Im- PROVEMENTS IN MUSICAL INSTRUMENTS AND NOTATION
Year: 1866

page_text: LETTERS PATENT to William Clark, of 53, Chancery Lane, in the County
of Middlesex, Engineer and Patent Agent, for the Invention of "Im-
PROVEMENTS IN MUSICAL INSTRUMENTS AND NOTATION."-A communication
from abroad by Carl Friedrick Zimmermann and John H. Harjes, both
PROVISIONAL SPECIFICATION left by the said William Clark at the
Office of the Commissioners of Patents, with his Petition, on the 9th
August 1866.
I, WILLIAM CLARK, of 53, Chancery Lane, in the County of Middlesex,
Engineer and Patent Agent, do hereby declare the nature of the said Inven-
tion for "IMPROVEMENTS IN MUSICAL INSTRUMENTS AND NOTATION," to be as
follows:-
The first part of this Invention consists in arranging the keys of the various
octaves of an accordeon in such a manner that the tones governed by the
various keys are uniform throughout the entire range of the instrument both
in drawing and in compressing, and the operation of the instrument is thereby
considerably facilitated; also in placing between the keys of the various
octaves severally a distinguishing key, which gives the same tone in drawing

page_text: and in compressing, so that the player is enabled to feel the various octaves
with the greatest ease, and a uniform arrangement of the keys throughout the
entire range of the instrument is rendered practicable; further, in indicating
the tone or tones governed by each key by means of figures marked thereon
in such a manner that the difficulty of learning to play the instrument is
greatly reduced; also in combining with the accordeon a suitable mechanism
whereby the player is enabled by a simple pressure with the thumb or finger
to change the key of the instrument from major to minor, or vice versa, so
that the accordeon can be used for playing or accompanying music pieces of
any desired description; this mechanism consists of a rock shaft, which
extends through the air chambers of all the choral reeds, and which is com-
bined with a series of valves which are secured to arms mounted on the said
rock shaft, and which are so situated that they alternately close one tone in
compressing and another tone in drawing, a spring and a hand lever being
applied to the rock shaft, so that by the spring the valve is held in the
position to leave the major key unchanged, and by depressing the hand lever
the key is changed from major to minor by changing the large to the small
third.
The second part of this Invention relates to a strap for accordeons, which
forms a double loop, one to pass round the wrist and one to admit the thumb
of the hand which grasps the accordeon in such a manner that the strap is not
liable to slip on the hand, and the player is enabled to operate the accordeon
without danger of losing hold of the same.
The third part of this Invention consists in the use of figures from 1 to 8
in combination with three lines or staves, in such a manner that by the
position of the figures in relation to the staves the various octaves or the pitch
of the several notes is designated, and the entire system of writing music is
greatly simplified. It consists also in combining with the three staves and
figures transverse lines in such a manner that by the distance of said transverse
lines the valve or length of a note or rest is indicated. It consists further in
the use of figures of different styles to distinguish the major from the minor
key, those designating the major key being written in full lines, and those
designating the minor key in dotted lines, or in any other manner whereby
the two kinds of figures can be readily distinguished one from the other. It
consists, finally, in using figures of different styles or suitable signs in com-
bination with said figures to indicate the expression of the music.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said William Clark in the Great Seal Patent Office on the 5th
February 1867.
.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, WILLIAM
CLARK, of 53, Chancery Lane, in the County of Middlesex, Engineer and
Patent Agent, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Ninth day of August, in the year of our Lord One
thousand eight hundred and sixty-six, in the thirtieth year of Her reign,
did, for Herself, Her heirs and successors, give and grant unto me, the
said William Clark, Her special licence that I, the said William Clark, my
executors, administrators, and assigns, or such others as I, the said William
Clark, my executors, administrators, and assigns, should at any time agree
with, and no others, from time to time and at all times thereafter during
the term therein expressed, should and lawfully might make, use, exercise,
and vend, within the United Kingdom of Great Britain and Ireland, the
Channel Islands, and Isle of Man, an Invention for "IMPROVEMENTS IN
MUSICAL INSTRUMENTS AND NOTATION," a communication to me from abroad
by Carl Friedrick Zimmermann and John Henry Harjes, both of Phila-
delphia, in the State of Pennsylvania, United States of America, upon the
condition (amongst others) that I, the said William Clark, my executors or
administrators, by an instrument in writing under my, or their, or one of
their hands and seals, should particularly describe and ascertain the nature
of the said Invention, and in what manner the same was to be performed,
and cause the same to be filed in the Great Seal Patent Office within six
calendar months next and immediately after the date of the said Letters
Patent.
NOW KNOW YE, that I, the said William Clark, do hereby declare the
nature of the said Invention, and in what manner the same is to be per-
formed, to be particularly described and ascertained in and by the following
statement, reference being had to the Sheet of Drawings hereunto annexed,
and to the letters and figures marked thereon (that is to say):-
The first part of this Invention consists in arranging the keys of the various
octaves of an accordeon, in such a manner that the tones governed by the
various keys are uniform throughout the entire range of the instrument both
in drawing and in compressing, and the operation of the instrument is thereby

page_text: considerably facilitated; also in placing between the keys of the various
octaves severally a distinguishing key, which gives the same tone in drawing
and in compressing, so that the player is enabled to feel the various octaves
with the greatest ease, and a uniform arrangement of the keys throughout
the entire range of the instrument is rendered practicable; further, in
indicating the tone or tones governed by each key by means of figures
marked thereon in such a manner that the difficulty of learning to play the
instrument is greatly reduced; also in combining with the accordeon a
suitable mechanism whereby the player is enabled by a simple pressure
with the thumb or finger to change the key of the instrument from major to
minor, or vice versa, so that the accordeon can be used for playing or
accompanying music pieces of any desired description.
The second part of this Invention relates to a strap for accordeons, which
forms à double loop, one to pass round the wrist and one to admit the thumb
of the hand which grasps the accordeon in such a manner that the strap is
not liable to slip on the hand, and the player is enabled to operate the
accordeon without danger of loosing hold of the same.
The third part of this Invention consists in the use of figures from 1 to 8
in combination with three lines or staves, in such a manner that by the
position of the figures in relation to the staves the various octaves or the pitch
of the several notes is designated, and the entire system of writing music is
greatly simplified. It also consists in combining with the three staves and
figures certain transverse lines in such a manner that by the distance of said
transverse lines the value or length of a note or rest is indicated. It
consists further in the use of figures of different styles to distinguish the
major from the minor key, those designating the major key being written in
full lines, and those designating the minor key in dotted lines, or in any
other manner whereby the two kinds of figures can be readily distinguished
one from the other. It consists, finally, in using figures of different styles
or suitable signs in combination with said figures to indicate the expression
of the music.
In the Drawing, Figure 1 represents a front elevation of the first part of
this Invention; Figure 2 is an inverted plan of the same; Figure 3 is a
transverse section of the air chambers of one of these instruments, showing
the mechanism for changing the key; Figure 4 is a horizontal section of the
same; Figure 5 is a partial longitudinal section of one half, and Figure 6
a similar section of the other half of the air chamber; Figure 7 is a Diagram
showing the tones produced in expanding and compressing an instrument of

page_text: the ordinary construction; Figure 7* is a similar Diagram for this improved
instrument.
Figure 8 represents a perspective view of the second part of this Invention;
Figure 9 represents a Diagram of the musical scale from the lowest tones of
the contrabasso to the highest quadruple lined notes ever used, showing the
oll and the new way of designating the various notes; Figure 10 is a Diagram
of the chromatic scales of the various octaves written according to this Inven-
tion; Figure 11 is a Diagram showing the value of the different notes or
figures and of the rests; Figure 12 is a Diagram showing the manner of
expressing different combinations of tones according to this notation in
contradistinction to the ordinary manner of writing such combinations, and
it also shows how I propose to indicate the musical expression.
This accordeon, which I term the "union accordeon," distinguishes itself
from all others by the peculiar position of its tones and of its keys. In 'all
accordeons heretofore made and known to me the tones obtained by drawing
are different in the different octaves, while those obtained by compressing aro
uniform throughout the entire range of the instrument; for instance, by
drawing in the first octave the tones 2, 4, and 6, in the second the tones
8, 2, 4, in the third the tones 6, 8, 2, and in the fourth the tones 4, 6, 2, are
obtained, as indicated in Figure 7, while by compressing in every octave the
tones 1, 3, 5, are obtained. This variety of the tones obtained by drawing
renders it very difficult to learn the accordeon, and very few persons have the
patience to practice long enough to attain a tolerable perfection. In this
instrument this difficulty is obviated by arranging the tones as shown in
Figure 7*, which shows that the tones both in drawing and in compressing
are uniform throughout the entire range of the instrument, this object being
obtained by placing the sixth on a separate key, which produces the same
sound both in drawing and compressing.
The simplest style of accordeons made according to this Invention are tuned
so as to give the common chord of C, viz., 1, 3, 5, in compressing, and the
dominant seventh, 8, 2, 4, in drawing, the keys being numbered 8 and 1, 2,
and 3, 4, and 5, so that the uneven numbers all correspond to the act of con-
pressing, and the even numbers to the act of drawing. After each set of
three keys KI introduce an additional key K", marked 6, which produces
the subn:edient or greater sixth both in drawing and in compressing; these
additional keys K* separate the various octaves one from the other, aud
facilitate the operation of playing the instrument. On the bass side of this
simple instrument I. use only three keys, viz., one to open the waste air

page_text: valve, one to produce the tones 1 and 5, and one which is termed the choral
key, and which produces full chords both in drawing and in compressing.
If a more perfect instrument is desired, I make what I term the "diatonic
union accordeon," which is precisely the same as that previously described in
its first row of keys K, with the addition of a second row of keys K', which
contain the same tones as the first, but in a reverse direction from those in the
first row, and the minor seventh on the distinguishing keys K¹ in place of
the submedient or greater sixth contained on the distinguishing keys K* of
the main row of keys K. The keys K₁* contain the tone b flat or a sharp
both in drawing and in compressing, and they form with the keys 1, 3, 5, a
chord of the minor seventh, serving as transition from e major to f major. In
consequence of this key the bass side of the instrument is augmented by two
keys 4 and 7 for the fundamental and choral bass, and on this instrument all
the chords of C, G, F, and B can be produced.
The last and most complete style of accordeons is what I term the
"chromatic union accordeon." The keys in this instrument are arranged
precisely as shown in the Drawing, where Figure 1 represents the treble side,
and Figure 2 the bass side. This accordeon contains all the keys described
in the previous instrument, and also an additional set of keys K on the treble
side representing the half tones, viz., eis or 1, dis or 2, and so forth, giving
the same tone in drawing and in compressing, and consequently each octave
contains six keys with double numbers and six with single numbers, and by
these keys the chromatic scale can be produced the same as on a pianoforte.
On this instrument the bass side is also provided with the requisite keys
representing the half tones, there being twelve keys in all, the six large ones
containing in drawing and compressing all twelve different fundamental bases,
while the b small keys contain in drawing and compressing twelve distinct
choral chords corresponding to the fundamental bases.
This Invention also relates to a mechanism for changing the key from
major to minor, and vice versa. This mechanism is represented in Figures
3, 4, 5, and 6, and I intend to attach it to the last-named or chromatic
accordeons particularly, although it may also be applied with advantage to
the more simple classes of instruments. This mechanism consists of a rock
shaft j, which extends through the air chambers of all the choral reeds, and
which is combined with a series of valves k which are secured to arms
mounted on said rock shaft, and which are so situated that they alternately
close a tone f in compressing and a tone g in drawing, a spring and a hand
lever m being applied to the rock shaft, so that by the spring the valve is

page_text: held in the position to leave the major key unchanged, and by depressing the
band lever the key is changed from major to minor by changing the large to
the small third. This mechanism is very simple in its construction, and it
enables the skilful player. to perform on one of these instruments pieces of
music of every key. Usually accordeons are provided with a simple loop of
leather to receive the thumb of the right hand, by which the pulling and
compressing of the bellows of the instrument is effected; this loop is in-
sufficient to give the player a firm hold of the instrument, particularly with
large accordeons or flutinas, and it is utterly impossible to pass quickly from the
deep to the high tones; the whole strain is brought to bear on the thumb, and
the operation of playing a large instrument becomes very tiresome and difficult.
These disadvantages are avoided by the strap A, which forms a double loop
like the figure 8, one loop to pass over the wrist of the hand and the other to
admit the thumb, as shown in the Drawing. This strap is secured to the
instrument by a hinge joint a, so as to leave its movements quite free, and
the player is enabled to expand and compress the bellows without danger that
the strap might slip, and furthermore he can move his hand freely from one
end of the keyboard to the other. The strain caused by the operation of the
instrument is brought to bear on the wrist instead of on the thumb alone, and
it is much easier. to play an accordeon with one of these improved straps than
it is to play the same instrument with the ordinary loop.
The method in which I write the diatonic scale is represented in Figure 9,
the scale being made to commence at the deep F of the sub-base and to
terminate at quadruple lined h. Each note is represented by a figure, and its
pitch or the octave.to which it belongs is designated by its position in relation
to three staves, which I have substituted for the usual number of five staves.
The chromatic scale I write as shown in Figure 10, the flats and sharps being
represented in the usual manner. The value or duration of a note or figure
is expressed by its position in relation to a bar of value which runs crossways
to the staves, and which may or may not coincide with one of the bars. For
instance, if a note is to continue throughout the whole bar it is placed close
to the beginning of said bar, and the space constituting said bar is divided off
by dotted lines in a number of spaces to correspond to the number of crochets
or quavers or other notes equal to said bar. If the bar is equal to four
crochets, for instance, the duration of the note 5 placed at the beginning of
the bar is equal to four crochets, or to a semibreve. If it is desired to express
a note equal to three crochets, a short bar n of duration is made at such. a
distance from the figure designating said note that the space between the bar

page_text: in front of the figure and the bar includes six of the eight spaces of the whole
bar, and so forth. The rests are designated by noughts, and their duration is
expressed in the same manner as that of the notes (see Figure 11). In
order to distinguish the major from the minor key, I use full lines for the
figures or notes of the former, and dotted lines for those of the latter. The
chords and other combinations of notes can be abbreviated, as shown in
Figure 12, where the third, the fourth, the fifth, and so forth are represented
and distinguished by suitable signs over the figures. The expression is
designated by figures of different styles, as shown in Figure 4.
Having described the nature of this Invention, and the manner of per-
forming the same, I declare that what I claim as the Invention to be protected
by the herein-before in part recited Letters Patent is,―
1st, arranging the keys of an accordeon so that the tones governed by the
same are uniform in the various octaves both in drawing and compressing;
for instance, 1, 3, 5, in compressing, and 8, 2, 4, in drawing, or any other
succession of tones, substantially as and for the purpose described.
2ndly, the distinguishing keys K*, giving the same tone both in drawing
and compressing, and arranged in combination with the keys K, sub-
stantially as and for the purpose set forth...
3rdly, indicating the tone or tones governed by, each key by figures marked
on or near the keys, substantially as and for the purpose described.
4thly, the mechanism for changing the key from major to minor in com-
bination with an accordeon constructed and operating substantially as and for
the purpose set forth.
5thly, a strap for accordeons and other similar instruments, forming a
double loop, like the figure 8, substantially as and for the purpose described.
6thly, the combination of the hinge joint a with the strap A, substantially
as and for the purpose set forth.
7thly, the use of figures from 1 to 8, or of any other suitable succession of
signs or characters, in combination with three staves, substantially as herein
described, so that the position of said figures or characters in relation to the
staves will designate the octave to which the tone to be expressed belongs,
while each figure, character, or sign denotes the same tone throughout the
entire series of octaves.*
8thly, the employment or use of bars n in combination with the ordinary
bars, and with the staves and figures, signs or characters designating the notes
or rests; substantially as berein described, for the purpose of indicating the
value or duration of said notes or rests.

page_text: 9thly, the use of figures, signs, or characters of different styles, such, for
instance, as shown in Figure 4, for the purpose of designating the major and
minor keys, and also the expression.
In witness whereof, I, the said William Clark, have hereunto set my
hand and seal, this Fourth day of February, in the year of our Lord
One thousand eight hundred and sixty-seven.
Witness,
JAMES DAISH,
53, Chancery Lane,
London.
W. CLARK.
(L.B.)