharps," the "flats," the "naturals" and the "key
signatures."
2° The sole and exclusive right of employing in books, pamphlets, sheets of
music or otherwise my said "three line octave stave" (herein described) to represent
the pitch of the notes.
55
3° The sole and exclusive right of employing in books, pamphlets, sheets of
music or otherwise my said "harmony signs or my said "manuscript duration
sigos (herein described).
"
4° The sole and exclusive right to use, make, represent, manufacture or sell, and
to assign unto others the right to use, make, represent manufacture or sell the
"octave guide" described in this Specification and the accompanying drawings.
5° The sole and exclusive right to use, make, manufacture or sell, and to assign
unto others the right to use, make, manufacture or sell the "music batons," the
"music printing press," the "music composteur," the "music dominos," the "music
loto," the "music counters" (herein severally described) or any other instruments
or games bearing the aforesaid signs and formulæ of my said invention.
In witness whereof I, the said Stephanie Elizabeth Coppinger, have hereunto
set my hand and seal this First day of October in the year of Our Lord
One thousand eight hundred and ninety-two.
STEPHANIE ELIZABETH COPPINGER.