MEANS FOR IMPROVING THE INTONATION OF MUSICAL INSTRUMENTS HAVING THE ORDINARY PIANOFORTE KEYBOARD
Year: 1879

page_text: LETTERS PATENT to John Wesley Goundry, of Darlington, in the County of
Durham, for the Invention of "MEANS FOR IMPROVING THE INTONATION OF
MUSICAL INSTRUMENTS HAVING THE ORDINARY PIANOFORTE KEYBOARD."
PROVISIONAL SPECIFICATION left by the said John Wesley Goundry at the
Office of the Commissioners of Patents on the 24th October 1879.
" MEANS
JOHN WESLEY GOUNDRY, of Darlington, in the County of Durham.
FOR IMPROVING THE INTONATION OF MUSICAL INSTRUMENTS HAVING THE ORDINARY
PIANOFORTE KEYBOARD."
In this Invention the intonation of keyboard instruments is improved by pro-
viding additional pipes, reeds, or strings, allowing a much closer approach to perfect
tuning in the different tonalities.
The means for bringing the whole under the control of the player upon the
common keyboard consists of a peculiar system of classing together certain sounds
to be governed by the same finger key in one wind chamber, or their electric
contacts (when electricity is applied) to one finger key wire. This classification is
effected by means of levers worked from cams on a revolving barrel or roller, on
which barrel the cams for so determining the form of interval for each tonality are
arranged longitudinally, and for the circle of tonalities at various points on its
periphery, but always in the order of fifths in one case, and of thirds (major) in
another.
In shading these cams may be made to actuate suitable pieces placed so as to
slightly flatten the pitch of pipe, or the shades may be arranged in frames
governed by barrel or roller, according to the system of tuning adopted. These two
methods of extra pipes, and of shading also of one or more barrels or rollers, may be
variously combined in one instrument. For the harmonium, the barrels remove
pads (by levers from cams, as above) from the special reed giving the pitch
required.
In the pianoforte the barrel will determine an electric current to the hammer
required to act.
The result in all cases will be the production of either perfect thirds and fifths,
or perfect thirds in each of the twelve keys of the common equal temperament.
A further appliance for rendering these barrels to a certain extent automatic is
by a definite collocation of finger keys in any given tonality, being the means of
determining an electric current to suitable pneumatic power for moving the barrel
to new tonality position.

page_text: CONSTRUCTIONS FOR ORGANS ARE THE FOLLOWING —
At present every finger key usually opens the wind passage directly to the pipe
required to sound (the only intervening action being the stop slide), so that only
one pitch is represented by each finger key. In this improvement all the sounds
required to be produced by one finger key in true intonation are grouped together,
and the groups of pipes (two, three, or more) have each a separate chamber or small
windchest receiving its supply from the general windchest by means of the ordinary
finger key pallet. Each of the two or more grooves supplied by the finger key has
its own independent pallet. There are thus (for mechanical actions) two distinct series
of pallets; first, the ordinary finger key pallet, which however, instead of opening
the passage to the groove direct, only admits the wind to the proper chamber,
where two or more grooves are governed and supplied therefrom by the second
series of pallets, which, for distinction, I name "tonal" or duodene pallets, see
Fig. 1, where A, A, is the end section of a row of pallets grouped in twos and threes
in a series of wind chambers B, B, which communicate by the finger key pallets
C, C, with the general wind chest D, D. When the organ is used the special tonal
pallet A required in the tonality of the music is set open in each chamber, and
awaits the opening of the ordinary finger key pallet C below, when the wind passes
at once to the exact pipe or pipes in each stop required to sound for that finger key.
The means whereby the tonal pallets are opened and changed as required by modu-
lation is by the motion of a cylinder, roller, or barrel E, of wood, made hollow, or
other suitable material, acting through levers F, F, riding on cams G, G, fixed on
the roller at the proper points for that purpose. The cams, studs, or elevations
G, G, on the roller are required to raise the levers which open the tonal pallets A, A,
and are arranged longitudinally for each diatonic and other interval required
throughout the register, according to tonality. Each tonality or duodene has a
separate longitudinal position, as shown, and the several tonalities (whether cyclical
or otherwise) are placed around the barrel surface in the order of fifths, the most
common modulation, so that the fifth above or below is provided at once by simply
moving the barrel slightly (one position) on its axis in one direction or the. other.
If therefore the music modulates into, say, the fifth above (dominant) the barrel is
made to move, the next tonal position on its periphery, and the sounds which would
be out of tune in the new key are thereby closed to the admission of wind, and the
due rectification made by the opening of other tonal pallets, and this with the
utmost facility, by a pedal which constantly represents and produces the key of the
dominant. The contrary motion to one flat more is similarly made by a "flat" or
subdominant pedal. The levers F from barrel E to stickers H of tonal pallets A, A,
in thus changing ride in either direction over the cams G on the barrel E by a small
wheel or castor i on each covered with india rubber. These levers should be made
removable singly, or so as to admit of tonal pallet pushdowns. being readily regu-
lated. In the practical construction of the barrels or rollers the periphery is to be
divided out to twice the number of widths required to operate the various tonalities,
tho extra spaces being occupied by a tapered or inclined. end to each cam, where
discontinuous, to facilitate the mounting of the lever wheel thereon and avoid
strain, the motion required between any tonality and its dominant to be uniformly
of the same amount in all cases. The action of pedal for bringing on a new key
tonality is shown in Fig. 2, where it will be observed that as the two pedals and

page_text: b are both to be ready for action, and in contrary directions, the snecks a and a¹ are
not in position for moving barrel by the pin b or b¹ until the pedal has commenced
its motion, which is to be adjusted to the amount required for the next key, domi-
nant or subdominant. The sneck then, in descending, returns from the position
shown into line with the lever, as dotted, by a small spring at back, and then presses
the barrel by the pin b to new position. On the pedal resuming its original position
by the coil spring & the sneck piece working on centre e moves back without its
striking the next pin on barrel in its ascent by coming into contact with a fixed
piece e with curved surface before reaching its normal position. It thus, passes clear
of the line of pins b, b, so as to allow the other similar pedal to operate the barrel
in contrary direction if depressed. A small india-rubber roller f may be fixed on
the sneck to strike fixed piece silently; or the barrel motions may be made by
twelve radiating pedals (like a steerage wheel) on one axle for dominants, and a
similar one for subdominants, separately connected by belts, toothed wheels, chains,
or rods to the tonal barrel, the downward motion of the foot bringing a new pedal
into position for further modulation (see Figure 3). One such arrangement may
suffice if placed horizontally. Means may be provided by an adjustable band to
regulate the motion of barrel in agreement with the space passed over by the pedal,
Where a second barrel is provided it may operate at the opposite end of the levers
downwards, as shown at K in Fig. 1b, and remoter modulations be prepared by
setting it by hand to an index in front. By employing bellows levers a key or stop
will suffice to work the barrel, and thus the required motion may be produced
automatically, as is more fully described hereafter. The existing method of tuning
is either further applied or superseded by different methods. the object being the
abolishing of beats, as far as practicable, in organs, harmoniums, and pianofortes.
The defect in the present system of tuning these instruments is the prevalence of
beating between the intervals in the common chords. If the consonances be made
smooth and without beat the effect of the dissonances will be heightened by contrast,
and thus the total meaning and power of the music will be greatly enhanced. Let
any one who wishes fairly to estimate the defect of the present twelve equal semi-
tonal tuning go inside any ordinary church organ, and while the middle C and E of
a healthy open diapason are sounded he will hear a perfect hurricane of beats;
these multiply in each successive octave upwards in geometrical ratio. If he now
finds (by passing the hand over the tops of the pipes) the E pipe he may kill the
beats by simply inserting a finger gradually into the pipe until the interval sounds
perfectly smooth and pure; this is when it is in perfect tune. It is to attain this
result in all keys, and by all stops on the common keyboard (without alteration or
addition that the arrangements in this Invention are made. propose to call these
instruments "duodenal.' The requirements are, the obtaining free use of all the
sounds in due succession of tonality upon the common keyboard. For this purpose
it is obviously necessary that each finger key should command at different times
slightly different pitches, and due precaution must be taken against such a combi-
nation of sounds arising as would make worse harmony than the common tempera-
ment of 12. When changes of key take place, the instrument to be thrown into
proper tonality by some simple and safe mechanisin which shall not unduly tax the
attention of the player, and if possible shall not require moving at every temporary
change of key; no diminution of any legitimate effect at present obtainable on the
best class of instrument; no interference with the ordinary notation, nor with the
quality or combinations of tones now realized, nor of the methods of manipu-
lating such resources; no undue enlargement of space required, and no curtailment
of pedal or other department of the instrument. In order to show the various
systems of tuning available by means of this Invention I make use of the common
equal semitonal division of the octave into 12 parts as a standard, and express all
the true and tempered intervals, hereinafter mentioned, in terms of this common
semitone taken as unity. In the various tables hereafter given these intervals are
to be deduced by addition or subtraction where they are not reckoned from the zero
C, and the octave 12 is of course to be cast out when addition exceeds that quantity.

page_text: Several close approximations to new harmonic intervals thus appear. Adopting the
"duodene" of Mr. A. J. Ellis, the true sounds required for the tonality of C, as
compared with the common tuning, are :-
Eb
3.156
3.
G
7.020
Ab
8.137
8.
C
0.
Db
1-117
1.
F
4.980
5.
PEA
B
10-883
3.863
11
4°
8.844
9.
.
The difference being error, flat or sharp, of the common.
The various possible systems of tuning may be classed under two heads, cyclical
and non cyclical; thus the common tuning admits of cyclical modulations of 12
fifths or of three very defective major thirds.
As an example (1) of new cyclical systems, I give in equal semitone quantities an
improvement upon the common tuning (rendered possible by these arrangements,
which consists simply in the addition thereto of two exactly similar cycles at the
distance of a major third and a minor third therefrom respectively, giving 36 sounds
per octave, see table A, where each column is a cycle of fifths (returning into itself).
It will be understood in regard to the tables that the relative positions of the
quantities are the same for all intervals, as in Ellis's duodene. (2). The same
principle as in (1), of adding new quintal cycles, may be carried much further in
either organ or harmonium, thus 48 per octave, by a fourth cycle of equal tempera-
ment fifths, or 60, 72, or even 84 per octave, by 5, 6 and 7 cycles of 12 respectively
can be used. In the last, the intervals, being equal and exactly two thirds of a
comma, a very near approach to perfect attunement is attained, having cycles of
fifths, thirds, and harmonic sevenths, see table B, given in Figures and in staff
notation. (3). Mr. Bosanquet's 53 per octave can by these means be brought on to
common keyboards, (precaution being taken at recurrence of cycle to change the
finger key by a semitone, or bring on a transposing movement for that purpose).
Systems non-cycical.- (4). The old temperament (commonly known as the vulgar)
or mesotonic, where the major thirds are true, but fifths defective. These may be
adopted either in full (as 35 per octave of latter) or to any limited extent, as by
taking 24 of 36 in No. 1, or only a few additional notes per octave.
(5). 31 per octave, see table C, Helmholtz's tuning. This may be carried to 48
or more per octave.
(6). Generally, any possible system requiring more than 12 sounds per octave can
be adapted to the present manuals by this Invention.
In the various tables the number set against the name is put on a label on the
pipe for convenience in tuning, or a continuous series may run through all octaves.
The numbering here is always in the order of pitch. A little practice suggests the
use of the barrel, as many modulations can on the duodene be resolved into a series
of steps towards the new key, allowing the pedal to bring forward a single stage at
'two or three different points for remote changes of key. As an instance of changes
which may be made without motion of the barrel, the tune "St. Michael" is given,
(using Nos. 1, 6, 8, 11, 16, 19, 23 and 29 of C table 31 per octave), and to show
the motions required in Mendelssohn's Sonata II., Op. 65, I suppose the system of
84 per octave (table B) employed, giving, although not essential to this system,
the septimal harmony. The various systems of tuning may be embraced under the
above general description, but as examples of special adaptations two forms may
be named-First. The 36 per octave of table A.
.
The planting of the pipes may be semitonally and on alternate sides, but 3 to each
finger key (by chambers). The plan of barrel with planting of pipes for this is
numbered 1 in Fig. 4, and the tuning is the ordinary equal temperament for the middle
column of table A obtained by successive motions to fifth above or below C), from
which the major thirds are tuned without beat in each direction. (Second.) The

page_text: 31 per octave of table C. The planting of pipes as in last, those of same chamber
contiguous and all labelled with numbers.
The plan of barrel and planting is numbered 2, and the same principle may be
extended to any larger number than 31.
It must be understood that these two examples are given merely as specimens of
the method of producing improved harmony by additional pipes, the method being
capable of adaptation to any extent, more or less than here specified. The treble
notes for instance of an organ may be provided in pipes to every pitch required;
while the bass, with larger but fewer pipes, may be brought in tune with the treble
by an arrangement of tuning pieces now to be described, actuated as the tonality
changes by means of another barrel.
The two barrels, although differently constructed, would have the same tonalities,
and in the same order, and therefore would move together. 'I now proceed to
show how the plan of tuning pipes to different sounds can be carried out in the
course of a modulation. Shading was mentioned by Liston in his Patent, No. 3354,
in 1810; but his shades were set by hand, and would interfere with the speech
of the pipes, which in the extremely small amount of alteration needed to render
12 pipes of the ordinary tuning capable of giving the 36 sounds per octave of
table A, and with my form of tuning piece is not the case. None of the classes of
organ stops offer serious obstructions to the plan of shading to the extent needed
in this Invention, as a flattening can in all cases be produced, either by insertion of
a cone ended cylinder into the top of the pipe or by a band or fillet in front of the
mouth. The 12 sounds of each duodene (see dotted line in Fig. 5), are provided by
taking four of the pipes in their ordinary pitch, four with a flattening of 156 equal
semitone (thin line), and four more with a flattening of 292 e.s. (thick line). The
12 pipes are therefore tuned to equal temperament, and present the sounds indicated
by the left hand column of table A (36 per octave), and the two degrees of flattening
give the middle and right hand columns respectively. It is now clear that a barrel
if marked off for 12 duodenes, and provided with cams of two sizes to produce the
two degrees of flattening in the proper places by descent of the tuning pieces, will
embody the scheme, the pipes being held steadily in their places by a rail. This
rail placed between the two ranks of each stop can also be used to fix a small loop
and roller upon, over which a cord or small chain passes, carrying the tuning piece,
which is thus directed so as to rise and fall on the longitudinal axis of the pipe.
This is shown in plan of barrel 3, Fig. 4, where the shaded spaces are the cams, of
height sufficient to give 156 e.s. b, and the black to give 292 flat, while the white
spaces are the surface of barrel, which leave the pipes at their normal pitch.
The two degrees of shading may be given by two distinct barrels acting on one set
of levers, and the intervals constantly kept in tune during modulation by regulating
the height of cams. The levers from these cams may be of strong wire, and instead of
working pallets will each carry a piece of suitably shaped wood or other material
which passes into the pipe at top clear of the sides, and from 1/8 to 1/2 the diameter.
of pipe in width, securely fastened to lever, and provided with a regulator thumb-
screw for adjusting the pitch and accommodate to the motion of barrel. The
shape also is such as to give for the deeper descent of the lower pitch (292 flat).
the exact difference from higher for the extra motion of lever on double cam.
The barrel frame can be made adjustable by a screw to compensate to some extent
changes of temperature. Or the lesser shading may be got by a separate barrel
operating on mouths of pipes, leaving only the shading 292 e.e. for tops of pipes.
These arrangements are shown in Figs. 6 and 6a to d. Each tuning piece has
at top a cross bar to prevent the possibility of its falling into the pipe. In this
way the bass of large organs can be tuned to the smaller treble pipes, the latter
being provided for each pitch of the tuning adopted. For the largest pedal pipes
would have the whole action made of corresponding size, or merely an indication
by the barrel may certify key, and an assistant make the large motion of lever
required for tuning according to markings on the pipe for each pitch available as
previously determined by the tuner. This can be so arranged as to cause one:

page_text: transverse lever to operate on all the stops of a large pedal organ, the tuning
pieces being properly proportioned to the size of pipes in each stop, and so bringing
the note into exact consonance with the higher pipes. Existing organs if well
constructed can be fitted with this arrangement for producing 24 or 36 sounds per
octave. A cornice frame will afford convenient support for rails mentioned above,
screen tuning pieces, and can also be utilized to carry a perforated tube communi-
cating and distributing the external air among the pipes, and the stream may be
regulated by a valve as temperature varies. Further combinations of the two
methods of additional pipes together with this tuning apparatus may now be described.
(1.) As one exemplification of the principle I instance a series of 24 pipes, tuned
as in the three central columns of table C (lettered A, B, C), but planted in a
special manner, as shown in Fig. 7, and with 24 grooves, viz., in 3 rows to right
and 3 rows to left of four pipes per octave to each row. It will be understood
that as the tuning for tertian modulation requires to be done for half a column at
a time (through all octaves), it is easy with a frame hinged at treble end of these
four pipes per octave and governed by a drawstop. In this way any quintal or
tertian modulation is accessible by barrel motion for former, and by one or two
drawstops for latter, the planting of the pipes being according to the table in
three rows (double) corresponding to the 3 columns of the duodene. Each row of
pipes is fitted therefore with a movable rail hinged at treble end, which carries the
tuning pieces to flatten the four pipes by 411 e.s. the diesis of that system of
tuning. Each of these six rails is controlled by a drawstop, and the correct pipe
for each tonality is given by a barrel with 8 positions of revolution, as shown in
detail in Fig. 8. In this way the power of six columns of sounds (=48 per octave)
of Mr. Ellis's "practically just" tuning, giving 29 duodenes, is afforded by 24 pipes,
and the mode of control is peculiarly suited to educational purposes, giving
extended meaning to the ordinary keyboard relations.
prac-
In another example (2nd) any 12 pipes giving the successive fifths of "
tically just "tuning may be made to give by a barrel the power of 24 of the same
tuning (see Fig. 9, and references to amount of shading, and thus 24 pipes, com-
prising two separate series of fifths, a diesis apart, will again, and by slighter
alterations than in the last case, give the 48 per octave of table C (see Fig. 10).
In this latter example the barrel would have 29 positions, and at each would
operate two sets of levers, one set for the 24 pipes (on 24 grooves), the other for
the tuning pieces according to the intervals required, and the special planting is
not needed in either of these examples if this kind of barrel is used. It will now
be clear that (3rd) 24 pipes, consisting of two separate cycles of equal semitone
fifths, may be made to give 48 sounds, and by double shading of one of the cycles
60 sounds, presenting the power of indefinite modulation in fifths, and a circle of
major thirds ending a diesis flatter than starting pitch. This gives close approxi-
mation to the harmonic 7th also, which if desired may be made closer by a very
slight flattening of the major thirds, or the barrel may slightly flatten the pipe
without affecting the thirds. The tertian thirds and the quintal thirds may be
made to pass gradually into each other, and two shades may jointly supply the
larger flattening. As I consider the combination of seven cycles of equal tem-
perament fifths (forming three distinct cycles of 28 major thirds each), table B,
the most perfect tuning that can be made practically useful, I now proceed to show
how it may be embodied in an organ. Provide from, say, tenor C upwards 36
pipes per octave; by means of the tuning arrangements described above they will
give 108 sounds per octave, of which columns I. and II. being duplicated there are
84 distinct pitches per octave. These three quintal series of pipes are to be at the
distance of 429 e.s. from each other and planted in three rows, as in Fig. 11. All
the rows are to be governed by one barrel, giving a flattened tuning of 143 e.s. to
the four pipes per octave in each row and in each tonality, as quintally arranged
in twelve successive positions on its periphery. All the three rows of pipes are
again subjected by a second barrel to a flattening of 286 e.s. on the four pipes in
each row in the twelve tonalities. The first barrel may act at the mouths and the

page_text: second at the tops of pipes, but only one such degree of shading is to affect any
single pipe at the same instant.
The three rows of pipes are set on the windchest in such manner as to admit
of being governed by two tonal pallets only to each finger key, ie, the lowest
pitched pipe to each finger key is placed on the right hand groove, while the
middle and higher pitches occupy the left hand groove (see Fig. 11). The
three rows of pipes have each a separate drawstop slide, by means of which
the tertian columns required can be readily combined. The one or two rows
of pipes not in use at any time are in this arrangement still being shaded
by barrels as if required to sound. The determination of the tonal pallet is
by a third and fourth barrel, each having 14 tonality positions in the revolu-
tion. One of these is to open all (say) the right hand grooves, another to leave
all closed; and the other 12 positions to open 8 of the right hand with four
of the left hand, in due quintal order as required, the other barrel acting vice
versa (ie., similarly on the left hand pallets), the motions of each barrel and the
drawing of slides to be indicated in front at desk by dials and stops. It is now
evident that by suitably combining these several parts, each finger key will give
seven distinct pitches; and the exact modulations required can be produced by a
person familiar with the duodene of table B. At the return of the tertian cycle a
transposing action and all the requisite changes of stops and barrels could be made
together by one pedal, enabling the performer to gradually lower the pitch on the
manual to any desired extent. Certain obvious precautions in regulating tempe-
rature will aid in preserving these small intervals, and render chords smooth.
Having shown the method of producing on the ordinary manuals all the sounds
indicated in the tables for the organ, I now proceed to the harmonium. Here, of
course, every fresh pitch must have a distinct reed. Taking the last mentioned
table of 84 per octave, the 7 cycles of 12 quintal sounds each are placed in 7
rows of reeds directly underneath each other, so that 7 reeds are governed by
one finger key by a vertical pallet action, shewn in end elevation at Fig. 12ª.
Each reed has a small pad to silence it by a wire passing through a brass plate to
each row, in order to make connection with the levers from barrels, of which there
is one for each row of reeds, each barrel representing a column of the table; or the
barrels may be enclosed in the windchest (Fig. 14); or the finger keys may work
the pads, and the barrels the outer valves (Fig. 12b). It is now clear that three
barrels being in action at once, quintal-cycles of duodenes are presented by their
simultaneous movement in revolution. When a tertian modulation requires the
changing of barrels, it may be done by two similar vertical barrels or rollers
governing the former on the same principle (and whose 7 cams would represent the
columns of table B) by levers carrying the axles of the quintal barrels at each end.
These last must always move together, whether operating pads or not; and
therefore I provide an endless band passing over all the quintal barrels (see Fig. 13).
Perhaps the best form for ordinary use would be the 36 per octave of table A, with
the barrels always moving together (Fig. 14). The pads must be arranged so as to
fall away from reeds by opening the wind chest. Advantage may be taken of the
space underneath the sound board grooves in an ordinary organ for fixing 3 or 4
reeds at bottom of each groove, giving these schemes of tuning. Indeed, if space
allowed, the B table might thus he realized on organ manuals with 7 barrels
outside opening 7 rows of valves (against springs), as shown in Fig. 15; the organ
stops closed, and the barrel frame lifted into position. Where several stops (of
distinct classes of vibrators) are desired under the above harmonium arrangement,
the various forms of manual pitch can be arranged side by side, and the action
extended by roller board for one row of reeds; and the several complete rows can
be placed at different elevations, as in Figs. 122, 12b, and 14, the whole duodene
being provided by one barrel in each stop compartment, and all the barrels moving
together. Any tuning may be thus treated. The movement of the barrels by
drawstop or knee action through sneck, or by wheel, as above described.
Finally, to apply the principles of this Invention to the pianoforte :-

page_text: (1st.) In one form I extend the action, and apply electricity to work the
hammers (with elastic shanks), or to levers working stickers; the current being
made by the finger key by contacts similar to those used in existing electric
manuals. One barrel may be fitted to serve at once as automatic modulator
(described hereafter) and as duodene barrel, and the current pass direct to the lever
for exact hammer required to strike. This arrangement would apply to an electric
organ, where the current would operate directly on the tonal pallet, and not require
the separate finger key pallet. Where an electric automatic action is used under
these various schemes, the player need give no attention to the changes, except to
note existing position of indices. This, however, does not admit of due expression
in pianoforte playing, although the force of the hammers might be modified through
the whole compass by a pedal.
(2nd.) A simpler arrangement for, say, scheme A. Place 3 hammers upon each
upright sticker, so that the finger would move all the three to the strings of
different pitches, but the two hammers not required to strike would be held off at
about an eighth of an inch from their strings by levers meeting the shanks, as shown
in Fig. 16 and 16b, the meeting surfaces being covered with felt sufficiently to
prevent perceptible noise. The flexible hinge at sticker of the hammer striking
will yield sufficiently to give the blow, according to the touch applied; the
determination of the lever operating to allow the hammer to strike, being made as
in the harmonium, and by rigid levers with curved surface riding over cams on
barrel in each direction, acting positively or negatively, as may be done in
harmonium, &c., Fig. 16;, the barrel moved by two pedals, index, dial, or
stops, etc., in either direction, and tonalities by fifths, as before. The levers to stop
the hammers may also bring down dampers on their own wires to prevent any
sounding from sympathy.
(3rd.) I may here state that to more fully effect the realization of any of the
more extended schemes on the pianoforte, however, I can employ water to form the
rigid but mobile connection from the finger key to the sticker, as this gives
the touch on the hammers exactly as originated at the keys, i.e., with full
power of expression. The Fig. shows the action, where A, A, is the finger key
centred at B as in harmonium. At C a plunger, ram, or leather disc is shown con-
nected with the finger key, and by its descent causing the water in the tube
D, D', D², to rise at D2 to a height equal to its depression at D. The plungers in
a state of rest remain at exactly the same horizontal level. At D2 the tube is
extended laterally, as shown in plan at Fig. 17 b, so as to give room for as many
connections as the forms of the intervals at each finger key require. The con-
nection is made with each sticker from plunger rod to lever E carrying the hopper.
The barrel is placed, with its action as described above, so as to control the thin
plate valves, which return by spring or weight, shown at F in each chamber,
placed at same horizontal level as the finger key plunger, by its system of levers
riding on cams H embodying any scheme required. The space between the
plungers at the two ends of the tube, including the chamber, is required to be kept
filled, and this is ensured by the pipe I admitting occasionally a little additional
'head" of water, the barrel being temporarily removed from levers to prevent
opening of valves. This water method is also suitable for organs where either pallets,
stop slides, combination pedals, or swell shutters may be so controlled. It is also
suitable for carillon playing, giving similar power of varying the expression, all
the schemes of turning being likewise applicable thereto. In all the instruments,
for the purpose of showing at all times the exact sounds, tonality, or duodene that
are being presented by the position of the principal acting barrel, I place in sight
above the manuals a small barrel, with notes, letters, or numbers, as in the scheines
severally embodied, and cause it to move and revolve exactly with the chief barrel
actuating the tonal pallets, shading pieces, pads, valves, etc., by an elastic belt
therefrom, or a toothed wheel securing exact correspondence of motion. The
tonality dial space may be divided into squares, the key note space being left open.
One barrel can be made to operate on both choir swell and great organs together,
65

page_text: or each may have duplicates working together with duplicate indices, that not in
use to be shut out of sight by the same action as works its barrel. Dispensing
with the necessity in organs, etc., for putting down a pedal or drawing a stop, &c.,
for every simple modulation, I cause the duodenal barrel to move automatically
by (1st) placing underneath the manuals, say, for the extent of middle octaves, two
rows of short and loosely hanging wires, one of each row attached to each finger
key with guide wires, &c., and with a small barrel between the rows, which must
move with the duodenal barrel (Fig. 18). This small barrel a for each tonality of
the organ, &c., is to push from it, by suitable cam studs B and C, and slightly
forwards a certain selection of wires D and E in each of the rows; the two rows
of wires hung on the finger keys not being immediately opposite to each other
(Fig. 19), and being pushed by different sets of cams. The wires so selected, and
varying according to the tonality, are thus caused to project over a horizontal
roller F, Fig. 18, on each side of barrel. If now a finger key be put down, which
has at the same time its hanging wire pushed forwards by the automatic barrel,
the roller is moved, and this is made to operate a bellows lever. But as the modu-
lation is only called for by the concurrent descent of two different finger keys, the
bellows lever is not supplied with wind unless a second valve is simultaneously
open, which is effected by the other row of wires and roller G. Then the bellows
lever operating on the sneck working the duodenal barrel changes the tonality, and
this again, carrying with it the small automatic barrel, brings a new combination
of wires over the rollers in readiness for further modulation.
This gives change in one direction of barrel; the other is similarly obtained by a
second like arrangement above the keys and beyond the centres, which working
upwards similarly control a second bellows lever. Any simple dominant or sub-
dominant change will thus be given by the playing; a slight difference only in the
touch of the determining finger keys need be experienced, which serves to call
attention to the change, also corroborated by the index dial. The finger keys giving
the change for dominant would in C position be F with C, and for the sub-
dominant Bb with E; for all other keys accordingly, which gives the composition
of the automatic barrel, Figure 20. Example of valve positions is shown in Fig. 21,
but these relative positions may vary according to circumstances.
(2). When electro-magnetism is employed for this automatic modulator no effect
will be perceivable on the touch, and the methods of applying it may be those in
use in existing electric organs to pallets, bellows, levers, &c. The special work
allotted to the rollers last named is now done by series of contacts of mercury of
same efficient length, into which the contact points on levers dip as selected by the
small barrel, and on the two series having connection completed by descent of
the selected finger keys, the current passes through the bellows lever magnet,
and so moves duodene barrel by sneck as before. One set of two series for dominant
change, and another of two series for subdominant. This is shown in Fig. 21 b. One
such arrangement may be operated from either of the manuals, if each wire from
upper row passes through the lower with a regulating button on each manual finger
key, as shown in Fig. 21. A second such arrangement may be provided for passages
requiring the subdominant major sixth as 2nd of the tonic. Electricity is here
supposed employed for opening the valves of bellows levers to change the duodenal
barrel (applicable also to pianofortes, &c.) and not to the manual or tonal pallets.
It is evident however that it might be applied also to the latter by the duodenal
barrel fitted with suitable contacts. For a trial of septimal harmony a scheme of
four cycles of 12 equal temperament fifths each is sufficient; and instead of the
ordinary duodene (the four sided dotted fig. of the tables) the shape given on the
table by the selection of tones would be that of the Fig. 22 or 23, which selection
the barrel cams must embody. The chords of the major and minor 13th on the
subdominant are marked in the Figs. 22 and 23 for the tuning of B table. Other
5. alternative selections of tones for tonalities giving special facilities for certain modula-
tions give the shapes of Figs. 24 to 29 on the schemes, and might be provided on
.
$

page_text: auxiliary barrels. The practical tuner has only to stop when the interval is smooth
and the resultant or differential tone true in tune, guarding against all beating,
except in the scheme of table A, when rising by columns. Here the common
equally tempered fifth is required, but in reading along the line the thirds major
must be dead in tune without beat, octaves tested as now, and in scheme B
similarly the small error in cycles of major 3rds being neglected). But in C
scheme the 5ths also are to be without beat, except from the top note of a column
to the bottom note of the next column on the left, which must be a common equal
temperament fifth; all major 3rds to be tuned true, and tested with fifth and
differential sound. The standard C should be fixed by a set of Scheibler's forks, and
the work should be done in a medium temperature. Players may even revert to the
ordinary 12 per octave, so as to test these improvements by contrast therewith,
under schemes A and B, by causing a barrel to select the pipes. It is to be noted
in reading the schemes of the various tunings here detailed, that the nomenclature
may in practice be read differently, where the letters do not indicate the interval
theoretically present by the duodene rule of thirds and fifths, as in B scheme, at
the junction of line 1A, No. 68, with top line marked † † Db, No. 11, equivalent
to C, major third.
Also col: VE, No. 35, with ‡ C, No. 84, equivalent to
Bfifth.
For the quickest possible transitions of key, in a large organ, the electric
automatic action may be extended to embrace remote changes on the principle
above named, and move duodenal or tonality barrel by means of two jets of water
giving motion in contrary directions to the exact key indicated by the form of
chord at each tonality position, or without the electric action a short keyboard of
the tonalities embodied may be operated to give the required direction to a set of
hydraulic levers.
Having now particularly described and ascertained the nature and object of the
said Invention, and in what manner the same is to be performed or carried out in
practice, I hereby declare that I claim the said Invention, substantially as herein-
before set forth and described, it being understood that the details of construction
and adaptation of said Invention may be varied according to practical requirements
without departure from the essential character or nature thereof, and further in
this Invention the following are important points or features:-
(1.) The special combinations of pipes, reeds, and strings as detailed, supplied
in various pitches to each finger key of the ordinary keyboard, together with the
provision for changes of tonality in the specific order named, by motion of barrel
or barrels on axes, with indices, as described.
(2.) The motion (in revolution on its axis) of barrel by a single shift in one
direction for modulation to dominant, and in the opposite direction for sub-
dominant, by adapting a lever so as to ride over cams thereon in either direction ;
also the changing of barrels or slides for modulations to the major 3rd, or minor 6th,
as described.
(3.) The fixing the cams, studs, or raised pieces on barrel in such order as to give
each tonality in the form of the duodene; or in those of the special selections
shown in the accompanying diagrams for facilitating certain harmonies and
modulations as described.
(4.) The employment of a barrel or barrels for moving the tuning pieces as
described to any of the systems of tuning in the order of fifths, as above named;
and the combination of pipes to each tonal form at upper part of register with
shading of pipes at lower; also the special planting of pipes and shading thereof
by rail or frame carrying tuning pieces as described, and the production thereby of
two or more pitches from one pipe.
(5.) The moving the barrel by a sneck and drawstop or pedal for sharp motion,
and by a separate pedal and appliances in the opposite direction for flat modulation,
as detailed; the motion also of a wheel or system of radiating pedals for this
purpose, as shown; the employment of pneumatic levers to work these snecks,

page_text: either operated automatically from the manuals or otherwise; likewise the
effecting these objects by the application of electricity, as described, or any
modification of same.
(6.) The application of barrels in harmoniums to operate pads for releasing the
reeds required to sound under the various combinations as described, in which the
barrels may act positively or negatively, applicable also in other cases; the finger
keys, operating pads, and the barrel, the valves, or vice versa.
(7.) Application of a like barrel arrangement to pianofortes, and such like
instruments with tonalities in fifths, and dominant and sub dominant motions, as
described.
(8.). The determining duodenal sounds or tonalities of fifths by means of a barrel
for giving electrical connections to the tonal pallets direct from the finger key, and
without separate finger key pallet, and similarly in other instruments.
(9.) The provision of combinations of pipes or tuned sounds for two or more
separate cycles, each of 12 ordinary equally tempered fifths, as herein before
specified, tuned at distances suitable for tertian modulation.
(10.) Generally, the method or principle of applying two or more barrels to
present the series of sounds represented in columns of duodenal tabular arrangement,
the motion in revolution of same giving quintal and their selection tertian
modulations, as described; or one larger barrel for giving all the duodenes or
tonalities.
(11.) The action described for automatically changing the tonal pallets, pads, etc.,
on a certain modulation being indicated by the combination (during a given
tonality) of finger keys in use, whether effected electrically or otherwise, or any
mere modification thereof.
(12.) The adaptation of water, in manner herein before described and illustrated,
to the action of pianofortes, organs, or carillons, or for valves, stop-slides, pedals,
and their appliances.
(13.) The adaptation to existing organs of tuning pieces, as described for
schemes A and C, and of harmonium reeds in organ grooves operated as described,
giving similar schemes of tuning; also shading 24 pipes per octave, and preserving
true intonation (by cams varying in height) during the change, as hereinbefore
indicated.
(14.) Providing passing notes of different pitch (as grave 2nd) by a series of
studs on barrel, giving a differently situated duodene intermediate between the
tonality positions, or by second barrel acting on same levers, and means of operating
as detailed.
(15.) The arrangement stated for preserving the due proportion of these small
intervals by counteracting the effects of temperature by means of a hollow panel
with perforations for distributing the external air over the pipes controllable by a
lever.
In witness whereof, I, the said John Wesley Goundry, have hereunto set
my hand and seal, this Twenty second day of April, in the year of our Lord
Witness,
T. MORGAN,
21, Cockspur Street, S.W.
J. W. GOUNDRY. (L.S.)