IMPROVE- MENTS IN MUSICAL INSTRUMENTS
Year: 1845

page_text: TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOHN
HENRY PAPE, of Bond Street, in the County of Middlesex, Musical Instru-
ment Maker, send greeting.
WHEREAS Her present most Excellent Majesty Queen Victoria, by Her
Royal Letters Patent. under the Great Seal of Great Britain, bearing date at
Westminster, the Seventeenth day of May, in the eighth year of Her reign,
did, for Herself, Her heirs and successors, give and grant unto me, the
said John Henry Pape, my exors, admors, and assigns, Her special license,
full power, sole privilege and authority, that I, the said John Henry Pape,
my exors, admors, and assigns, or such others as I, the said John Henry Pape
my exors, admors, or assigns, should at any time agree with, and no others,
from time to time and at all times during the term of years therein expressed,
should and lawfully might make, use, exercise, and vend, within England,
Wales, and the Town of Berwick-upon-Tweed, my Invention of "IMPROVE-
MENTS IN MUSICAL INSTRUMENTS; " in which said Letters Patent is contained
a proviso, that I, the said John Henry Pape, shall cause a particular descrip-
tion of the nature of my said Invention, and in what manner the same is
to be performed, to be inrolled in Her said Majesty's High Court of Chancery
within six calendar months next and immediately after the date of the
said in part recited Letters Patent, as in and by the same, reference being
thereunto had, will more fully and at large appear.
NOW KNOW YE, that in compliance with the said proviso, I, the said
John Henry Pape, do hereby declare that the nature of my said Invention,

page_text: and in what manner the same is to be performed, are fully described
and ascertained in and by the following statement thereof, reference being
had to the Drawings hereunto annexed, and to the figures and letters marked
thereon (that is to say):
Figure 1 shews a front elevation of a pianoforte, named in my former
Patent "Console," of the size required for 8 octaves. The internal arrange-
ments consist of a new mode of constructing the sounding board, that is to
say, that the hammers which usually strike the strings near the pin block,
strike in this instrument near the belly-bridge for about two and a half octaves
in the bass part. In order to complete the advantages of this arrangement it
is necessary that the sounding board should be much stronger and stiffer
than usual, as will be herein-after explained. The advantage of this construc-
tion is, that a larger increase of tone is obtained in a small compass
of case.
This instrument will produce as much sound as an ordinary grand, and not
occupy more than one fourth of the space.
DESCRIPTION OF THE FIGURES.
A is a metal frame, nearly resembling the one used in my Patent Console
Piano. B, the wooden braces for strengthening the frame A. Cisaloose iron
bar, which has on its end a nut D; by this nut the case can be always regu-
lated if it should give way by the tension of the strings. E is the sounding
'board, placed behind the metal frame. F is the rest pin block. G is the pin
block for the same strings. H is the belly-bridge. I is the rest pin block for
the bass strings which cross from the other end over one portion of the other
'strings. K is the pin block for the same strings. L is the belly-bridge for the
bass. M, the strings. N, the part of the strings where the hammers strike.
Figure 2 shews a side view of the same piano. O is the part which encloses
the mechanism. This part can be detached from the part P in the line Q
without in any way injuring the instrument. This construction gives the
double advantage of facilitating any operations connected with the manufacture
or repairs of the piano, and of rendering it much more portable, as it can be
packed in two separate parts.
Figure 3 shows the action used for the bass part. The first hammer strikes
on the part of the string R, Fig. 1, and the last on the part S, Fig. 1, so that
the hammers stand gradually higher in the instrument. The sticks which
intervene between the lever of escapement T, and the lever of the key
marked 1), which is fully represented in Figure 4, become gradually shorter.
The other parts of this action not being new it is unnecessary to describe
them.

page_text: o
Figure 4 shews an arrangement of mechanism employed for the five
octaves from the middle and upwards. A is the key. B is the centre on
which it moves, placed horizontally instead of the key-pin placed vertically, as
ordinarily used. C is a wire guide rod, one end of which is fixed in the key A;.
on its other end is a button which communicates with the lever I); this
lever D moves on an axis at E, and carries at its back end the escapement F,"
which moves on an axis at G; the escapement takes place by the screw H. On'
the other end is a screw I, which serves to regulate the height of the hopper.
K is a check to retain the hammer by the notch L, which moves on a
centre M. N is a bead reserved on the notch for lifting the damper O; this
damper is fixed by the screw P on a moveable piece, to be lifted by a pedal.
It will be seen that the lever D acts here as the key. This system offers
many advantages, and may be applied to any description of piano. The key A
differs entirely from an ordinary one, which would represent a lever of the first
kind, whereas this is a lever of the second kin, and the same force is obtained
with half the length of key; and the point of resistance B is equally opposed,
because it acts towards the lower part, whilst the old one always acts upwards.
This new kind of key, although here placed in a different position, is on the
same principle as the one described in my Patent taken out in One thousand
eight hundred and thirty-nine.
Figure 5 shews the mechanism adapted for upright pianos. A is the key.
B, the horizontal centre. C, screw on each side. D, another screw for regu-
lating the stiffness of the centre B, which carries on its back end the escape-
ment F, which moves on its axis G, and escapes by the screw H. I is a
check to retain the hammer by the notch J, which moves on a centre K; on
this notch is reserved a bead L for lifting the damper lever M, which moves on
its centre, and is screwed on a moveable piece to be lifted by a pedal, as in
the damper previously explained in Figure 4. This mechanismis very simple
in its construction, and does not require a great depth for the case.
Figure 6 shews the mechanism adapted for horizontal grand pianos, ham-
mers striking downward. A is the key. B, the horizontal centre. Q, the
winding spring fixed in the key at the end D. At the other end is a' button
E, which brings up and regulates the height of the key by bearing on an
immoveable piece F. G is a brass hook fixed in the key for keeping the
spring in the proper position. On this key is fixed, by the screw H, the lever
which bears the hopper I; by pressing down the keys the escapement takes
place through the button J. K, hammer nut. M, square piece of wood
which contains the centre N, and by which the hammer is fixed to the
immoveable piece O by the screw P. Qanother centre piece of wood which
"

page_text: is touched by the damper lever R. This lever is fixed on the moveable brass
plate S by the square piece T, which contains the centre U; the part V
touches the centre piece Q, so that when the nut is pressed down the damper
is lifted at the other end. The damper lever is pressed by the spring W,
which at the same time brings up the hammer X. The whole of the dampers
are lifted by a pedal through the moveable brass plate S, which turns on a
centre S¹. Y is a brass wire having a button at each end, which communicates
from the damper lever to the key, and has a double use, first, in pressing
down the damper lever by the key it facilites the motion of the hammer, and
then in raising up again the damper lever it replaces the key in its proper
position by the power of the spring. Z, check, which is pressed against the
hammer nut by the screw a, for the purpose of keeping the hammers steady
after it has struck the string. b, spring with two branches, having at one end
between them a roller, and at the other fixed at the end of the hammer nut K.
When the nut is pressed down by the hopper the small tapered piece or pilot d
placed above the centre of the roller, is then, by the action of the keys, moved
beyond, and allows the hammer to rise up a little distance, in which position it
remains until the hopper returns to its place, and facilitates the repetition of
all the methods which have been adopted for the repetition of the hammers.
This seems to be the most simple and the most effectual.
Figure 7 represents a new arrangement in the sounding board, which
consists in using for every note a rod of the same length as the string, to which
rod is adapted the system of drawing the strings, described in Figure 9. A is
the sounding board. B, the bars, on which are glued and fixed the rod C.
These rods are of the width of the key, and varying in height from one inch
for the treble to two inches for the bass. This arrangement is very favourable
for the tone by reason that the vibration of the strings is communicated by the
rods to a greater part of the belly. It also renders the construction of the
case more simple, and reduces considerably its weight.
Figure 8 shews a section of Figure 7; the various parts are marked the
same as in Figure 7. The strings and sounding board take a slanting direction,
which gives more room for the mechanism in front at the top part, and also at
the back part underneath for the braces and iron tubes which I place there.
It must be well.understood that the iron tubes or bars D here used are quite
different from the tubes generally used for bracing. These, on the contrary,
having a straining effect, I use generally only one or two in each instrument
on the corners, which are usually pulled up by the great tension of the springs.
Figure 9 represents the method of drawing and tuning the strings by
means of nuts. A is a corner piece of brass fixed to the block, having a

page_text: round hole in the front part B, through which passes a wire C, tapped at one
end and flat at the other. The flat part slides in the groove at the back part
of the piece of brass A; on the tapped end is screwed a nut D, by which the
sliding part may be drawn as much as can be necessary. This arrangement
is adopted by me not only in pianos, but in other instruments, as will be
herein-after explained. On the end of the sliding part is placed the mould for
fixing the strings, as described in Figure 10.
.
Figure 10 shews a method of fixing the strings. A is a side view of a
piece composed of two parts, one of which is fixed to a screw a; upon this nut
is a screw b; of the size of the ordinary pegs. These pieces may be screwed
together by means of an ordinary harp or piano key. In this position the
parts form a mould which first keeps the string in a straight position, and then
nearer to the end gives a slight curve by the form of the mould, the one part
being concave and the other convex. When there is but one string it passes
through a hole in the screw; when there are two the screw is placed between
them in such manner as to close them perfectly; when there are three one is
passed through the screw, and the other two at each side; it is then impossible
that the strings should slide. It will be seen that the object of this arrange-
ment is to fix the strings securely without injuring them; this arrangement
can be adapted to almost all musicalstringed instruments. In ordinary pianos
I fix in the bottom part of the inould a metal wire fit for rolling on any
comin'on rest pin, as shewn in the Drawing. In some other instruments; as
the grand, where the hammers strike downwards, I fix it as represented
in Figure 9. This latter mode presents many advantages, as it tends to pre.
serve any kind of strings from breaking, and is particularly useful for
tempered steel (which I prefer to be of spring temper), and German silver
strings, for the use of which strings I claim the exclusive right.
Figure 11 is a rest pin, working in an iron plate instead of in wood, as
usual; the bottom part of the rest pin is turned and forms a shoulder. On this
part is fixed a piece of brass a, in the form of a hollow button, as represented
in Figure 11; another piece of the same form is placed at the bottom, and
the two are rivetted strongly together. It must be well understood that the
part where the metal button is fixed on the pin must be square or flat for
forcing the button to turn with the pin; by this means the diameter of the
bútton being greater than the diameter of the part where the strings are rolled;,
it is evident that the tension of the strings can be thus commanded....
Figures 12, 13, and 14, represent an instrument which I call a Quator, as it
is composed of four instruments, videlicet, the violin, the alto, the violincello,
and the bass viol. The form of it; as will be seen in the Drawing, is pyra

page_text: midical in height, and channelled at the sides, thus leaving to each instrument
the portion necessary for the sounding board, and is divided in such a manner
that the whole body is brought into use by giving to cach instrument the part
that is required. For example, the violin is filled up in the part necessary, that
is to say, the whole length of the strings, and also in the depth, so that it
contains the quantity of air required for that kind of instrument. The same
system is adopted for each of the other instruments. The rods described in
Figure 7 serve here not only as a resistance for the belly against the strain of
the strings, but they form also the touches of each instrument upon which
the artist plays, and divides the notes. The bridge may be made in different
manners a single thin piece of wood may be adjusted on the four bars, and
answer completely the purpose, or a small bridge may be fixed on each bar on
a centre, so that it is moveable. The same method is employed at both ends
of the strings.
Figure 12 shews the violin part of the instrument. A, the rods, on which
are adapted the strings B, fixed by the mould C, explained in Figure 10.
D, the nut, which serves for tuning. E, the line where the violin part ends.
F, the opening for letting out the sound; this opening can be made also on the
side, and produce a good effect.
Figure 13 represents the bass viol part of the instrument. The rod strings
and tuning part are arranged as in Figure 12. A¹ is the sounding board,
which is not only of the whole height of the instrument, but the part left
from the violin is here brought into use. As for the other two instruments, no
further description is necessary, the same methods being adopted as in the
two already described, the alto being nearly the same as the violin; a part
of the sounding board remains, and is used for the bass viol, the violincello
retaining the whole of the part appropriated to that instrument."
Figure 14 shews the top view of the instrument, and the part where it is
tuned. In the middle part is fixed a handle for the management of the
instrument.
I will now describe my improvements in harps, by which I am enabled to
dispense with the pedals that are generally employed for raising or lowering
the note half a tone, the uses of which are complicated and costly. By my
improvements the instrument is simplified, and each note has its proper string,
whilst, by the peculiar construction, the hand may reach every note with equal
facility. The manner of placing the strings is shewn in Figure 15, where it
will be seen the strings cross one another in such manner that when the
hand is placed over the cross line o it is possible to play upon all the strings
without exception, which in this relation gives to the harp some analogy to the

page_text: piano. For the facility of execution, and to avoid confusion, I have arranged
the tones on one side of the console and the half tones on the other, with this
essential condition, that each string has an oblique direction from the width of
the table; that is to say, that those which are fixed to the right side of the
console are fixed on the left side of the table, and those on the left side of the
console correspond to the right side of the table, so that their crossing forms
a regular line o, which allows of using both the tones and half tones; these
tones and half-tones are also at the part where they form the line distinguished
by different colors..
Figure 15. A, console. B, rest pin. C, strings. D, sounding board.
Figure 16 shews the side view of the harp.
Figure 17 shews the plan of the harp which, as is seen; gives to the strings
instead of a straight line the form of a S, and by which arrangement the bass
and treble can be touched with great facility, although the number of strings
is increased.
2½
I will now describe a method of varying and increasing the sound in musical
instruments by means of regulating the volume of air, which consists in the
pianoforte of a mode of applying to each side of the sounding board a second
board the size of the sounding board; the space between can be regulated
according to the nature of tone required, that is to say, a greater space for the
bass than the treble, and also according to the quality of tone desired. This
improvement may be applied to almost all musical instruments, but I shall
here speak only of its application to pianos and wind instruments, as the
organ and the seraphine. As each kind of piano would require a different
arrangement, and the application of this idea is simple, I have not thought it
necessary to give a Drawing. In my Console Piano it will suffice to say, that
I place behind the surface of the sounding board a single board or table,
which is capable of opening or closing. For a good quality of tone I leave a
space for the bass part of about four inches, and two inches for the treble;
the space being increased or diminished from one extremity to the other will
produce a perfect fort or piano. To increase the sound and improve the
speaking part of organs or seraphines I augment the quantity of air by
placing on the wind hole a pipe or tube of the shape shewn in the Drawing.
This mode not only increases the tone, but is so favorable for the speaking
part, especially the bass, that the same note which ends the ordinary instrument
can be brought down a whole octave by this method.
Description of Figure 18.-A, wind box. B, vibrator. C, opening, on
which is placed the angular tube D); this tube may be opened on the top, as

page_text: represented at E, at the bottom, or even on the front side, as I sometimes
make it.
In One thousand eight hundred and thirty-five I took out a Patent for the
substitution of felt for skin as a covering material for the hammers of piano-
fortes, and although these hammers are universally used throughout Europe,
yet there are many defects which it is the object of my present improvement
to remedy. It is well known that the hammers are fixed to a frame in such
manner that they always touch the strings in striking at the same point, and
consequently at that point soon become worn, when they have to be removed
to be uncovered. Now the object of my improvement in hammers is to
arrange them in the form of rollers or other suitable forms, in such manner
that when the part which strikes the string becomes worn the hammer may be
turned and present a fresh surface. This may be easily done by any person, and
by this means the hammers will lasta considerably longer time, and the inconve-
nience of sending the instrument to the manufacturer to repair this defect
be avoided. In making these hammers I take a tapered roller of wood, and
covering it with skin or felt to the required thickness, as is well understood,
I then cut from this prepared roller the hammers of the proper width for the
strings, and then make a hole through them in order to attach them in the
frame, which will be readily understood by examining the Drawing, Figure 19,
in which A is the hammer, B is the centre, through which is introduced a
piece of wire C, the end of which is square, and which is fixed to the claws D
of the hammer by the screws E; and when it is desired to change the
position of the hammer all that is necessary is to unscrew it and draw out the
wires, when the hammer may be easily turned.
Figure 20 shews another mode of fixing the hammer, in which it is held by
plates of metal F, containing teeth g, and it will only be necessary to remove
one of these pieces when it is desired to change the position of the hammer;
but I do not confine myself to any particular mode of fixing the hammers, or
to the mode of making them, so long as they are capable of movement.
Having thus described the nature of the Invention, and the manner of per-
forming the same, I would have it understood that I do not confine myself to
the precise details herein given, so long as the character of the various
improvements be retained.
In witness whereof, I, the said John Henry Pape, have hereunto set my
hand and seal, this Seventeenth day of November, in the year of our
Lord One thousand eight hundred and forty-five.
JOHN HENRY (L.S.) PAPE.

page_text: AND BE IT REMEMBERED, that on the Seventeenth day of November,
in the year of our Lord 1845, the aforesaid John Henry Pape came before
our said Lady the Queen in Her Chancery, and acknowledged the Specifica-
tion aforesaid, and all and every thing therein contained and specified, in
form above written. And also the Specification aforesaid was stamped
according to the tenor of the Statute made for that purpose.
Enrolled the Seventeenth day of November, in the year of our Lord
One thousand eight hundred and forty-five.