Year: 1886

page_text: Date of Application, 4th Oct., 1886.
Complete Left, 4th July, 1887.
Complete Accepted, 4th Oct., 1887.
Colombia, South America.
I SANTIAGO SAMPER of 18 Booth Street, Mosley Street in the City of Manchester
in the County of Lancaster Merchant do hereby declare the nature of this invention
to be as follows:-
This Invention relates to a new or improved system and means for recording and
printing music the object being to arrange and combine the consonants and vowels of
the alphabet in signs and for printing media to represent and be read and interpreted
as the equivalents of musical sounds.
In carrying this Invention into practice the types are so arranged that the
consonants are the denominating signs of the notes dots and rests, the vowels are
employed to denote the "time or duration.
"
The different degrees of pitch in which one and the same note or one and the same
octave scale, may be reproduced along the whole range of musical sounds are
represented by the different forms and dimensions of the printing types, darker or
lighter or larger or smaller.
In music written or printed in the form adapted to blind people that is to say, in
music arranged for dictation to the blind the different degrees of pitch are expressed
by means of preposed vowels.
Each one of the five notes that intervene respectively between, C and D, natural;
D and E natural, otc.; as well as each one of the seven natural notes, viz.: C, D, E,
F, G, A, B ; has an exclusive name which shall not be applied to designate any one
of the eleven remaining notes, but may in certain cases be replaced by a synonyme
but in such cases the synonyme must be distinct from each of the eleven remaining
notes as well as from each of their synonymes.
•
Melodies and chords are arranged and printed upon a line in a horizontal direction
from left to right, without the use of the staff (or pentagram).

page_text: Music for the Pianoforte, Organ, Harp, Concertina, and other instruments in which
melody can be performed simultaneously with its corresponding accompaniment is
produced in two lines one above the other for the treble and bass respectively. For
concerted music each part has its corresponding line arranged one below the other.
A syllabic measure is adopted whereby durations are practically measured consisting
of a phrase or sentence composed of a determinate number of words formed of a fixed
number of syllables, each syllable having a fixed number and determinate quality of
letters. The phrases are various according to the variety of musical rhythms. Some
are composed of short or brief syllables, others of long ones, others again of short
syllables mixed with long ones. The syllabic measure when expressed is printed in
type under the line of the musical signs. The distance between the short syllables is
equal to the eighth part of a second, that is, to the standard duration of a demisemi-
quaver in Largo time. The duration of a note or chord of the duration of a
semibreve will be expressed by a series of such syllables thirty two in number.
The distance between two simple vowels when they are separated by one single
consonant, is two-thirds of the distance between two simple vowels when they are
separated by two consonants combined but distinct from one another, for instance
from the o to the y in the word body the interval of time is two-thirds of the distance
or duration of expression between the u and the e in the word musket. This
illustrates the difference between bynary to ternary time and it can be readily
understood that the same may be employed in combination, and that the adoption of
the syllabic phrase can be adapted to very irregular and fanciful rythms as for
instance the Presto-agitato of Beethoven's Moonlight Sonata.
Rests and pauses are represented by the letter h, the duration or length of each
rest depends on the vowel with which the h, is combined, thus :-huo, hui, ha,
he, hi, ho, hu.
Dots may be expressed in two ways absolute and relative. The relative way is
by the vowels a, e, i, o, u; the absolute way is by the use of the letter c, at the end
of a note, chord, or rest, so representing the simple dot, and the letter ; also as an
ending to designate the double dot. Whatever be the duration of the note chord
or rest to which these dots are adjoined, the c makes the durations longer by one half
of its original value; and the x by three quarters. If however the relative
duration a, were to be augmented by one half of its value by a relative dot the
vowel e, must be added if the duration e has to be increased in the same proportion
the vowel i, must be adjoined and so on.
The notes represented by the particular consonant has a vowel or combination of
vowels placed thereupon to signify its absolute or longer duration when it belongs
to two different themes at the same time. If the note occurs in the bass in pianoforte
or such like music the vowel or vowels is or are placed under the note.
The tie is not employed in this mode of recording music where it is to be denoted
that the first of two notes or two chords actually written is not to be struck twice but
to be of longer duration. According to this system the consonant character or sign
is simply not reprinted but the vowel indicating the duration is added to the particular
sign: For instance gi, is equivalent to Eb, (E flat) with the duration of a semiquaver ;
if it is to be increased in value one crotchet. it is thus expressed, gi a; and not
In like manner the chord gins will be increased by a crotchet duration
thus gi ga.
by the sign gins a, instead of gins gans.
Relative rests in concerted music, or two themes, proceeding simultaneously may
be suppresed if the value of the rest is equal to the note that coincides with it. If
the rest is longer than the coinciding note the rest is suppressed during that part of
its value that coincides with the value of the note and the remnant of it is expressed
to the right of the note, and so on but a vowel is adjoined, of the proper value, if the
value (duration) of the rest is shorter than the value of the note.
For blind people to play from dictation the emphasis or stress of the voice denotes
the treble and bass by marking or accenting the vowel according to this modification
the consonants that precede the accented syllable are to be played with the left hand,

page_text: and those contained in the accented syllable as well as those that follow it belong to
the right or treble.
The use of a dot on the left of a vowel indicates that the preceeding note or chord
is to be repeated with the time or value expressed by the said vowel.
The comma (,) on the right of a consonant (note) is employed to indicate that
such note ought to be retained until a corelative apostrophe (') is met with in
reading the line of musical signs. This apostrophe may be met with or appear in the
same bar or other following bar or bars succeeding. The comma sign may follow
the vowel of duration thus: ba,.
The different thickness and type forms of the letters of the syllabic phrase indicates
the force with which a note or chord ought to be struck or sung so indicating the
italien letters p, pp, ppp, f, ff, fff according to the degree of 'pianisimo,"
ог forte."
"
The hyphen (-) is employed between two or more notes, or chords, to indicate
that it is a clause to be repeated.
The conjunctive sign & indicates the repetition of the clause that precedes it.
To indicate the different octaves (of the key-board in a piano or organ etc.) from
bass to treble, the signs or types employed are furnished with a prefix as follows:-
uo, u, a, e, i, o, ü. Thus the chord blir, which represents C, F, and A, natural, with
the value of a semiquaver, as in the seven octaves, the following are type-signs
employed according to this invention viz. oublir, ublir, ablir, eblir, oblir, üblir.
The pause () is represented by the interjectional sign (!).
The first vowel of a chord is that which indicates the time or duration and the
types for the twelve chromatic notes are B, D, F, G, V, L, Ch, N, V, R, S, T. The
notes Y, Ch, and V, have synonyms, which are as follows:-Y-J; Ch. Sh; V=P.
In the preparation of the "fount" for printing according to this invention the
signs will be "founded" in the different degrees of thickness or character for the
quality of the expression and for use for the first consonant (note) that is to agree
with the relative place or octave on the key-board; (the remaining consonants of the
same chord may be printed in small letters of the type to which the first consonant
belongs).
The fount" will be arranged in case for the Compositor who will set the types in
line or lines according as the "copy" is written.
It is claimed for this system that the printing will be less difficult, the space
occupied be much reduced, the interpreter or performer will have the music more
readily under the eye and in familiar form for reading at the same time that the
facilities for teaching and possibility of dictating the music to a performer in language
form will greatly facilitate the acquisition of the art and the printed matter be
produced at a cheaper rate.
For teaching purposes key-boards will be made with the several keys stamped or
marked with the corresponding signs in which the music will be printed.
Type faces combined in signs may be founded to serve for combinations of notes.
WALTER A. BARLOW,
6, St. Paul's Churchyard, London.

page_text: A communication from abroad by DIEGO TALLON, I Dogota, 41
Columbia, South America.
υπο πομακο
I, SANTIAGO SAMPER, of 18 Booth Street, Mosley Street, in the City of Manchester
in the County of Lancaster do hereby declare the nature of this invention and in what
manner the same is to be performed, to be particularly described and ascertained in
and by the following statement :-
This invention relates to a new or improved system and means for recording and
printing music the object being to arrange and combine the consonants and vowels of
the Alphabet in signs and for printing media to represent and be read and interpreted
as the equivalents of musical sounds.
In the drawings annexed hereto Fig. 1 (sheet 1) represents a keyboard of the
pianoforte or a strip of wood or like convenient material to be employed in combina-
tion with the key-board of a pianoforte, organ, harmonium, or the like, with the
octaves denoted by the denominating consonants and special (octave distinguishing)
types. Fig. 2 (sheet 1) illustrates the finger board of a banjo according to this
invention. Fig. 3 sheet 2 shews a checked board, or board divided in squares, for the
study of harmony the lines of squares indicating the chromatic scales.
(sheet 2) represents a transposing slide according to this invention.
32
Fig. 4
In carrying this invention into practice the types are so arranged that the conso-
nants are the denominating signs of the notes, dots and rests; the vowels are employed
to denote the "time or duration of the notes dots and rests and also the locality of
the same and the number of their repetitions. Consonants are also employed only
to insulate vowels that represent number. Vowels are also employed without any
other function than to make distinct the pronunciation of the consonants that consti-
tute a chord for instance, the musical word "baglar," denotes a chord in which it is
expressed that the note b- g- l- r- are to be struck and that their duration is
second vowel a, is a repetition of the first without any further meaning. The first
vowel of a chord is that which indicates the time or duration and the types for the
twelve chromatic notes are B, D, F, G, Y, L, Ch, N, V, R, S, T. The notes Y, Ch,
and V, have synonyms, which are as follows Y=J, Ch-Sh; V=P. The Y is
employed as consonant, having always the pronunciation of soft or of j (French)
which is its synonym. g is always pronounced as in "get" and r is always distinctly
sounded.
the
The different degrees of pitch in which one and the same note or one and the same
octave scale may be reproduced along the whole range of musical sounds are repre-
sented by the different forms and dimensions of the printing types, darker or lighter
or larger or smaller This is clearly shown by Fig. 1.

page_text: О
as in the English word
as oo, in the English word "wood."
"
Each one of the five notes that intervene respectively between C, and D, natural;
D and E, natural etc, as well as each one of the seven natural notes, viz. C, D, E, .
F, G, A, B, has an exclusive name which shall not be applied to designate any one
of the eleven remaining notes but may in certain cases be replaced by a synonym
but in such cases the synonym must be distinct from each of the eleven remaining
notes as well as from each of their synonyms.
Melodies and chords are arranged and printed upon a line in a horizontal direction
from left to right without the use of the staff (or pentagram) Music for the pianoforte,
organ, Harp, concertina and other instruments in which melody can be performed
simultaneously with its corresponding accompaniment is produced in two lines one
above the other, for the treble and bass respectively.
When music for the said instruments is to be dictated it is produced in one line,
the accented vowel of the musical word being marked with a dash to indicate the
separation of the part of the bass from that of the treble.
For concerted music each part has its corresponding line arranged one below the
other.
"
و"
A "syllabic measure is adopted whereby durations are practically measured
consisting of a phrase or sentence composed of a determinate number of words formed
of a fixed number of syllables, each syllable having a fixed number and determinate
quality of letters. The phrases are various according to the variety of musical
rhythms. Some are composed of short or brief syllables, others of long ones, others
again of short syllables mixed with long ones. The "syllabic measure when
expressed is printed in type under the line of the musical signs. The distance between
the short syllables is equal to the eighth part of a second that is, to the standard
duration of a demisemiquaver in Largo time. The duration of a note or chord of the
duration of a semibreve will be expressed by a series of such syllables thirty two in
number.
For instance :- -Let the phrase be "Jemmy had-a-petty-body," which divided as
follows, and repeated four times will give the required number:-viz. Jem-my-ha-
da-pet-ty-bo-dy. Now, if a chord be played at the moment the syllable "Jem" is
pronounced, and the delivery of the seven remaining syllables be rapidly continued,
until the return of the said syllable "Jem" on which the chord is to be repeated
-

page_text: 66
66
"
the distance between those two chords will be that of a crotchet in Largo time.
Therefore if the note or chord be represented by this sign ▲ upon the vowel of the
syllable with which it has to be played, the said duration of a crotchet may be better
understood by marking it as follows:-" Jem-my-ha-da-pet-ty-bo-dy-Jêm-" &c.
Again if the phrase be repeated twice and the chord struck with the first syllable
Jem" and be held until the "Jem" recurs for the third time, the duration between the
first and the second mark will be double the one before expressed, and, therefore,
a minim; thus: Jêm-my-" ha-da-pet-ty-bo-dy-Jem-my-ha-" da-pet-ty-bo-dy-
Jem" &c. If it be repeated three times, the second accent will appear on the fourth
recurrence of the syllable "Jem" and the duration will be that of a ininim and a half,
or three crotchets, or a dotted minim, if the phrase he repeated four times, the second
mark will appear on the fifth repetition on the syllable "Jem" Now, it is evident that
the Italian words Grave,' "Largo," Adagio," Andante,' "Andantino,"
"Allegro,"
Presto," &c., imply that durations, besides their normal dimensions,
have also conventional ones, although their mutual proportionability remains the
same. In like manner the syllabic phrase may be reduced by giving each interval
between the syllables another denomination and considering it to be of greater duration
thus the whole phrase may denote the time of a minim instead of a crotchet and so on.
From the foregoing explanation the employment of the syllabic measure in combina-
tion with the type forms with recording and printing musical sounds according to
this invention will be readily understood. The subject may be extensively developed
in instructions for teaching but that demands no place here it is sufficient for the
purpose to have denoted the application of the mechanical combination of the two
fines of printing surfaces, one of the special type forms and the other of the ordinary
printing type in a phrase of common language for the production of novel printed
matter.
" 66
It should be remarked however that a device is employed in this system for
measuring ternary time. After numerous experiments with the aid of appropriate
instruments the fact was ascertained that the distance between two simple vowels when
they are separated by one single consonant, is two thirds of the distance between two
simple vowels when they are separated by two consonants combined but distinct from
one another; for instance, from the o, to the y, in the word "body" the interval of
time is two thirds of the distance or duration of expression between the u, and the e,
in the word "musket." This illustrates the difference between binary and ternary
time and it can be readily understood that the same may be employed in combination,
and that the adoption of the syllabic phrase can be adapted to very irregular and
fanciful rythms as for instance the "Presto"-agitato" of Beethoven's Moonlight
Sonata.
Rests and pauses may be represented by the letter h, the duration or length of each
rest depends on the vowel with which the h is combined, thus huo, hui, ha, he, hi, ho,
hu. The h is always aspirate. Dots may be expressed in two ways absolute and
relative. The relative way is by the vowels a, e, i, o, u; the absolute way is by the
use of the letter c at the end of a note chord or rest so representing the simple dot,
and by the letter x; also as an ending to designate the double dot Whatever be the
duration of the note chord or rest to which these dots are adjoined, the c makes the
duration longer by one half of its original value; and the x by three quarters. If
however the relative duration a were to be augmented by one half of its value by a
relative dot the vowel e must be added if the duration has to be increased in the
same proportion the vowel i must be adjoined and so on. These alternative ways of
expressing duration may be used according as required.
e
The notes represented by the particular consonant has a vowel or combination of
vowels placed thereupon to signify its absolute or longer duration when it belongs to
two different themes at the same time. If the note occurs in the bass in pianoforte or
such like music the vowel or vowels is or are placed under the note.
The "tie" is not employed in this mode of recording music where it is to be
denoted that the first of two notes or two chords actually written is not to be struck
twice but to be of longer duration. According to this system the consonant character

page_text: or sign is simply not reprinted but the vowel indicating the duration is added to the
particular sign: For instance, gi, is equivalent to Eb, (E flat) with the duration of a
semiquaver; if it is to be increased in value one crotchet it is thus expressed, gi a;
and not thus
In like manner the chord gins, will be increased by a crotchet
gi ga.
duration by the sign gins a instead of gins gans.
Relative rests in concerted music, or two themes, proceeding simultaneously may
be suppressed if the value of the rest is equal to that of the note that coincides with
it. If the duration of the rest is longer than that of the coinciding note the rest is
suppressed during that part of its value that coincides with the value of the note, and
the remnant of it is expressed to the right of the note, and so on but a vowel is adjoined
of the proper valne if the value (duration) of the rest is shorter than the value of
the note.
The number of repetitions is indicated by the corresponding number or numerical
sign, thus 3 big-ni would be an abreviation of big-ni, big-ni big ni. It has already
been said that when music is written for dictation such number is indicated by a
vowel which represents it. Such vowels are separated from the notes by means of
consonants that do not name or represent notes for instance k, m, or z. Vowels when
employed as initials, in music written for dictation, are so used to indicate the different
octaves from bass to treble; thus, the signs or types employed will be furnished with
a prefix as follows: uo, u, a, e, i, o, u. Thus the chord blir, which represents C, F and A
natural, with the value of a semiquaver, as in the seven octaves the following are the
type forms employed according to this invention viz. oublir, ublir ablir eblir iblir
obler üblir. In this way the location of the octaves may be denoted but the different
type forms is better and clearer for music that has not to be dictated.
For blind people to play from dictation the emphasis or stress of the voice denotes
the treble and bass by marking or accenting the vowel; according to this modification
the consonants that precede the accented syllable are to be played with the loft hand,
and those contained in the accented syllable as well as those that follow it belong to
the right or treble.
The use of a dot on the left of a vowel indicates that the preceding note or chord is
to be repeated with the time or value expressed by the said vowels. The hyphen (-)
is employed between two or more notes or chords, to indicate that it is a clause to be
repeated and the number of repetitions are indicated by a number. The conjunctive
sign"&" indicates the repetition of the clause preceding it.
) is represented by the interjectional sign (!).
The pause
The comma (,) on the right of a consonant (note) is employed to indicate that such
note ought to be retained until a correlative apostrophe (') is met with in reading the
line of music signs.
The apostrophe may be met with or appear in the same bar or other following
bars succeeding. The comma sign may follow the vowel of duration
thus bu.
:
bar or
The different thickness and type forms of the letters of the syllablic phrase will
when so used indicate the force with which a note or chord ought to be struck or
sung so indicating the Italian letters of abbreviation p. p, p, p, p, p f, f, f f f f
according to the degree of "pianissimo or "forte."
"2
In the preparation of the "fount" for printing according to this invention the
signs will be "founded" in the different degrees of thickness or character for the
quality of the expression and for use for the first consonant notes that is to agree with
the relative place or octave on the key-board; (the remaining consonants of the same
chord may be printed in small letters of the type to which the first consonant
belongs). Type faces combined in signs giving the harmonic chords in syllables will
according to this invention be "founded in types and serve for the ready setting of
combinations of notes.
The following are specimens of such chords and type faces viz. :-Bay, Day, Fay;
Bagal, Dal, Ful, Gal; Bagach, Dach, Dayach, Fach, Gach, Yach; Bayan Dayan, Fan,

page_text: Flan, Gan, Yan, Lan, Ban Dan; Bagap. Dayap; Flap Gachap, Yap, Lap, Chap Bap
Dap Fap Gap Dalp Bagchap; Bayar Dayar, Flar Gachar Bagchar; Blar, Daynar;
Bayans Davans. Flaps; Gans, Gachas,. Yans, Laps, Nas; Fant. Flant, Gachat, Yant,
Gachrat; Yapat, Lapt, Flapt.
These will again be produced with the vowels e, i, etc. according to the time in
which the music is to be played.
The "fount" of types will be arranged in "case" for the compositor who will set
the type in line or lines according as the "copy" is written.
It is claimed for this system that the printing will be less difficult, the notes will
have always the same name and do not change whatever be the piece of music to be
performed or the tone (key) in which it is written.
There is no employment of the staff or pentagram nor ledger lines and all notes
whether the highest or the lowest are instantly read with the same facility as any
other. The signatures of the keys are not required. These is no employment of clefs
nor of accidental signs to express flats, sharps, naturals and so on.
The pupil may
begin to perform pieces of music immediately after learning the names of the notes,
so that the study is not tiresome and is more rapid than by the usual notation. The
interpreter or performer will have the music more readily under the eye and in
familiar form for reading at the same time that the measure is mechanical and the
facilities for teaching and possibility of dictating the music to a performer in language
form will greatly facilate the acquisition of the art and the printed matter will be
produced at a cheaper rate. Along with their first letters children may learn the
syllables of all the intervals of harmony, the several metrical phrases and the table of
the value of vowels in music.
The study of harmony is greatly facilitated owing to the symmetry of the system
and consequent simplicity of the chromatic scale. In illustration of this and for
teaching purposes checked boards Fig. 3 will be constructed and used whereon are
marked the denominating types of the successive chromatic progressions within the
octaves. The numbers on the outer edges denote the notes of the chords.
Upon these boards may be played problems in harmony and counter point com-
binations of colors may be used for further facility and attraction to this end and may
also be used on the key-board and finger boards but no claim is laid to the use of
colors in this way.
For teaching purposes key-board and finger-boards will be made for the various
instruments with the several keys stamped or marked with the corresponding signs in
which the music will be printed as shown in Fig. 1 and 2. The boards Fig. 1 are
also made in strips of wood or convenient material corresponding to the finger board
of pianofortes and be placed in the piano immediately above the keys and spaced and
lettered correspondingly to the keys and to the consonant signs denominating the
notes and corresponding to the printed music produced according to this invention
and I intend to claim and do claim the mechanical combination of such strips with the
key board of a pianoforte harmonium organ or such like musical instrument.
For transposing music produced or to be produced as printed matter transposing rules
are made according to this invention and as shown in Fig. of the drawings,
whereby any person or the "compositor at case" may transpose the written music to
one key from another. The type forms when prepared may be electrotyped, stereotyped
or lithographed from in ordinary manner.
This transposing rule as I denominate it consists of two parts A, and B, one part, B
wherof is movable and slides along or on the other. In the ordinary position of the
parts A, B, as shown the twelve notes written on each of them are opposite each other.
When the music is to be transposed the letter of the first piece A, which indicates the
name or key of the tone in which the music is written or printed, is brought by
sliding piece B, opposite to that of the tone in which it is to be copied the transposer
or printer will then read the letters on the fixed piece A, and set up the corresponding
letters that appear opposite on the sliding piece B, and so on.
The slides may be of more than one octave length or a double slide may be

page_text: employed whereon the higher or lower octave characters will be produced and inter-
changeable slides may be provided so that the piece of music, or musical passage may
be set in a higher or lower octave.
If at any time or by occasion it might be desirable to enlarge the representation
of the acoustic range of sounds within the octave the whole of the consonants might
be employed together with the y and double consonants "ll," "ch"-"sh" and "th."
It will be seen that some considerable directions have been given as to the under-
lying art and for practice of the theory of this invention but it is not to be understood
that claim is sought to be made to the art nor to the use of the art either for teaching
it or by manuscript production of music according to it and it may be explained that
one of the principle objects of the inventor in seeking Letters Patent for the
mechanical production of printed matter according to this invention is to ensure the
uniformity of characters employed so that notwithstanding the nationality of
the performer the printed music will be readable apart from local language; as a
matter of convenience however the "syllabic phrase" may be varied to the particular
language of a country as it is only a measure of intervals or the latin may be
employed.
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. The new or improved system and means for producing printed music
by the employment of the type forms, and syllables of consonants and vowels,
combined and set in lines for the production of type forms or printing surface as
set forth.
Secondly. In recording and printing music the combination with the type faces
before described of a line of ordinary printing characters arranged in syllables to
express the mechanical measurement of time as herein set forth.
Thirdly. The key board and finger boards, or the strips or boards, combined with
the key-board of a pianoforte, organ harmonium or such like musical instrument
marked and arranged with the denominating consonant types showing the notes and
octave positions as new articles for educational purposes as set forth and shewn by the
drawings.
Fourthly. The checked boards marked with the denominational characters of the
chromatic scales as a new article for educational purposes as set forth.
Fifthly. The transposing rule or slide having the parts A B marked with the
denominating characters and adjustable in relation to each other and to the characters
so marked so and for the purpose set forth.