A CERTAIN IMPROVEMENT OR CERTAIN IMPROVEMENTS IN THE CONSTRUCTION OF WIND MUSICAL INSTRUMENTS
Year: 1829

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, I, CHARLES
WHEATSTONE, late of Number 486, in the Strand, now of No. 20, Conduit
Street, Regent Street, in the County of Middlesex, Musical Instrument
Manufacturer, send greeting.
WHEREAS His present most Excellent Majesty King George the Fourth,
by His Letters Patent under the Great Seal of Great Britain, bearing date at
Westminster, the Nineteenth day of December, in the tenth year of His reigu,
did, for Himself, His heirs and successors, give and grant unto me, the said
Charles Wheatstone, His special licence, that I, the said Charles Wheatstone,
my exors, admors, and assigns, or such others as I, the said Charles Wheat-
stone, my exors, adñiors, or assigns, should, at any time' agree with, and no
others, from time to time and at all times during the term of years therein
expressed, should and lawfully might make, use, exercise, and vend, within
England, Wales, and the Town of Berwick-upon-Tweed, my Invention of
A CERTAIN IMPROVEMENT OR CERTAIN IMPROVEMENTS IN THE CONSTRUCTION OF
WIND MUSICAL INSTRUMENTS;" in which said Letters Patent is contained a
proviso obliging me, the said Charles Wheatstone, by an instrument in
writing under my hand and seal, particularly to describe and ascertain the
nature of my said Invention, and in what manner the same is to be per-
formed, and to cause the same to be inrolled in His said Majesty's High
Court of Chancery within six calendar months next and immediately after
the date of the said recited Letters-Patent, as in and by the same, reference
being thereunto had, will more fully and at large appear.
ઉં
F

page_text: NOW KNOW YE, that in compliance with the said proviso, I the said
Charles Wheatstone, do hereby declare that the nature of my said Invention,
and the manner in which the same is to be performed, are particularly
described and ascertained. in, and by the Drawing hereunto annexed, and the
following description thereof, (that is to say).
:
The wind musical instruments, in the construction of which my said
improvements are made use of, are those in which the sounds are produced
by directing a current of air against metallic springs or tongues fitted within
or over corresponding apertures, formed in plates of metal. or of other fit and
proper substances-or-materials; the said-springs or tongues being firmly affixed
at one end of each to the said metallic or other plates whilst their other ends.
are permitted to vibrate: freely. within the said apertures, but without their
vibrating parts encountering or touching the sides thereof. Several of these
springs, being placed in apertures arranged parallel to each other side by side
in a plate,.and tuned to the notes of a common chord, constitute one of the
simplest forms of a wind musical instrument, known in Germany under the
name of the mund-harmonica; and in England. by that of the Æolina. Finger
keys have also been added to such instruments, somewhat similar to those of
flutes, but always placed at such distances apart as to allow space for the
fingers to apply themselves to each key when the instruments are held in such
positions as for the hands to apply themselves thereto in the manner of finger-
ing the flute or, flageolet. Now in my improved keyed wind instruments the
springs are brought so close together that they occupy little more space than
in the Zolina before mentioned.. In fact eight springs may be placed, in the
space of an inch and a half, and their corresponding keys may also be brought
much closer together than hitherto, and the wind chests made much smaller
than has yet been done for a similar number of notes.. The modes by
which I am enabled to arrange the keys, when brought so close together as
to be conveniently reached by the fingers will be understood by the references
to the various Figures contained in the Drawing, which, as aforesaid, is annexed
to this 'Specification, and in which said Drawing Figure 1 is a view of the
right-hand side of one of my said improved instruments, to which I have given
the name of the symphonium, Figure 2 an end. view, and Figure 8 a top view
thereof. Figure 4 is a section taken through the middle of Figure 2, and shew-
ing the tongues or springs a, a, &c., which are affixed at one end upon
inner side of the metal plate:b, b, and their other ends move or play freely
within slits or corresponding perforations made through the plate b, b, to receive
them, upon the external side of the plate. b, b, Figures 1 and 3. The valves or
keys c, c, &c. are mounted much in the same manner as the keys of flutes, and
the

page_text: they are likewise fitted with springs, as such keys are, but the levers of the
keys.are made alternately unequal in their length, so that their ends, which
are furnished with the studs d, d, &c. mounted upon them, lie in two
parallel rows, as shewn in Figure 1, by which means the valves or keys c, c,
&c. may be successively raised by the alternate progressive motion of the
first and second fingers of the right hand, and the distances apart of the
studs. d, d, &c. upon the ends of the levers must be such as that each stud
may be separately touched by a finger, without that finger interfering with
the adjacent studs, and yet so as that any two adjacent studs may occasionally
be pressed down by one finger when necessary. The left side of the instru-
ment is likewise to be fitted up with a plate, tongues or springs, and valves
or keys, with studs upon the ends of their levers, in a similar manner to those
of the right side of it, and as shewn in Figures 2. and 3. The sounds or notes
of this instrument are arranged in a diatonic scale, but so that its successive
notes are placed alternately on each side of the instrument. The notes pro-
duced by touching two adjacent diagonal studs are therefore thirds to each
other, and those produced by touching two adjacent studs in the parallel rows
are fifths to each other, excepting an additional note G, which does not agree
with this arrangement. The particular instrument here figured is repre-
sented as being in the key at C, and its range, extent, or compass limited to
two octaves, but it may be tuned in any other key, or encreased or diminished
in its compass at pleasure. The box, cavity, or wind chest is completed by
the addition of three fixed sides and a moveable one, which latter has also the
embouchure or mouthpiece affixed in it, as shewn at e, e, &c. in Figures 1, 2, 3,
and 5, the latter Figure being a section thereof. f.f, are handles or plates
shaped so as to be conveniently held between the two third and fourth fingers
and thumb of each hand. Instead of placing the tongued keys, &c. upon two
parallel plates, as in the above-mentioned instrument, I can place them in
two separate rows upon one plate only, and as shewn in Figure 6, which is
an inside view of an instrument, and in Figure 7, which is an external view
of the same, but in this disposition or arrangement a new construction of the
keys becomes necessary, so that they may be placed in two parallel rows on
each side of the instrument, as shewn at Figure 8, which represents the left
side of it. Figure 9 is an under, view of Figure 7. The keys e, e, &c. are
here bent levers, with holes in them at g, g, &c., turning upon pins or wires
passed through them, and the standards of athe frame plates h, h, &c., which
are affixed upon the main plate 6 of the 'instrument. Each key has also a
spring i, Figure 10,..which acts against-a-fixed-projecting-hook j; formed upon
the top of each standard, as shewn, at Figure 11, so as to press the key

page_text: down, and as shewn on the left side of Figure 9. Figure 12 shews the short
end of the lever or key as being cleft so as fit upon each side of the standard
..or fixed support of the hook j, and it has other holes made through the upper
ends of the cheeks h;'h, Figure 12; through which a pin is passed, which also
passes through-a-hole-formed. in the end of a pushing rod m, Figure.13,
.which has a stud d affixed upon its outer end, and this pushing rod n upon.
being pressed inwardly acts upon the shorter end of the key e, 'and lifts or
raises it, the reaction of the spring against the fixed hook ; depressing it,
when set at liberty, as before mentioned. Figure 14 represents a longitudinal
view of the frame plate h, with its standards h; h, &c and a wire passing
through holes made-in the lower part of each standard upon which the. bent
levers or keys c, c, &c. turn, in order to place the studs d; d, &c. upon the
external ends of the pushing rods m, m, &c. in their proper positions for
fingering them in the manner above mentioned. In describing the former
instrument the pushing rods are, alternately bent in two opposite directions,
and as shewn in Figures 13 and 15, and in their places in Figure 9. -Tlie
pushing rods pass through slits made in the plates forming the sides of this
instrument, as shewn in Figure 8, and the ends of which said slits are closed
_by corresponding plates furnished with slits, one of which, is shewn in
Figure 16, and which are slipped in by the sides of the other end plates.
Figure 17 is another view of the plate 16, shewn as removed from one side
of Figure 7. Figure 18 is an end view of a similar plate, corresponding with
Figure 9. Upon the main plate 6, b, of this. instrument a square border or
frame n, n, is affixed,; having dovetailed grooves formed upon each side of it,
to receive the plate, Figure 19, which completes the wind chest, and this
plate, Figure 19, likewise contains the mouthpiece or opening e. A back
plate or cover may also be fitted upon the outside of, this instrument, to soften
or improve the quality of its 'tones, if thought necessary. ff, &c. are handles
by which to support the instrument, and which may be doubled by inaking
both faces of the instrument alike in form.
Another construction of an instrument of this kind is shewn in Figure 20,
where the springs of the two rows a, a, &c. are placed in a.reverse position
to those of Figure 6, their loose ends being placed near to each other, and
instead of the springs being exactly opposite to each other, as shewn in
Figure 6, they are so placed as that the loose ends of the springs in the one
row are opposite to the spaces between the springs of the other row, and the
pushing rods m, m, &c. are lengthened so as to reach across to the shorter
ends of the keys, as shewn in Figures 21 and 22, and where they are united
to them by joints in the manner already described.

page_text: Its. external appearance.-The form of its wind chest and the construction
of the keys or valves are the same as in the instrument last described.
I shall next proceed to describe the modes in which semitones may be
introduced into these instruments, when necessary. When it is only required to
introduce one or two, I employ the method, represented in Figure 28, which
is a sliding rod or bar o, o, placed across the wind chest, in the manner shewn
by dotted lines in Figure 20; it lying in gaps formed in the top and bottom
sides of the instrument. Near the inner end of this bar a hook P, Figure 23,
is made, which enters a hole made in a spring q, Figure 20, affixed within the
top of the instrument, and which spring is also shewn in Figure 24. The action.
of this spring is to thrust the bar downwards. The bar is likewise furnished with:
a tooth r, which when the bar is pressed upwards by the application of the
thumb to the stud s, upon the external end of the rod, is pressed close to the
sile or edge of the tongue or spring it is intended to act upon, and alters its
vibrations so as to cause it to produce a note which is a semitone higher than
its natural tone, and when the bar is released by the removal of the thumb
the spring. 9 thrusts it downwards again, and permits the tongue to vibrate its
entire length, and regain its natural tone. When another semitone is required
to be introduced, of course another bar or rod similar to that above described
is to be employed. When, however, a greater number of semitones are to be.
introduced, I can employ the arrangement of keys represented in Figure 25,
which exhibits the right-hand side of the instrument, and which instrument
is composed of two instruments nearly similar in their mechanical details
to that shewn in Figure 1, placed end to end, and their wind chests made, to
communicate. There are consequently four parallel rows of finger studs on:
each side of the instrument. The two inner or middle rows of studs govern
the notes of a diatonic scale in the order and arrangement before described
in the references to Figure 1, but the key of E flat is here represented.
instead of the key of C, and the two additional or outer row of studs govern
notes which are respectively a semitone sharper than those governed by the.
adjacent studs below them in the inner rows. The scale governed by the
studs of the two inner rows is played by the two first fingers of both hands
exactly as on the diatonic instruments above described, and when the semi-
tones are required the fingers are stretched sideways so as to reach the studs
governing them.
I can also employ another mode of introducing the
additional semitones, which is by combining two instruments in one, either
such as is shewn in Figure 7 or in Figure 21. In the present instance two
such instruments are combined by uniting their wind chests, the one being
fitted to the other by dovetailed slides, and as shewn in Figures 26 and 27,

page_text: the former being an external view of them as fitted. together, and the latter
a section only partly fitted together, in order to shew the manner in which the
air is conveyed from the mouth-piece over the top of the instrument and
into the wind chest n, n. The arrangement of the studs and the notes of
the scale with which they correspond are the same as described in the references
to Figure 25. I'can also make a chromatic instrument; in which, instead of
extra studs being provided for the semitones, a peculiar movement, to be shortly
described, transfers the actions of pushing rods from one key to another, the
one key corresponding with a note of a diatonic scale, and the other key with
a semitone above it. In Figure-28.the pushing rod m is shewn as having
affixed upon it two wings or .webs t, t, and which is shewn separately in
Figure 31, the one wing-being. placed at an angle of about 90 degrees
difference from the other wing, as shewn in the end view Figure 82. The
two keys c, c, Figure 28, instead of having their shorter ends forked or cleft
in the direction of the length of the keys, as in the former Figures, are here
shewn as being notched across; and when either of the webs or wings upon
the pushing rods are turned down so as to enter the notch in the key, upon
pushing the rod endways that key will be opened, as is shewn in' one of the
two uppermost keys in Figure 28. The pushing rod can be tuned by means
of a small pin or lever naffixed in the-stud, as shewn separately in Figures
32 and 33, and also in Figures 28, 29, and. 31. In order to retain the pushing
rods in either situation, a collet v, Figure 31, is affixed upon each; having two
gaps or notches made in it to receive the nib of a spring n.
In Figure 30 several of these springs are shewn as entering the notches
made in the collets, and retaining the pushing rods in the required situation.
Figure 29 shews the mode of arrangeing these compound keys. They are
placed alternately in opposite directions, so that the finger studs are alternately
on each side of the instrument.
Figures 28, 30, and 34 shew the manner in which two of the similar parts
exhibited in Figure 29 are combined to form one complete instrument.. In
this arrangement there are two wind chests.n, n, as shewn in Figures 28
and 30, and which are connected together by the channel x, shewn in Figures
-29, 30, and 34. The arrangement shewn in Figure 34, where the stud
levers u, u, &c. are exhibited as turned downwards; represents the instrument
as being in the key of E flat, and the semitones above are produced by changing
the situation of those levers or turning them, upwards. Similar end plates to
those already described in the reference to Figure 16 are also to be applied
to the instrument last described, but having gaps or notches made in them
similar to those shewn in Figure 35, where it corresponds with Figure 30

page_text: These plates likewise carry the springs w, w, shewn in Figure 30, upon the
enner sides of them.
Figure 36 is an edge view of the plates united, corresponding with Figure 29,
and these plates hold the two similar parts of the instrument to together.
Figure 37 exhibits an instrument known in China by the name of tsching
or ching, and described in English books as the Chinese organ, but with
improvements added by myself, as will be described hereafter. As, however,
the construction of this instrument has not been well understood, so it will be
necessary to give a short account of it. It consists of a number of pipes or
tubes inserted into a wind chest similar to that shown in Figure 37, but with
a mouth-piece at one side instead of at the end of it, as here shewn at e.
Each pipe is constructed in the following manner :-
Figure 38 is one of the pipes, having at its enner end, or that which is
inserted into the wind chest, or tongue or spring resembling that of the
Æolina, before described, but with this difference, that in the tongue of the
Æolina its free end must be slightly raised above the level of the aperture in
the metal plate, to fit it for sounding, and it will only sound when the air
enters the aperture from that side of the plate on which the spring is placed;
whereas in the pipe of the Chinese organ the tubes so influence the action of
the tongue that it will not produce the required sound unless the loose end of it
be depressed to the level of the aperture, and then its sound may be produced
in whatever way the air passes through the aperture. The length of the tube
is proportioned to the vibrations of the tongue, and near the tongue a small
aperture is made in the tube, which, when open, prevents the pipe or tube
from sounding, but on closing it with the finger, and blowing into the pipe, the
sound is produced. In Fig. 38 y is the tongue and the aperture in the
tube. Fig. 39 is an edge or side view of the lower part of this pipe. Fig. 40
is a view of the cover of the wind chest, with the pipes inserted into it in a
circular manner. The pipes are placed in the same order as the springs or
tongues in Fig. 4, their lengths, therefore, decrease progressively from the
bottom to the top. The apertures z, z, &c. are arranged in the same order
as the studs in Fig. 1. This Figure shews the right-hand side of the instru-
ment; but on the left side the pipes and apertures in them are arranged so as
to correspond with the left side of Fig. 1. When semitones are required I
introduce additional pipes within the circular row of pipes above mentioned,
as shewn in Fig. 40, and bring short tubes or pipes from the apertures z, z,
in them, flush with the exterior surfaces of the other pipes, and as seen in
Fig. 37.
Figs. 41 and 42 exhibit another form of the same instrument differing from

page_text: the former one in the pipes being arranged in two straight, rows. instead of a
circular one only. My improvements in these two instruments consist in the
application of the mode of fingering used in the preceding instruments, by
the arrangement of the pipes and apertures in them.
Fig: 43-is-a-side view; and Fig. 44 an end view, of another instrument!
similar to the two last described, but with the substitution of portable. bellows,
for the wind chest. These bellows are constructed with several folds, and;
have no valve in them. As the wind is drawn inwards and expelled outwards-
through the apertures of the pipes in which the tongues are placed, the semi-
tones may be added to this instrument in a similar manner to those last
described. I can likewise apply either of the instruments described in reference;
to Figs. 1, 2, 3, 4, and 25, to the portable, bellows, an example of which.is.
shown in Fig: 45, where the ends of the bellows are formed of plates with
rows of tongues or springs mounted in apertures in the manner before
described, and furnished with keys or valves with finger studs to them, as
shewn at each end of the bellows in Fig. 45; or the other instruments
described may likewise, be fitted to the bellows under proper modifications
of their structure.. I do not mean or intend hereby to claim as my Invention,
-any of the various parts of which these said instruments may be composed which
are already known: or in use. But I do hereby claim the employment of
two parallel rows of finger-studs on each end or side of the instruments-fitted
with keys to terminate the ends of the livers of the keys, and the so placing
them with respect to their distances and positions as that they may, singly, be
progressively and alternately touched or pressed down by the first and second
fingers of each hand, without the fingers interfering with the adjacent studs,
and yet be placed so near together as that any two adjacent studs may be.
simultaneously pressed down, when required, by the same finger, the peculiarity
and novelty of this arrangement consisting in this, that as in the ordinary keyed
wind musical instruments- the fingering is effected by the motion sideways of
the hands and fingers, in this new arrangement that mode of fingering is
rendered entirely inapplicable, and a motion which had not. hitherto been
employed is rendered available, namely, the ascending and descending motions
of the fingers before. described. This mode of arranging the studs enables
me to bring the keys much nearer-together than has hitherto been done in
any other instrument of a similar nature, and thereby to construct such
instruments of greater portability. This arrangement of the finger studs
being preserved, the methods of tuning the notes corresponding therewith
may be varied in many ways; but the examples afforded in the references to
the different Figures are those which I profer. I likewise claim the introdue

page_text: tion of two additional rows of finger studs on each end or side of the instru-
ments, parallel to those of the preceding arrangement, for the purpose of
introducing the semitones, when required, as shewn in Figs. 25 and 26, and
described in the references to those Figures. I also claim the compound
pushing rod and keys represented in Figs. 28, 29, 30, and 34, and described
in the references to those Figures, and whereby two different keys may be
opened by the action of one finger stud. And I likewise claim the manner
of altering the tones of the tongues or springs, by the application of a toothed
bar to the edge of the tongue or spring requiring to be altered in its tone,
and as shewn in Figs. 20, 23, and 24, and described in the references to those
Figures. I also claim the arrangement of the finger holes of the. pipes of
the Chinese organ so as to make them correspond with the arrangements of
the finger studs on the other instruments, and as shewn in Figs. 37, 42, and
44, and described in the references thereto, as well also as the manner of
introducing the semitones into those instruments, as shewn and described.
In witness whereof, I, the said Charles Wheatstone, have hereunto set
my hand and seal, this Nineteenth day of December, in the year of our
Lord One thousand eight hundred and twenty-nine.
CHARLES (L.s.) WHEATSTONE.
AND BE IT REMEMBERED, that on the Nineteenth day of December,
in the year of our Lord 1829, the aforesaid Charles Wheatstone came before
our said Lord the King in His Chancery, and acknowledged the Specification
aforesaid, and all and every thing therein contained and specified, in form
above written. And also the Specification aforesaid was stamped according
to the tenor of the Statute made for that purpose.
Inrolled the Nineteenth day of December, in the year of our Lord One
thousand eight hundred and twenty-nine.

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, I, CHARLES
WHEATSTONE, late of Number 436, in the Strand, now of No. 20, Conduit
Street, Regent Street, in the County of Middlesex, Musical Instrument
Manufacturer, send greeting.
WHEREAS His present most Excellent Majesty King George the Fourth,
by His Letters Patent under the Great Seal of Great Britain, bearing date at
Westminster, the Nineteenth day of December, in the tenth year of His reign,
did, for Himself, His heirs and successors, give and grant unto me, the said
Charles Wheatstone, His special licence, that I, the said Charles Wheatstone,
my exors, admors, and assigns, or such others as I, the said Charles Wheat-
stone, my exors, admors, or assigns, should at any time agree with, and no
others, from time to time and at all times during the term of years therein
expressed, should and lawfully might make, use, exercise, and vend, within
England, Wales, and the Town of Berwick-upon-Tweed, my Invention of
A CERTAIN IMPROVEMENT OR CERTAIN IMPROVEMENTS IN THE CONSTRUCTION OF
WIND MUSICAL INSTRUMENTS;" in which said Letters Patent is contained a
roviso obliging me, the said Charles Wheatstone, by an instrument in
vriting under my hand and seal, particularly to describe and ascertain the
ature of my said Invention, and in what manner the same is to be per-
ormed, and to cause the same to be inrolled in His said Majesty's High
Court of Chancery within six calendar months next and immediately after
he date of the said recited Letters Patent, as in and by the same, reference
eing thereunto had, will more fully and at large appear.

page_text: NOW KNOW YE, that in compliance with the said proviso, 1, the said
harles Wheatstone, do hereby declare that the nature of my said Invention,
nd the manner in which the same is to be performed, are particularly
escribed and ascertained in and by the Drawing hereunto annexed, and the
ollowing description thereof (that is to say):-
5
The wind musical instruments, in the construction of which my said
mprovements are made use of, are those in which the sounds are produced
by directing a current of air against metallic springs or tongues fitted within
or over corresponding apertures, formed in plates of metal or of other fit and
proper substances or materials, the said springs or tongues being firmly affixed 10
at one end of each to the said metallic or other plates whilst their other ends
are permitted to vibrate freely within the said. apertures, but without their
vibrating parts encountering or touching the sides thereof. Several of these
springs, being placed in apertures arranged parallel to each other side by side
in a plate, and tuned to the notes of a common chord, constitute one of the 1
simplest forms of a wind musical instrument, known in Germany under the
name of the mund-harmonica, and in England by that of the Æolina. Finger
keys have also been added to such instruments, somewhat similar to those of.
flutes, but always placed at such distances apart as to allow space for the
fingers to apply themselves to each key when the instruments are held in such.
positions as for the hands to apply themselves thereto in the manner of finger-
ing the flute or flageolet. Now in my improved keyed wind instruments the
space. than
springs are brought so close together that they occupy little more
in the Æolina before mentioned. In fact eight springs may be placed in the
space of an inch.and.a.
a.half, and their corresponding keys may also be brought
much closer together than hitherto, and the wind chests made much smaller
The modes by
than has yet been done for a similar number of notes.
which I am enabled to arrange the keys when brought so close together a
to be conveniently reached by the fingers will be understood by the reference
to the various Figures contained in the Drawing, which, as aforesaid, is annexe
to this Specification, and in which said Drawing Figure 1 is a view of th
right-hand side of one of my said improved instruments, to which I have give
the name of the symphonium, Figure 2 an end view, and Figure 3.a top vie
thereof. Figure 4 is a section taken through the middle of Figure 2, and she
ing the tongues or springs a, a, &c., which are affixed at one end upon t
inner side of the metal plate 6, 6, and their other ends move or play free
within slits or corresponding perforations made-through the plate b, b, to rece
them, upon, the external side-of-the-plate b,b,. Figures 1 and 8. The valves
keys c, c, &c. are mounted much in the same manner as the keys of flutes,

page_text: they are likewise fitted with springs, as such keys are, but the levers of the
keys are made alternately unequal in their length, so that their ends, which
are furnished with the studs d, d, &c. mounted upon them, lie in two
parallel rows, as shewn in Figure 1, by which means the valves or keys c, c,
&&c. may be successively raised by the alternate progressive motion of the
first and second fingers of the right hand, and the distances apart of the
studs d, d, &c. upon the ends of the levers must be such as that each stud
may be separately touched by a finger, without that finger interfering with
the adjacent studs, and yet so as that any two adjacent studs may occasionally
be pressed down by one finger when necessary. The left side of the instru-
ment is likewise to be fitted up with a plate, tongues or springs, and valves
or keys, with studs upon the ends of their levers, in a similar manner to those
of the right side of it, and as shewn in Figures 2 and 3. The sounds or notes
of this instrument are arranged in a diatonic scale, but so that its successive
notes are placed alternately on each side of the instrument. The notes pro-
duced by touching two adjacent diagonal studs are therefore thirds to each
other, and those produced by touching two adjacent studs in the parallel rows
are fifths to each other, excepting an additional note G, which does not agree
with this arrangement. The particular instrument here figured is repre-
sented as being in the key at C, and its range, extent, or compass limited to
two octaves, but it may be tuned in any other key, or encreased or diminished
in its compass at pleasure. The box, cavity, or wind chest is completed by
the addition of three fixed sides and a moveable one, which latter has also the
embouchure or monthpiece affixed in it, as shewn at e, e, &c. in Figures 1, 2, 3,
and 5, the latter Figure being a section thereof. f.f, are handles or plates
shaped so as to be conveniently held between the two third and fourth fingers
and thumb of each hand. Instead of placing the tongued keys, &c. upon two-
parallel plates, as in the above-mentioned instrument, I can place them in
two separate rows upon one plate only, and as shewn in Figure 6, which is
an inside view of an instrument, and in Figure 7, which is an external view
of the same, but in this disposition or arrangement a new construction of the
keys becomes necessary, so that they may be placed in two parallel rows on
each side of the instrument, as shewn at Figure 8, which represents the left.
ide of it. Figure 9 is an under view of Figure 7. The keys e, e, &c. are
ere bent levers, with holes in them at 9, 9, &c., turning upon pins or wires
passed through them, and the standards of the frame plates h, h, &c., which
re affixed upon the main plate 6 of the instrument. Each key has also a
pring i, Figure 10, which acts against a fixed projecting hook j, formed upon
he top of each standard, as shewn at Figure 11, so as to press the key

page_text: down, and as shewn on the left side of Figure 9. Figure 12 shews the short
end of the lever or key as being cleft so as fit upon each side of the standard
or fixed support of the hook j, and it has other holes made through the upper
ends of the cheeks h; h, Figure 12, through. which a pin is passed, which also
passes through a hole formed in the end of a pushing rod m, Figure 18,
which has a stud d affixed upon its outer end, and. this pushing rod n upon
being pressed inwardly acts upon the shorter end of the key e, and lifts or
raises it, the reaction of the spring i against the fixed hook-j depressing it,
when set at liberty; as before mentioned. Figure 14 represents a longitudinal
view of the frame plate h; with its standards h, h, &c., and a wire passing 1
through holes made in the lower part of each standard upon which the bent
levers or keys c, c, &c. turn; in order to place the studs d, d, &c. upon the;
external ends of the pushing rods m, m, &c. in their proper positions. for
fingering them. in: the manner above mentioned. In describing the former.
instrument the pushing rods are alternately bent in two opposite directions,
and as shewn in Figures 13 and 15, and in their places in Figure 9. The
pushing rods pass through slits made in the plates forming the sides of this
instrument, as shewn in Figure 8, and the ends of which. said slits are closeil.
by corresponding plates furnished with slits, one of which is shewn in
Figure 16, and which are slipped in by the sides of the other end plates.
Figure 17 is another view of the plate 16, shewn as removed from one side
of Figure 7. Figure 18 is an end view of a similar plate, corresponding with
Figure 9. Upon the main plate b, b, of this instrument a square border or
frame n, n, is affixed, having dovetailed grooves formed. upon each side of it,
to receive the plate, Figure 19, which completes the wind chest, and this
plate, Figure 19, likewise contains: the mouthpiece or opening . A back
plate or cover may also be fitted upon the outside of this instrument; to soften
or improve the quality of its tones, if thought necessary. f.f, &c. are handles
by which to support the instrument, and which may be doubled by making
both faces of the instrument alike in form.
Another construction of an instrument of this kind is shewn in Figure 20,.
where the springs of the two rows a, a, &c. are placed in a reverse position.
to those of Figure 6, their loose ends being placed- near to each other, and.
instead of the springs being exactly opposite to each other, as shewn in
Figure 6, they are so placed as that the loose ends of the springs in the one
row are opposite to the spaces between the springs of the other row, and the
pushing rods m, m, &c. are lengthened so as to reach across to the shorter.
ends of the keys, as shewn in Figures 21 and 22, and where they are united
to them by joints in the manner already described.

page_text: Its external appearance.-The form of its wind chest and the construction
of the keys or valves are the same as in the instrument last described.
I shall next proceed to describe the modes in which semitones may be
introduced into these instruments, when necessary. When it is only required to
introduce one or two, I employ the method represented in Figure 23, which
is a sliding rod or bar o, o, placed across the wind chest, in the manner shewn
by dotted lines in Figure 20; it lying in gaps formed in the top and bottom
sides of the instrument. Near the inner end of this bar a hook P, Figure 23,
is made, which enters a hole made in a spring q, Figure 20, affixed within the
top of the instrument, and which spring is also shewn in Figure 24. The action
of this spring is to thrust the bar downwards. The bar is likewise furnished with
a tooth r, which when the bar is pressed upwards by the application of the
thumb to the stud s, upon the external end of the rod, is pressed close to the
side or edge of the tongue or spring it is intended to act upon, and alters its
vibrations so as to cause it to produce a note which is a semitone higher than
its natural tone, and when the bar is released by the removal of the thumb
the spring a thrusts it downwards again, and permits the tongue to vibrate its
entire length, and regain its natural tone. When another semitone is required
to be introduced, of course another bar or rod similar to that above described
is to be employed. When, however, a greater number of semitones are to be
introduced, I can employ the arrangement of keys represented in Figure 25,
which exhibits the right-hand side of the instrument, and which instrument
is composed of two instruments nearly similar in their mechanical details
to that shewn in Figure 1, placed end to end, and their wind chests made to
communicate. There are consequently four parallel rows of finger studs on
each side of the instrument. The two inner or middle rows of studs govern
the notes of a diatonic scale in the order and arrangement before described
in the references to Figure 1, but the key of E flat is here represented
instead of the key of C, and the two additional or outer row of studs govern
notes which are respectively a semitone sharper than those governed by. the
adjacent studs below them in the inner rows. The scale governed by the
studs of the two inner rows is played by the two first fingers of both hands
exactly as on the diatonic instruments above described, and when the semi-
tones are required the fingers are stretched sideways so as to reach the studs
governing them. I can also employ another mode. of introducing the
additional semitones, which is by combining two instruments in one, either
such as is shewn in Figure 7 or in Figure 21. In the present instance two
such instruments are combined by uniting their wind chests, the one being
fitted to the other by dovetailed slides, and as shewn in Figures 26 and 27,

page_text: the former being an external. view of them as fitted together, and the latter
a' section only partly fitted. together, in order to shew the manner in which the
air is conveyed from the mouth-piece e over the. top of the instrument and
into the wind: chest n; n. The arrangement of the studs and the notes of
the scale with which they correspond are the same as described in the references
to Figure 25. I can also make a chromatic instrument, in which, instead of
extra studs being provided for the semitones, a peculiar. movement, to be shortly
described, transfers the actions of pushing: rods- from one key to another, the
one key, corresponding with a. note of a diatonic scale, and the other: key with
a semitone above it.. In Figure-28 the pushing: rod m is. shewn as having
affixed upon it two wings. or webs t, t, and which is shewn separately in
Figure 81, the one wing being placed at an angle: of about 90 degrees.
difference from the other wing, as shewn in the end view Figure 32. The
two keys c, c, Figure 28, instead of having their shorter ends forked or cleft
in the direction of the length of the keys, as in the former Figures, are here
sbewn as being notched across; and when either of the webs or wings upon
the pushing rods are turned down so as to enter the notch in the key, upon
pushing the rod endways that key will be opened, as is shewn in one of the
two uppermost keys in Figure 28. The pushing rod can be tuned by means
of a small pin or lever n affixed in the stud, as shewn separately in Figures
32 and 33, and also in Figures 28, 29, and 81. In order to retain the pushing
rods in either situation, a collet v, Figure 31, is affixed upon each, having two
gaps or notches made in it to receive the nib of a spring n.
In Figure 80 several of these. springs are shewn as entering the notches
made in the collets, and retaining the pushing rods in the required situation.
Figure 29 shews the mode. of arrangeing. these compound keys. They are
placed alternately in opposite directions, so that the finger studs are alternately
on each side of the instrument.
Figures 28, 30, and 84 shew the manner. in which two of the similar parts
exhibited in Figure 29. are combined to form one complete instrument.. In
this arrangement there are two wind chests. n, n, as shewn in Figures 28
and 30, and which are connected together by the channel x, shewn in Figures
29, 30, and 34... The arrangement shewn in Figure 34, where the stud
levers u, u; &c. are exhibited as turned downwards, represents the instrumen
as being in the key of E flat, and the semitones above are produced by changing
the situation of those levers.or turning them.upwards. Similar end plates.t
those already described in the reference to Figure 16 are also to be applie
to the instrument last described, but having gaps or notches made-in-then
similar to, those shewn in Figure 35, where it corresponds. with Figure-30

page_text: These plates likewise carry the springs w, w, shewn in Figure 30, upon the
enner sides of them.
Figure 36 is an edge view of the plates united, corresponding with Figure 29,
and these plates hold the two similar parts of the instrument to together.
Figure 37 exhibits an instrument known in China by the name of tsching
or ching, and described in English books as the Chinese organ, but with
improvements added by myself, as will be described hereafter. As, however,
the construction of this instrument has not been well understood, so it will be
necessary to give a short account of it. It consists of a number of pipes or
tubes inserted into a wind chest similar to that shown in Figure 37, but with
a mouth-piece at one side instead of at the end of it, as here shewn at e.
Each pipe is constructed in the following manner :-
Figure 38 is one of the pipes, having at its enner end, or that which is
inserted into the wind chest, or tongue or spring resembling that of the
Eolina, before described, but with this difference, that in the tongue of the
Eolina its free end must be slightly raised above the level of the aperture in
the metal plate, to fit it for sounding, and it will only sound when the air
enters the aperture from that side of the plate on which the spring is placed ;
whereas in the pipe of the Chinese organ the tubes so influence the action of
the tongue that it will not produce the required sound unless the loose end of it
be depressed to the level of the aperture, and then its sound may be produced
in whatever way the air passes through the aperture. The length of the tube
is proportioned to the vibrations of the tongue, and near the tongue a small
aperture is made in the tube, which, when open, prevents the pipe or tube
from sounding, but on closing it with the finger, and blowing into the pipe, the
sound is produced. In Fig. 38 y is the tongue and z the aperture in the
tube. Fig. 39 is an edge or side view of the lower part of this pipe. Fig. 40
is a view of the cover of the wind chest, with the pipes inserted into it in a
circular manner. The pipes are placed in the same order as the springs or
tongues in Fig. 4, their lengths, therefore, decrease progressively from the
bottom to the top. The apertures z, z, &c. are arranged in the same order
as the studs in Fig. 1. This Figure shews the right-hand side of the instru-
ment; but on the left side the pipes and apertures in them are arranged so as
to correspond with the left side of Fig. 1. When semitones are required I
introduce additional pipes within the circular row of pipes" above mentioned,
as shewn in Fig. 40, and bring short tubes or pipes from the apertures z, z,
in them, flush with the exterior surfaces of the other pipes, and as seen in
Fig. 37.
Figs. 41 and 42 exhibit another form of the same instrument, differing from

page_text: the former one in the pipes being arranged in two straight rows instead of a
circular one only. My improvements in these two instruments consist in the
application of, the mode of fingering used in the preceding instruments, by
the arrangement of the pipes and apertures in them.
Fig. 48 is. a.. side view, and Fig. 44 an end. view, of another, instrument
similar to the two last described, but with the substitution of portable-bellows
for the wind chest... These, bellows are, constructed with several folds,. and
have no valve in them... As the wind is drawn inwards and expelled outwards
through the apertures of the pipes in which the tongues. are: placed, the semi-
tones.may. be added to this instrument. in. a. similar manner to. those last
described.. I can likewise.apply either of the instruments described in reference
to Figs. 1, 2, 3, 4, and 25, to the portable bellows, an example of which is
shown in Fig. 45, where the ends of the bellows are formed of plates, with
rows of tongues or springs mounted in. apertures in the manner before
described, and furnished with keys or valves with finger studs to them, as
shewn at each end of the bellows in Fig. 45; or the other instruments
described may likewise be fitted to the bellows under proper modifications
of their structure. I do not mean or intend hereby to claim as my Invention
any of the various parts of which these said instruments may be composed which
are already known or in use. But I do hereby claim the employment of
two parallel rows of finger studs on each end or side of the instruments fitted
with keys to terminate the ends of the livers of the keys, and the so placing
them with respect to their distances and positions as that they, may, singly, be
Pessively and alternately touched or. pressed down. by the first and second
fingers of each hand, without the fingers interfering with the adjacent studs,
and yet be placed so near together as that any two adjacent studs may be
simultaneously pressed down, when required, by the same finger, the peculiarity
and novelty of this arrangement consisting in this, that as in the ordinary keyed
wind musical instruments the fingering is effected by the motion sideways of
the hands and fingers, in this new arrangement that mode of fingering is
rendered entirely inapplicable, and a motion which had not hitherto been
employed is rendered available, namely, the ascending and descending motions
of the fingers before described. This mode of arranging the studs. enable
me to bring the keys much nearer together than has hitherto been done ii
any other instrument of a similar nature; and thereby to construct such
instruments of greater portability... This arrangement of the finger stud
being preserved, the methods of tuning the notes corresponding: therewit
may be varied in many ways; but the examples afforded in the references.t
the different Figures are those which I prefer. I likewise claim, the introduc
".

page_text: tion of two additional rows of finger studs on each end or side of the instru-
ments, parallel to those of the preceding arrangement, for the purpose of
introducing the semitones, when required, as shewn in Figs. 25 and 26, and
described in the references to those Figures. I also claim the compound
pushing rod and keys represented in Figs. 28, 29, 30, and 34, and described
in the references to those Figures, and whereby two different keys may be
opened by the action of one finger stud. And I likewise claim the manner
of altering the tones of the tongues or springs, by the application of a toothed
bar to the edge of the tongue or spring requiring to be altered in its tone,
and as shewn in Figs. 20, 23, and 24, and described in the references to those
Figures. I also claim the arrangement of the finger holes of the pipes of
the Chinese organ so as to make them correspond with the arrangements of
the finger studs on the other instruments, and as shewn in Figs. 37, 42, and
44, and described in the references thereto, as well also as the manner of
introducing the semitones into those instruments, as shewn and described.
In witness whereof, I, the said Charles Wheatstone, have hereunto set
my hand and seal, this Nineteenth day of December, in the year of our
Lord One thousand eight hundred and twenty-nine.
CHARLES (L.s.) WHEATSTONE.
AND BE IT REMEMBERED, that on the Nineteenth day of December,
in the year of our Lord 1829, the aforesaid Charles Wheatstone came before
our said Lord the King in His Chancery, and acknowledged the Specification
aforesaid, and all and every thing therein contained and specified, in form
above written. And also the Specification aforesaid was stamped according
to the tenor of the Statute made for that purpose.
Inrolled the Nineteenth day of December, in the year of our Lord One
thousand eight hundred and twenty-nine.

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, I, CHARLES
WHEATSTONE, late of Number 436, in the Strand, now of No. 20, Conduit
Street, Regent Street, in the County of Middlesex, Musical Instrument
Manufacturer, send greeting.
WHEREAS His present most Excellent Majesty King George the Fourth,
by His Letters Patent under the Great Seal of Great Britain, bearing date at
Westminster, the Nineteenth day of December, in the tenth year of His reigu,
did, for Himself, His heirs and successors, give and grant unto me, the said
Charles Wheatstone, His special licence, that I, the said Charles Wheatstone,
my exors, admors, and assigns, or such others as I, the said Charles Wheat-
stone, my exors, admors, or assigns, should at any time agree with, and no
others, from time to time and at all times during the term of years therein
expressed, should and lawfully might make, use, exercise, and vend, within
England, Wales, and the Town of Berwick-upon-Tweed, my Invention of
A CERTAIN IMPROVEMENT OR CERTAIN IMPROVEMENTS IN THE CONSTRUCTION OF
WIND MUSICAL INSTRUMENTS;" in which said Letters Patent is contained a
proviso obliging me, the said Charles Wheatstone, by an instrument in
writing under my hand and seal, particularly to describe and ascertain the
ature of my said Invention, and in what manner the same is to be per-
ormed, and to cause the same to be inrolled in His said Majesty's High
Court of Chancery within six calendar months next and immediately after
he date of the said recited Letters Patent, as in and by the same, reference
eing thereunto had, will more fully and at large appear.

page_text: NOW KNOW YE, that in compliance with the said proviso, I, the said..
Charles Wheatstone, do hereby declare that the nature of my said Invention,
nd the manner in which the same is to be performed, are particularly
described and ascertained in: and by the Drawing hereunto annexed, and the
following description thereof (that is to say):
-
5
The wind musical instruments, in the construction of which my said
improvements are made use of, are those in which the sounds are produced
by directing a current of air against metallic springs or tongues fitted within
or over corresponding apertures, formed in plates of metal or of other fit and
proper substances or materials, the said springs or tongues being firmly affixed 10
at one end of each to the said metallic or other plates whilst their other ends
are permitted to vibrate freely within the said. apertures, but without their
vibrating_parts_encountering or touching the sides thereof. Several of these
springs, being placed in apertures arranged parallel to each other side by side
in a plate, and tuned to the notes of a common chord, constitute one of the 1
simplest forms of a wind musical instrument, known in Germany under, the
name of the mund-harmonica, and in England by that of the Eolina. Finger
keys have also been added to such instruments, somewhat similar to those of.
flutes, but always placed at such distances apart as to allow space for the
fingers to apply themselves to each key when the instruments are held in such
positions as for the hands to apply themselves thereto in the manner of finger-
ing the flute or flageolet. Now in my improved keyed wind instruments the.
springs-are-brought so close together that they occupy little more space than
in the Eolina before mentioned. In fact eight springs may be placed in the
space of an inch and a half, and their corresponding keys may also be brought
much closer together than hitherto, and the wind chests made much smaller
The modes by
than has yet been done for a similar number of notes.
which I am enabled to arrange the keys when brought so close together a
to be conveniently reached by the fingers will be understood by the reference
to the various Figures contained in the Drawing, which, as aforesaid, is annexe
to this Specification, and in which said Drawing Figure 1 is a view of th
right-hand side of one of my said improved instruments, to which I have give
the name of the symphonium, Figure 2 an end view; and Figure 3. a top vie
thereof. Figure 4 is a section taken through the middle of Figure 2, and shev
проп
tl
ing the tongues or springs a, a, &c., which are affixed at one end
inner side of the metal plate b, b, and their other ends move or play free
-within-slits-or-corresponding perforations made through the plate 6, 6, to recei
them, upon the external side of the plate b, b, Figures 1 and 8. The valves
keys c, c, &c. are mounted much in the same manner as the keys of flutes, a

page_text: they are likewise fitted with springs, as such keys are, but the levers of the
keys are made alternately unequal in their length, so that their ends, which
are furnished with the studs d, d, &c. mounted upon them, lie in two
parallel rows, as shewn in Figure 1, by which means the valves or keys c, c,'
&&c. may be successively raised by the alternate progressive motion of the
first and second fingers of the right hand, and the distances apart of the
studs d, d, &c. upon the ends of the levers must be such as that each stud
may be separately touched by a finger, without that finger interfering with
the adjacent studs, and yet so as that any two adjacent studs may occasionally
be pressed down by one finger when necessary. The left side of the instru-
ment is likewise to be fitted up with a plate, tongues or springs, and valves
or keys, with studs upon the ends of their levers, in a similar manner to those
of the right side of it, and as shewn in Figures 2 and 3. The sounds or notes
of this instrument are arranged in a diatonic scale, but so that its successive
notes are placed alternately on each side of the instrument. The notes pro-
duced by touching two adjacent diagonal studs are therefore thirds to each
other, and those produced by touching two adjacent studs in the parallel rows
are fifths to each other, excepting an additional note G, which does not agree
with this arrangement. The particular instrument here figured is repre-
sented as being in the key at C, and its range, extent, or compass limited to
two octaves, but it may be tuned in any other key, or encreased or diminished
in its compass at pleasure. The box, cavity, or wind chest is completed by
the addition of three fixed sides and a moveable one, which latter has also the
embouchure or monthpiece affixed in it, as shewn at e, e, &c. in Figures 1, 2, 3,
and 5, the latter Figure being a section thereof. f.f, are handles or plates
shaped so as to be conveniently held between the two third and fourth fingers
and thumb of each hand. Instead of placing the tongued keys, &c. upon two
parallel plates, as in the above-mentioned instrument, I can place them in
two separate rows upon one plate only, and as shewn in Figure 6, which is
an inside view of an instrument, and in Figure 7, which is an external view
of the same, but in this disposition or arrangement a new construction of the
keys becomes necessary, so that they may be placed in two parallel rows on
each side of the instrument, as shewn at Figure 8, which represents the left
ide of it. Figure 9 is an under view of Figure 7. The keys e, e, &c. are
here bent levers, with holes in them at 9, 9, &c., turning upon pins or wires
passed through them, and the standards of the frame plates h, h, &c., which
are affixed upon the main plate 6 of the instrument. Each key has also a
pring i, Figure 10, which acts against a fixed projecting hook j, formed upon
he top of each standard, as shewn at Figure 11, so as to press the key

page_text: down, and as shewn on the left side of Figure 9. Figure 12 shows the short
end of the lever or key as being cleft so as fit upon each side of the standard
or fixed support of the hook j, and it has other holes made through the upper
ends of the cheeks h, h, Figure 12, through which a pin is passed, which also
passes through a hole formed in the end of a pushing rod m, Figure 18, 5
which has a stud d affixed upon its outer end, and this pushing rod n upon
being pressed inwardly acts upon the shorter end of the key e, and lifts or
raises it, the reaction of the spring i against the fixed hook ; depressing it,
when set at liberty, as before mentioned. Figure 14 represents a longitudinal
view of the frame plate h, with its standards h, h, &c., and a wire passing 1
through holes made in the lower part of each standard upon which the bent
levers or keys c, c, &c. turn, in order to place the studs d, d; &c. upon the
external ends of the pushing rods m, m, &c. in their proper positions. for
fingering them-in-the-manner above mentioned. In describing the former
instrument the pushing rods are alternately bent in two opposite directions, 1
and as shown in Figures 13 and 15, and in their places in Figure 9. The
pushing rods pass through slits made in the plates forming the sides of this
instrument, as shown in Figure 8, and the ends of which said slits are closed
by corresponding plates furnished with slits, one of which is shewn in
Figure 16, and which are slipped in by the sides of the other end plates.
Figure 17 is another view of the plate 16, shewn as removed from one side
of Figure 7. Figure 18 is an end view of a similar plate, corresponding with
Figure 9. Upon the main plate b, b, of this instrument a square border or
frame n, n, is affixed, having dovetailed grooves formed.upon each side of it,
to receive the plate, Figure 19, which completes the wind chest, and this s
plate, Figure 19, likewise contains the mouthpiece or opening e. A back
plate or cover may also be fitted upon the outside of this instrument, to soften
or improve the quality of its tones, if thought necessary. ff. &c. are handles
by which to support the instrument, and which may be, doubled by making
both faces of the instrument alike in form.
Another construction of an instrument of this kind is shewn in Figure 20,
where the springs of the two rows a, a, &c. are placed in a reverse position
to those of Figure 6, their loose ends being placed near to each other, and
instead of the springs being exactly opposite to each other, as shewn in
Figure 6, they are so placed as that the loose ends of the springs in the one
row are opposite to the spaces between the springs of the other row, and the
pushing rods m, m, &c. are lengthened. so as to reach across to the shorter
ends of the keys; as shewn in Figures 21 and 22, and where they are united
to them by joints in the manner already described.

page_text: Its external appearance.-The form of its wind chest and the construction
of the keys or valves are the same as in the instrument last described.
I shall next proceed to describe the modes in which semitones may be
introduced into these instruments, when necessary. When it is only required to
introduce one or two, I employ the method represented in Figure 23, which
is a sliding rod or bar o, o, placed across the wind chest, in the manner shewn
by dotted lines in Figure 20; it lying in gaps formed in the top and bottom
sides of the instrument. Near the inner end of this bar a hook P, Figure 23,
is made, which enters a hole made in a spring q, Figure 20, affixed within the
top of the instrument, and which spring is also shewn in Figure 24. The action
of this spring is to thrust the bar downwards. The bar is likewise furnished with
a tooth r, which when the bar is pressed upwards by the application of the
thumb to the studs, upon the external end of the rod, is pressed close to the
side or edge of the tongue or spring it is intended to act upon, and alters its
vibrations so as to cause it to produce a note which is a semitone higher than
its natural tone, and when the bar is released by the removal of the thumb
the spring a thrusts it downwards again, and permits the tongue to vibrate its
entire length, and regain its natural tone. When another semitone is required
to be introduced, of course another bar or rod similar to that above described
is to be employed. When, however, a greater number of semitones are to be
introduced, I can employ the arrangement of keys represented in Figure 25,
which exhibits the right-hand side of the instrument, and which instrument
is composed of two instruments nearly similar in their mechanical details
to that shewn in Figure 1, placed end to end, and their wind chests made to
communicate. There are consequently four parallel rows of finger studs on
each side of the instrument. The two inner or middle rows of studs govern
the notes of a diatonic scale in the order and arrangement before described
in the references to Figure 1, but the key of E flat is here represented
instead of the key of C, and the two additional or outer row of studs govern
uotes which are respectively a semitone sharper than those governed by the
adjacent studs below them in the inner rows. The scale governed by the
studs of the two inner rows is played by the two first fingers of both hands
exactly as on the diatonic instruments above described, and when the semi-
tones are required the fingers are stretched sideways so as to reach the studs
governing them. I can also employ another mode. of introducing the
additional semitones, which is by combining two instruments in one, either
such as is shewn in Figure 7 or in Figure 21. In the present instance two
such instruments are combined by uniting their wind chests, the one being
fitted to the other by dovetailed slides, and as shewn in Figures 26 and 27,

page_text: the former being an external. view of them as fitted together, and the latter
a' section only partly fitted together, in order to shew the manner in which the
air is conveyed from the mouth-piece over the top of the instrument and
into. the wind. chest n, n. The arrangement of the studs and the notes of
the scale with which they correspond are the same as described in the references
to Figure 25. I can also make a chromatic instrument, in which, instead of
extra studs being provided for the semitones, a peculiar movement, to be shortly
described, transfers the actions of pushing rods from one key to another, the
one key corresponding with a note of a diatonic scale, and the other key with
a semitone above it. In Figure 28 the pushing rod m is shewn as having
affixed upon it two wings. or webs t, t, and which is shewn separately in
Figure 31, the one wing being placed at an angle of about 90 degrees
difference from the other wing, as shewn in the end view Figure 32. The
two keys c, c, Figure 28, instead of having their shorter ends forked or cleft
in the direction of the length of the keys, as in the former Figures, are here
shewn as being notched across; and when either of the webs or wings upon
the pushing rods are turned down so as to enter the notch in the key, upon
pushing the rod endways that key will be opened, as is shewn in one of the
two uppermost keys in Figure 28. The pushing rod can be tuned by means
of a small pin or lever n affixed in the stud, as shewn separately in Figures
32 and 33, and also in Figures 28, 29, and 31. In order to retain the pushing
rods in either situation, a collet v, Figure 31, is affixed upon each, having two
gaps or notches made in it to receive the nib of a spring n.
In Figure 80 several of these springs are shewn as entering the notches
made in the collets, and retaining the pushing rods in the required situation.
Figure 29 shews the mode of arrangeing these compound keys. They are
placed alternately in opposite directions, so that the finger studs are alternately
on each side of the instrument.
Figures 28, 30, and 34 shew the manner in which two of the similar parts
exhibited in Figure 29 are combined to form one complete instrument. In
this arrangement there are two wind chests n, n, as shewn in Figures 28
and 30, and which are connected together by the channel x, shewn in Figures
29, 80, and 34. The arrangement shewn in Figure 34, where the stud
levers u, u; &c. are exhibited as turned downwards, represents the instrument
as being in the key of E flat, and the semitones above are produced by changing
the situation of those levers or turning them upwards. Similar end plates to
those already described in the reference to Figure 16 are also to be applied
to the instrument last described, but having gaps or notches made in them
similar to those shewn in Figure 35, where. it corresponds with Figure 30

page_text: These plates likewise carry the springs w, w, shewn in Figure 30, upon the
anner sides of them.
Figure 36 is an edge view of the plates united, corresponding with Figure 29,
and these plates hold the two similar parts of the instrument to together.
Figure 37 exhibits an instrument known in China by the name of taching
or ching, and described in English books as the Chinese organ, but with
improvements added by myself, as will be described hereafter. As, however,
the construction of this instrument has not been well understood, so it will be
necessary to give a short account of it. It consists of a number of pipes or
tubes inserted into a wind chest similar to that shown in Figure 87, but with
a mouth-piece at one side instead of at the end of it, as here shewn at e.
Each pipe is constructed in the following manner :-
Figure 38 is one of the pipes, having at its enner end, or that which is
inserted into the wind chest, or tongue or spring, resembling that of the
Eolina, before described, but with this difference, that in the tongue of the
Æolina its free end must be slightly raised above the level of the aperture in
the metal plate, to fit it for sounding, and it will only sound when the air
enters the aperture from that side of the plate on which the spring is placed
whereas in the pipe of the Chinese organ the tubes so influence the action of
the tongue that it will not produce the required sound unless the loose end of it
be depressed to the level of the aperture, and then its sound may be produced
in whatever way the air passes through the aperture. The length of the tube
is proportioned to the vibrations of the tongue, and near the tongue a small
aperture is made in the tube, which, when open, prevents the pipe or tube
from sounding, but on closing it with the finger, and blowing into the pipe, the
sound is produced. In Fig. 38 y is the tongue and the aperture in the
tube. Fig. 39 is an edge or side view of the lower part of this pipe. Fig. 40
is a view of the cover of the wind chest, with the pipes inserted into it in a
circular manner. The pipes are placed in the same order as the springs or
tongues in Fig. 4, their lengths, therefore, decrease progressively from the
bottom to the top. The apertures z, z, &c. are arranged in the same order
as the studs in Fig. 1. This Figure shews the right-hand side of the instru-
ment; but on the left side the pipes and apertures in them are arranged so as
to correspond with the left side of Fig. 1. When semitones are required I
introduce additional pipes within the circular row of pipes above mentioned,
as shewn in Fig. 40, and bring short tubes or pipes from the apertures z, z,
in them, flush with the exterior surfaces of the other pipes, and as seen in
Fig. 37.
Figs. 41 and 42 exhibit another form of the same instrument, differing from

page_text: the former one in the pipes being arranged in two straight rows instead of a
circular one only. My improvements in these two instruments consist in the
application of the mode of fingering used in the preceding instruments, by
the arrangement of the pipes and apertures, in them.
Fig. 48 is a side view, and Fig. 44 an end. view, of another instrument s
similar to the two last described, but with the substitution-of-portable-bellows
for the wind chest. These bellows are. constructed with several folds, and
have no valve in them. As the wind is drawn inwards and expelled outwards
through the apertures of the pipes in which the tongues are: placed, the semi-
tones may be added to this instrument in a. similar manner to. those last
described. I can likewise apply either of the instruments described in reference
to Figs. 1, 2, 3, 4, and 25, to the portable bellows, an example of which is
shewn in Fig. 45, where the ends of the bellows are formed of plates with
rows-of-tongues-or-springs-mounted in apertures in the manner before
described, and furnished with keys or valves with finger studs to them, as
shewn at each end of the bellows in Fig. 45; or the, other instruments
described may likewise be fitted to the bellows under proper modifications
of their structure...I do not mean or intend hereby to claim as my Invention
any of the various parts of which these said instruments may be composed which
are already known or in use. But I do hereby claim the employment of
two parallel rows of finger studs on each end or side of the instruments fitted
with keys to terminate the ends of the livers of the keys, and the so placing
them with respect to their distances and positions as that they may, singly, be
progressively and alternately-touched or pressed down by the first and second
fingers of each hand, without the fingers interfering with, the adjacent studs,
and yet be placed so near together as that any two adjacent studs may be
simultaneously pressed down, when required, by the same finger, the peculiarity
and novelty of this arrangement consisting in this, that as in the ordinary keyed
wind musical instruments the fingering is effected by the motion sideways of
the hands and fingers; in this new arrangement that mode of fingering is
rendered entirely inapplicable, and a motion which had not hitherto been
employed is rendered available, namely, the ascending and descending, motions
of the fingers before described. This mode of arranging the studs enable
me to bring the keys much nearer together than has hitherto been done in
any other instrument of a similar nature, and thereby. to construct suc
instruments of greater portability. This arrangement of the finger stud
being preserved, the methods of tuning the notes corresponding therewit
may be varied in many ways; but the examples afforded in the references.t
the different Figures are those which I prefer. I likewise claim the introduc

page_text: tion of two additional rows of finger studs on each end or side of the instru-
ments, parallel to those of the preceding arrangement, for the purpose of
introducing the semitones, when required, as shewn in Figs. 25 and 26, and
described in the references to those Figures. I also claim the compound
pushing rod and keys represented in Figs. 28, 29, 30, and 34, and described
in the references to those Figures, and whereby two different keys may be
opened by the action of one finger stud. And I likewise claim the manner
of altering the tones of the tongues or springs, by the application of a toothed
bar to the edge of the tongue or spring requiring to be altered in its tone,
and as shewn in Figs. 20, 23, and 24, and described in the references to those
Figures. I also claim the arrangement of the finger holes of the pipes of
the Chinese organ so as to make them correspond with the arrangements of
the finger studs on the other instruments, and as shewn in Figs. 37, 42, and
44, and described in the references thereto, as well also as the manner of
introducing the semitones into those instruments, as shewn and described.
In witness whereof, I, the said Charles Wheatstone, have hereunto set
my hand and seal, this Nineteenth day of December, in the year of our
Lord One thousand eight hundred and twenty-nine.
CHARLES (L.s.) WHEATSTONE.
AND BE IT REMEMBERED, that on the Nineteenth day of December,
in the year of our Lord 1829, the aforesaid Charles Wheatstone came before
our said Lord the King in His Chancery, and acknowledged the Specification
aforesaid, and all and every thing therein contained and specified, in form
above written. And also the Specification aforesaid was stamped according
5 to the tenor of the Statute made for that purpose.
Inrolled the Nineteenth day of December, in the year of our Lord One
thousand eight hundred and twenty-nine.