IMPROVED CLARINET
Year: 1884

page_text: I, ARTHUR CLINTON of N° 1 Delverton Road in the Parish of Saint Mary's,
Newington, in the County of Surrey, Professor of Music do hereby declare the
nature of my invention for THE IMPROVED CLARINET to be as follows:-
:-
A new combination formed by the adoption of certain new keys, levers and
rings in order to facilitate the execution of notes and passages by improved keys
levers and rings so as to overcome the many difficulties thitherto experienced with
the ordinary Clarinets now in use, whereby also, the quality and purity of the
notes are improved throughout.
The "improved Clarinet," possesses all the characteristics and parts of the most
approved type now in use, and I have further improved upon it by new combina-
tions of certain keys and rings, and have also added three new levers, N° 6, 11
& 14, and four new keys and holes, No 2, 6, 8 (vent hole) and 9 and have improved
the Instrument throughout. These are so contrived as to simplify the execution
of all the most difficult passages on the Clarinet that performers have to contend
with at the present time.
The chief object of my invention is, to facilitate the execution of notes, by
improved keys, levers and rings so as to overcome the many difficulties hitherto
experienced with the ordinary Clarinet now in use.
"
The great advantages claimed for my "improved Clarinet are, that, it can be
played with the ordinary fingering as at present adopted, or, in the simplified way
which I claim as my invention.
For example. Such shakes and passages as the following, which are impossible
to produce in tune on the Clarinets now in use, but, with my inventions added,
they can be executed with perfect ease and true intonation.
1.
B, flat and C, natural.-Hold down N° 5 and thumb keys,
with first finger and thumb of left hand and shake with
first finger of right hand on N° 2 and 3 kevs.

page_text: A, natural and B, natural.-Hold down N° 5 key, as
before, and shake with the first finger of right hand on
N° 3 key.
N° 14 key.
F, sharp and G, sharp.-Make F sharp the usual way
and keep down N° 14 lever, with little finger of left hand
and shake on N° 15 key as last described.

page_text: 14.
Passage D, natural and F, natural-Make D,.natural the
usual
way and press on N° 11 lever with first finger of
right hand (which will allow N° 11 key of. Section D to
rise and as it is connected with the ring over hole below, that will also rise, if the
second finger of the left hand is taken off it, thus, this passage can therefore be
played by the movement of that finger on and off, whereas the present method
would require the first finger of right hand and second finger of left to change
simultaneously from lever N° 11 and ring of Section D.
15.
Passage D, natural and F, sharp.-Make D, natural the
usual way and press on lever N° 11 as before, and for
F, sharp, take off first and second fingers of left hand,
which saves a similar cross action as the last named in
Passage N° 14.
Most of the foregoing passages and those of a similar nature, have hitherto
called into requisition the offices of several notes necessitating the simultaneous
and active co-operation of both hands in their production, frequently giving rise
to such contortions of the fingers as to cause the player serious anxiety often
resulting in nervous trepidation and a consequent unevenness, and lack of
smoothness and decision in tone.
The cause of this is sufficiently obvious from the fact of both hands coming into
active play in rapid alternations, whereby a certain jerky motion is conveyed to
the instrument, which is most necessary to be avoided. Consequently it was
highly desirable to devise some method of simplifying and minimising action.
This, I have succeeded in accomplishing by means of certain combinations of
lever arrangements and the before mentioned additions of keys, rings, levers
and holes.
The combinations are shewn upon Drawing B in Sections.-Thus.-For instance.
The hole N° 6 which is kept closed by the pressure of the bar a upon the attach-
ment b to N° 6 key (as shewn on Section A on the said drawing) it can therefore
be opened by pressing lever N° 6, which lifts up the bar a and yet, at the same
time it will be seen, that it can be closed by pressure on key N° 10, which by
means of the lever c, acts under d of Section B closes vent hole N° 8, at the same
time raises the levere of Section B, which by means of the attachment f acting
under g of Section A closes N° 6 key as shewn in the combination of the
Sections A. B. & C and the thumb-hole ring lever. It will be seen also that
pressure on the thumb-hole ring, will close N° 6 key and vent hole N° 8 indepen-
dently, by means of the lever h acting under e.
This arrangement simplifies the execution of the shakes N° 7 and 8, and all
similar passages as described before.
Combinations, D. E. F & G are as follows.-N° 11 hole being kept closed by the
pressure of the lever i of Section E under; of Section D, pressure on lever N° 11
will cause it, as well as the first ring under, to rise by means of a spring attached
to Section D. This arrangement simplifies such passages as Nos 14 and 15. The
ring can be pressed down independently.
Pressure on N° 12 lever will cause a similar action to key N° 12 and ring
below, which are kept down by lever k of Section G acting on of Section F, at
the same time will effect lever N° 11.
Combinations, H, I, J, & K are as follows-Pressure on lover N° 14 permits the
key N° 14 to rise by means of a spring attached thereto. Pressure on N° 15,
Section I, by means of the leverage m under n of Section H, closes N° 14 key.
Pressure on either of the rings below N° 16 key, closes N° 14 15 & 16 by the
leverage combinations 7 upon r, o under p and m under n. The Section K, has
also an independent movement in connexion with key N° 18 (which is open), the

page_text: ever 8 of which, by pressure upon t, keeps the lower ring open and therefore,
pressure upon the lower ring will close N° 18.
It will thus be seen from the foregoing examples and descriptions, that all
hitherto difficult passages (too numerous to name,) will by means of the foregoing
combinations, become easy of execution and the intonation raised to the best
standard that can be devised, and I am confident that all performers upon the
instrument will, without hesitation, see and admit the great advantages of my
Clarinet.
The following comprise entirely my own invention-Vizt. The keys N°* 26,
8 and 9, the levers Nos 6, 11 & 14 and the before-mentioned combinations, and
I therefore humbly pray that a Patent may be granted to me for the same.
COMPLETE SPECIFICATION.
J, ARTHUR CLINTON of N° 142, Munton Road, New Kent Road in the County
of Surrey, Professor of Music do hereby declare the nature of my invention for
AN IMPROVED CLARINET and in what manner the same is to be performed, to be
particularly described and ascertained in and by the following statement:—
That the holding and fingering of the Clarinet shall remain unaltered if desired
by the player, at the same time the construction and additions made allow of
greater facility of action quite unatainable by the clarinets in present use.
The general construction is made by steel spindles of required lengths fitting
easily inside tubes of suitable lengths to which the levers, keys, and stop keys are
fixed.
I use in all cases springs of straight wire to lift or depress the valves, covers,
levers or keys.
The spindles and tubes are held in position by pillars of suitable beight fixed to
metal plates or Clarinet. I use three kinds of connections, namely, first an arm on
one part pressing on an abutment on the other part thereby connecting the action
as shown in Fig 5. Secondly I use a weak spring always to be in play to cause
I contact, so that two or more parts shall nove as one, but may cease doing so,
If acted on by contary motion, shown (Fig 12) dotted lines-Thirdly for the
"transfer" action from one series to another. I use corresponding abutments
which act on each other, and impart opposite motion, as shown Figs 7. 8. 9. in
some instances connected by pins to spindle, and in others fixed to the before
mentioned tubes, and by spring contact joints.
To make the description easily understood, I use two sets of figures, the first
relating to holes thus (3). The second relating to the levers keys &c thus (3')—
I claim holes 1. 3. 6. 9. 14 & 18. and the position of others as relates to my
arrangement.

page_text: Holes 5. 6. 8. & key 3' are all seperated, and independant actions, by pressing
key 2 opens 5, and closes 8; by pressing 3' closes 8 and 6, by pressing 19' closes 14
and at the same time raises 6, by connection (Fig 4) to centre spindle passing
from 19' through 15, and working by spring contact (as before described) on 6, by
pressing 21' closes-13, by pressing 18' closes 12-by pressing 17' opens 10 by spring
contact, by pressing 16' opens 11 and 10 by spring contact. 24' opens 16 by
spring contact, in connection with abutments as before mentioned and closes 15
direct. 25' closes 15. 16. 17 by abutments as before-mentioned connected by lever
(Fig 9) to key 10'. 26' closes 18 by direct action. 15' opens 4-14' opens 3-
13' opens 2. Ring thumb key closes 8 and 6.
Having given a description of the complete parts, I claim the capability of
making the following notes not in use with the Clarinets at present.
Hold down 1' 3' 5' 7' 10' left hand. 18' 19' 21' 24' right hand,
C by releasing 10'.
No. 2. Hold down 1' 3' 5' 7' 11' left hand 18' 19' 21' 25' right
hand. C by releasing 25'.

page_text: Having now particularly described and ascertained the nature of my said
invention and in what manner the same is to be performed, I declare that what
I claim is
Firstly. That the holding and fingering of the Clarinet shall remain unaltered.
If desired by the player.
Secondly. New holes 1. 3. 6. 9. 14. and 18.
1
Thirdly. Production of certain shakes and intervals before mentioned, unatainable
by the Clarinets now in use.
Fourthly. The arrangement of keys, so as to afford one or more ways of producing
the same sound,