Improvements in the Construction of Keyboard Musical Instruments Sounded by Strings, Wires, Pipes, or Reeds.
Year: 1890

page_text: Date of Application, 21st Feb., 1890
Complete Specification Left. 31st Oct.. 1890-Accested. 6th Dec.. 1890
PROVISIONAL SPECIFICATION.
Improvements in the Construction of Keyboard Musical Instruments
Sounded by Strings, Wires, Pipes, or Reeds.
I, JOSEPH BURNET, of Radcliffe House, Slave Island, Colombo, Ceylon, Colonial
Chaplain, do hereby declare the nature of my invention to be as follows:-
My invention has reference to improvements in the construction and arrangement
of the parts of keyboard musical instrument sounded by strings, wires, pipes, or
reeds, such as pianofortes, organs, harmoniums, or instruments of a similar nature,
and has for its object the tuning of such instruments perfectly in the diatonic scales,
and thereby lessening the labour of learning to play and playing upon them, as
according to my improvements the player who has mastered one scale, say the scale
of C, would be able to play music written in any scale or key without being obliged
to learn the fingering of the various sharps and flats which might occur in these.
One purpose of these improvements is to introduce the simplicity and correctness of
the Sol-fa system into the playing of keyboard instruments. The improvements
further obviate the falsification of the notes by the usual
6:
process of tempera-
ment," and are in contradistinction to those improvements which are applied to
instruments fitted with shifting keyboards, whereby players are enabled to play
music written in any key in any other key without the labour of mentally trans-
posing the written music, as by my improvements the player is enabled to play
correctly music written in any key by playing it as though written upon any
fixed key, as say the key of C, this being the easiest and most simple, so that
consequently on my improved instrument the usual black keys by which the sharps
and flats are sounded are dispensed with, and thus the labour of learning to play
the instrument is greatly lessened; and as the change from one key to another is.
effected by simply moving a pedal, modulation is easily accomplished.
When these improvements, the plan of which is in accordance with the "diatonic"
scale in its exact numerical vibrations for the different notes, are applied to
pianofortes or such like keyboard instruments, it is preferred, for reasons herein-
after stated, to make my improved instrument with two sets of wires or vibrators
and two keyboards, one behind the other, to sound the notes by depressing the
keys to actuate the striking hammers or other sounding mechanism, all much in
the usual way. The wires or vibrators in connection with the two keyboards
would be placed or stretched alternately, one for the front keyboard and one for
the back, and so on.
For ease of manipulation the back row of keys might be placed on a higher
level similarly to the black keys at present used; and the upper part of these back
keys may be made to overlap part of the under or front row, so as to have all
the keys of the same breadth. As all the keys of both keyboards are therefore
identical in form, and have not the usual black keys to divide them and identify
the notes, it is necessary to use other means of distinguishing the keys of the
keyboards, and this is effected preferably by colouring the notes variously, as for
instance using the seven prismatic colours of the rainbow or prism, as say red for A,
blue for B, orange for C, indigo for D, yellow for E, violet for F, and green
for G, and so on throughout the number of octaves in the keyboards. These colours
as arranged in this way indicate also by their contrasts and affinities the notes that
harmonize. Other methods of colouring the keys of the keyboards, or other means
of distinguishing them, such as by letters, words, or marks, may be used. The
instrument being fitted this as described with two sets of wires or vibrators and two
keyboards, the wires or vibrators of each set are tuned to sound each in a different
key, for reasons hereinafter stated, preferably that of A for one set, say the one in

page_text: connection with the front row of keys, and that of C for the other in connection with
the back row of keys. Tuned in this way the application of my improvements as
about to be described, enables the player to play at will upon the front set of keys in
any of the following keys or scales Cb, Gb, Db, A, E, B, F, C, G, and the back
row in any of the scales or keys Ab, Eb, Bb, F, C, G, D, A, E, which completes the
round of the scales. But as some of these scales, such as Ab and G, are the same or
with an inappreciable difference only and are therefore interchangeable, it is not
necessary to provide the improved mechanism for more than one of such interchangeable
scales or keys. Taking C major for the standard scale and comparing it with A it is
seen that four notes in A major differ from those of the same name in C, for C, F,
and G are sharper, and D is flatter. And the sharpening is greatly less than the
semitones of the scale of C, i.e., E-F and B-C, and less even than the sharpening
of F for the key of G, and the flattening of D greatly less still; also the chords for all
the notes are different. It will be seen also that to rise from A to E or from C to G,
only two notes have to be altered, the fourth by about 3 of a semitone, the sixth by
about of a semitone, i e., D and F in A, and F and A in C. Similar changes of the
fourth and sixth are needed in passing from E to B and from G to D, and also in
passing from B to F, and from D to A, and also from F to C, and from A to E
also from C to G. So also it will be seen that in descending from C to F and
from A to D, a similar change of the fourth and sixth (of F and Dþ) are needed, and
so on from F to Bb and Db to Gb. and again from Bb to Eb, and from Gb to Cb,
and again from Eb to Ab and from Cb to Fb. As Ab and Gare the same to
the south part of a vibration, and D the same as Eb, something like a rotation of
scales results from further extension upwards or downwards, and is therefore unneces-
sary. It will be seen further that the relations of the two scales A, C, is the same as in
the other pairs E, C,-B, D, F, A, C, E-Db, F,-Gb, Bb,-Cb, Eb,—Fb, Ab.
Similar relations for producing the correct minor scale of the under one of the pair
are found in each pair, and also similar facilities for modulation. Hence the need of
two complete sets of vibrators and corresponding keyboard keys. For the minor
keys, as the notes of C major correspond with those of A minor, and so on for the
rest of the A series, with the exception of the fourth note as A¹, B2, C³, Dª, which
requires to be somewhat flatter, as it is in the key of A, and so on, in order to get
A minor perfect the fourth note should always be taken in A or E, and so on.
In this way the minor keys are obtained perfectly throughout the series of what
are called natural minors. As Ch is only a very little lower in tone than C, a
change can be made from C to Ub, and then the same arrangement is available
for Cb, and the others of the tonic minor series, and as the mechanism is easily
inovable a change from the original keynote and back again is easily effected.
One of the modes and means by which the tuning pitch or tone of the strings or
wires of the instrument are changed from one scale or key, and set to another,
as say those in connection with the back row of keyboard keys from C, their
supposed normal key to that of say G, is by an application of the principle of
finger stopping as applied to violins, by which the vibrating portion of all the wires
sounded from the front keyboard originally tuned to say F, are shortened sufficiently
to raise the pitch or tone of the note to F, and this is effected by the means and
mechanism to be described. The same principle and similar means and mechanism
being employed for producing all the scales or keys on the back and front keyboards
by shortening the required number of strings or wires to raise the tone sufficiently to
produce the desired key or scale. One method of effecting this change is by the use
of a combination of small lever stops or wedges put in action by a series of rods or
"pushes" worked by cams arranged preferably at the bottom part of the instrument
or at the end of the wires farthest from the striking hammers or other sounding
mechanism, all as will be described. By one method the wire or string is made
to pass along a groove in a wood or metal piece attached to the sounding board
and near the end of the string or wire, in which groove it is free to vibrate
throughout its whole length.
At that part of the string or wire where it is necessary to stop it in order to

page_text: "
stop
"
raise the pitch by shortening the vibrating portion of the wire, a small notch is
made across both sides of the groove into which a small wedge, peg, or
is made to enter, and in so doing compresses the wire against the bottom of the
groove, and so prevent the string or wire vibrating past this stop to its full
length. Instead of a groove with notches being used, a wedge shaped piece or
ridge may be placed opposite the lever stop, so that the wire may be gripped
between them in a manner analogous to the finger stopping of guitar strings, in
which case the lever stop may be flatter at the point. These lever stops may be
formed by a small lever attached to a board or analogous attachment properly
situated in relation to the strings or wires, which lever carries a small wedge-shaped
knob or finger free to move at its junction with the small lever, as the lever is free
to move at its connection to the board. As the number of changes required in the
pitch of the various notes is for five of the seven only two, and for the other two notes
three, in some cases this knob or finger instead of being wedge shaped, would have
two points and corresponding two grooves or other appliances, or two or three of the
lever stops may be placed close together and connected to one another so as to act on
the same wire as occasion requires. The normal position of the lever stops would he
as hent at the middle joint, so that the point would be clear of the string or wire, and
be brought into action by the before mentioned rods or "pushes," which being con-
nected to the lever stops at the middle joint, on being brought into action straighten
the lever stop and bring the wedge or other shaped point against the string or wire at
the desired point, which is thus compressed between the point of the stop and the
groove or ridge as the case may be.
These rods or pushes are each actuated by a cam of a contour suitable for bringing
its rod or push into action as desired.
16
These cams, of which there may be one for each wire or vibrator it is desired to
operate upon, are fixed or secured on a spindle or core and revolve with it. Each
cam may work within a square space or slot in a frame or enlargement near or at the
end of the push, and may each have a reverse or counteracting cam attached, so as
to maintain the cam and push" in whatever position it is set. This spindle or core
of cams is revolved to the desired point by a pedal or pedals fixed convenient to the
player's foot and acting by means of a ratchet or ratchets fitted with spring catches
or pawls, on a duplex wheel fitted with two sets of ratchet teeth, preferably ten in
number and set in opposite directions, so that it may be turned by the action of the
pedal or pedals in either direction at the will of the player, or a species of star wheel
actuated by levers may be used, or any other equivalent mechanism. A set of cams
on their spindle and ratchet wheel and other fittings being provided for each of the
two sets of keys and their respective strings or vibrators, or it might be two sets of
cams on one spindle. Each cam may be formed of a disc shape, bored or formed
with a central opening to receive the spindle or core. The periphery of the cylinder
and cams is divided longitudinally into ten equal spaces, a space for each of the
9 scales of a series, and the tenth for facility in passing from the lowest to the highest,
and vice versa. Starting from the space for the scale of C or A, all the cams would be
at a uniform radius or distance from the centre of revolution. Passing upwards to
the space for E or G, the radius of the cams for the fourth and sixth notes would be
increased, while for the others the radius would remain the same.
A similar change in the radius of the fourth and sixth cams would be made for all the
scales in ascending. In descending the change would be made from C, A, to a smaller
radius, and so on for all the scales lower than C, A. In an analogous manner all the
cams would be formed to suit their particular notes. The cams may be made to
actuate the pushes by pressing on struts or projections attached to them instead of
working in square slots or frames at their ends, or by other equivalent or analogous
means. These cams may be all made of one size or in sets of diminishing sizes for
each octave, and may be cast or formed separately and fixed on the core or spindle, or
the core with all its cams may be cast in one piece, or they might be cut out of a
cylinder of wood; and they may be placed either at right angles to the strings or
wires or diagonally thereto. Instead of the projections being formed on the periphery

page_text: of the cams, they might be formed to suit certain cases on the sides of the discs
forming the cams.
Instead of shortening the vibrating portion of the strings or wires by stopping as
described by “pushes and lever wedge pegs or stops, this may be effected by
another method. Instead of attaching the end of the strings or wires to pegs as usual,
they may be attached. at some distance from the end and near the centre to short
metal or wood bars or levers, one for each string, playing or movable on a rest
or rests, so that instead of the fingers or stops pressing the string downwards on
the stop, the stops would be raised in succession to catch the string, by the cams
pressing on the other end of the lever or bar. One mode of pivotting the bar or
lever is by using two struts or rests of convenient length, set at such an angle
that the apex of the lines of continuation of the rests is on a level with the stops
forming an equilateral or isosceles triangle. These rests or struts are jointed and
movable, on that on which they rest and at their connection with the lever; by this
form of pivot the string is raised by the stop without having to slide on it. The
other end of the bar or lever is pressed by a cam, either directly, or by an inter-
vening rod to raise the tone or pitch of the note; and when the pressure of the cam
is removed, the pressure of the string raised by the stop returns the lever to its
previous position. Where additional power to set back the lever is required, it can
be done by a weight or spring, or a catch actuated by the greatest projection on
cam. In their normal position, the strings or wires would be kept at their correct
tension for the desired pitch by the cams as described pressing on the ends opposite
to where the strings or wires are stretched. When in order to raise the pitch of the
note, the cam would be turned until a projection on its periphery forced the end of
the bar farther down, which would raise the other end and bring it or projecting
ridges on it in close contact with the string or wire, and so shorten the vibrating
length of same; and these bars could be so formed with angled surfaces or with
projecting ridges that this operation could be repeated, so as to give the required
number of changes to the pitch; and to these balanced bars the strings or wires
could be attached in various ways and at different distances from the centre, or might
be carried past them and attached to the sounding board, or levers suitably attached to
it and their ends may be used for tuning them.
In applying these improvements to organs sounded by pipes, an analogous arrange-
ment of cams and pushes could be used, and the pushes may be carried up the sides
of the pipes, and by actuating sliding covers having openings as required, would open
or close similar and corresponding openings in the organ pipes, by which means the
pitch or tone of the pipes could be altered as desired, the openings in the sides of the
pipes at the top being arranged to give the desired vibrations to the notes.
As pipes
of organs can be arranged in any order if suitably connected with the wind chest, and
as all the pipes of the same note must be changed at the same time for all the octaves
and all the stops, the pipes might be arranged in rows according to their notes, that is
to say all the C's in one row, all the D's in another row, and so on, and as each octave
diminishes in length they might be set in rotation or order, the longest at one end
and the shortest at the other, all the pushes for one note of each octave could then
be actuated by a lever pivotted at the end nearest to the shortest pipes, and at the
other supported and moved by the cam when revolved. By this means only one
octave of cams for each set of pipes connected with the separate keyboards would
be required; but other and equivalent means and appliances may be used to effect the
same purposes. Reed instruments as harmoniums, American organs, and such like
could be constructed to act in an equivalent manner. Another modification of the
cam cylinder is required for instruments with reeds or other vibrators which cannot
conveniently be altered in pitch. A vibrator (fixed in tone) for each one of the
changes in the scales is required.
There are for an octave 23 in the A series and 23 in the C series; but 3 of A and C
are the same, and 3 of each of the other pairs. Also the flats of the lower scales, in
some cases, are the same as the sharps in the higher scales; so thit by using those
that are the same in both series A and C, 28 vibrators are sufficient to complete the

page_text: A
scales for an octave. The levers that move the dampers or hammers are arranged
in fours for each key, with catches to take hold of the key when moved by the
player. These catches are preferably placed upright and hinged at their lower
ends to the lifting bars, and are kept pressed by springs against a cylinder of cams
such as has been described, each divided as before stated into 10 divisions, or it may
be a cylinder formed with analogous grooves or slits in such a way that when a
particular reed of a note is desired to be sounded, the cylinder being turned to the
required point the lifting bar catch is pressed forward by the spring and allowed to
fall into a groove or slit made in the cylinder, which motion of the catch brings it
into position to catch or hook on to a bar on the underside of the inner end of the
keyboard key, which key being depressed raises the catch and damper, and the reed
is sounded. When the other keys or scales are wanted, the roller is turned as
required, and catches are so put out of and into position as to sound the reeds required
by the particular scale or key, but other similar and equivalent mechanism may be
used. Only one of the four notes or catches is needed for any one key.
groove, when grooves or slits are used, in the space (say of () allows the catch for
the required C, or other note, to take hold of the key of the finger-board.
This groove
is continued up and down in the spaces set apart for the scales, in which the C of that
sharpness is required. When a scale space is reached at which another pitch of
the note is required, that groove ends, and a groove for the catch of the
other note begins, and so throughout all the notes for all the scales. Where
a catch is required to be used for two keys (one of the sharp and the other of
the flat scale), the grooves for the one key inay be like the rest, while that for the
other may be shaped to give a side inclination to the catch, and bring it on to the
other key desired. These cylinders would be actuated by a pedal, which by one
action of heel or toe would move them backwards or forwards one space only by one
movement, or be turned by any simple lever connection to the pedal or pedals used
for actuating them, or they might be turned by hand. A small indicator to show the
key at which the instrument is set, such as a wheel coloured and marked on its
periphery with the designation of the various keys, or a disc suitably marked, may be
placed at a convenient part of the instrument, and connected to and turned by the
roller or cylinder of cams by an endless hand, or equivalent means, might be added ;
or the indicator may be formed by a band marked by the various keys and connected
to the mechanism in a suitable manner, one such indicator to be fitted for each
keyboard.
Dated the 20th February 1800
W. R. M. THOMSON & Co.,
Agents
COMPLETE SPECIFICATION.
Improvements in the Construction of Keyboard Musical Instruments
Sounded by Strings, Wires, Pipes, or Reeds.
I, JOSEPH BURNET, of Radcliffe House, Slave Island, Colombo, Ceylon, Colonial
Chaplain, do hereby declare the nature of my invention and in what manner the
same is to be performed to be particularly described and ascertained in and by the
following statement in writing reference being had to the accompanying two sheets
of drawings and to the letters and figures marked thereon, that is to say :-
My invention has reference to improvements in the construction and arrangement
of the parts of keyboard musical instruments sounded by strings wires, pipes, or
reeds, such as pianofortes organs, harmoniums, or instruments of a similar nature,
and has for its object the tuning of such instruments perfectly in the diatonic scales,
and thereby lessening the labour of learning to play and playing upon them, as
according to uiy improvements the player who has mastered one seale, say the scale
of C, would be able to play music written in any scale or key without being obliged
to learn the fingering of the various sharps and flats which might occur in these. One
purpose of these improvements is to introduce the simplicity and correctness of the

page_text: Sol-fa system into the playing of keyboard instruments. The improvements further
obviate the falsification of the notes by the usual process of "temperament," and are
in contradistinction to those improvements which are applied to instruments fitted
with shifting keyboards, whereby players are enabled to play music written in any
key in any other key without the labour of mentally transposing the written music,
as by my improvements the player is enabled to play correctly music written in any
key by playing it as though written on any fixed key, as say the key of (), this being
the easiest and most simple, so that consequently on my improved instrument the
usual black keys by which the sharps and flats are sounded are dispensed with, and
thus the labour of learning to play the instrument is greatly lessened; and as the
change from one key to another is effected by simply moving a pedal or other simple
mechanism, Diodulation is easily accomplished.
'
When these improvements, the plan of which is in accordance with the "diatonic"
scale in its exact numerical vibrations for the different notes, are applied to pianofortes
or such. like keyboard instruments, it is preferred, for reasons hereinafter stated, to
make my improved instrument with two sets of wires or vibrators and two keyboards,
one behind the other, to sound the notes by depressing the keys to actuate the
striking hammers or other sounding mechanism, all much in the usual way. The
wires or vibrators in connection with the two keyboards would be placed or
stretched alternately, one for the front keyboard and one for the back, and so on.
For ease of manipulation the back row of keys might be placed on a higher level
similarly to the black keys at present used; and the upper part of these back keys
may be made to overlap part of the under or front row, so as to have all the keys of
the same breadth. As all the keys of both keyboards are therefore identical in form, and
have not the usual black keys to divide them and identify the notes, it is necessary to
use other means of distinguishing the keys. of the keyboards, and this is effected
preferably by colouring the notes variously, as for instance using the seven prismatic
colours of the rainbow or prism, as say red for A, blue for B, orange for C, indigo
for D, yellow for E, violet for F, and green for G, and so on. through the number of
octaves in the keyboards, as illustrated by Figures 1 and 2 which are respectively a
plan and a side view of one convenient form and arrangement of this double keyboard
in which the front row of keys A are attached to and actuate the levers a and
the back row C are attached to and actuate the levers c which would be connected
with the vibrating or sounding mechanism of any suitable musical instrument. These
colours as arranged in this way indicate also by their contrasts and affinities the notes
that harmonize. Other forms of double keyboards as well as other methods of
colouring the keys of the keyboards, or other means of distinguishing them, such as
by letters, words, or marks, may be used. The instrument being fitted thus as
described with two sets of wires or vibrators and two keyboards, the wires or
vibrators of each set are tuned to sound each in a different key, for reasons herein-
after stated, preferably that of A for one set, say the one in connection with the front
row of keys, and that of C for the other in connection with the back row of keys.
Tuned in this way "the application of my improvements as about to be described,
enables the player to play at will upon the front set of keys in any of the following
keys or scales Cb, Gb, Db, A, E, B, F, C, G, and the back row in any of the
scales or keys Ab, Eb, Bb, F, C, G, D, A, E, which completes the round of the
scales. But as some of these scales, such as Ab and G, are the same or with an
inappreciable difference only and are therefore interchangeable, it is not necessary to
provide the improved mechanism for more than one of such interchangeable scales or
keys. Taking C major for the standard scale and comparing it with A.it is seen
that four notes in A major differ from those of the same name in C, for C, F, and G
are sharper, and D is flatter. And the sharpening is greatly less than the semitones
of the scale of C, i.e., E-F and B-C, and less even than the sharpening of F for
the key of G, and the flattening of D.greatly less still; also the chords for all the
notes are different. It will be seen also that to rise from A to E or from C to G
only two notes have to be altered, the fourth by about of a semitone, the
sixth by about + of a semitone ie, Dand F in A, and F. and A in C. Similar

page_text: changes of the fourth and sixth are needed in passing from E to B and from
G to D, and also in passing from B to F, and from D to A, and also from
Fto and from A to E also from C to G. So also it will be seen that in
descending from C to and from A to D, a similar change of the fourth and sixth
(of F and Db) are needed, and so on from F to Bb and Db to Gb, and again from
Bb to Eb, and from Gb to Cb, and again from Eb to Ab and from Cb to Fb.
As Ab and G are the same to the 800th part of a vibration, and D the same
as Eb, something like a rotation of scales results from further extension upwards
or downwards, and wbich is therefore unnecessary. It will be seen further that
the relations of the two scales A, C, is the same as in the other pairs E C.-.
BD, FACE,-Db F,-Gb Bb,—Cb Еb.-Fb Ab. Similar relations for
producing the correct minor scale of the under one of the pair are formed in each
pair, and also similar facilities for modulation. Hence the need of two complete sets
of vibrators and corresponding keyboard keys. For the minor keys, as tho notes
of C major correspond with those of A minor, and so on for the rest of the A series,
with the exception of the fourth note as A¹, B, C, D, which requires to be some-
what flatter, as it is in the key of A, and so on, in order to get A minor perfect, the
fourth note should always be taken in A or E, and so on. In this way the minor
keys are obtained perfectly throughout the series of what are called the natural
minors. As C is only very little lower in tone than C, a change can be made
from C to Cb, and then the same arrangement is available for Cb, and the others
of the tonic minor series, and as the mechanism is easily movable a change from
the original keynote and back again is easily effected. The plan being in accordance
with the diatonic scale in its exact numerical vibrations for the different notes a
table of vibrations is shown in Figure 3 showing the variations of the vibrations
of the several notes of an octave through the different scales of the A and C series,
the first or A series being marked on the sides of the table by thin letters and
the other series by thick letters. Figure 4 is a diagram which shows the sharpening
and flattening of the various notes by lines at corresponding distances and indicating
the two series by thin lines for the A series and thick lines for the C series of scales,
and a reference to this table and diagram will explain the reason and nature of the
improved mechanism.
is
は
The diagram is constructed on the plan of taking nine spaces for the full
tone spaces eight for the smaller and five for the semitone spaces. It may not
be perfectly accurate, fractions and minute calculations being omitted, but is
sufficiently so for practical purposes to represent the variations in tone of the notes
of the different scales. It shows that between B and B there are five spaces B
being thus B may be called 'B. From A to A only four spaces there-
fore A may be called 'A and so on. From C in to C in E, A, and so on,
is only three spaces therefore might be called 'C and so on, so Cb is five
spaces below C and may be C. From F the lowest to F is one space only A is
the centre of the A series shown in thin lines and C is the centre of the C series
shown in thick lines. As 'G and A, are as nearly as possible the same A can
always be used instead of 'G. Looking at the table and diagram of the scales
arranged in their order 'F, A, C, E, G, B, D, and so on, it is to be noted that the
scales are arranged in two sets or series the numbers of which alternate. The one
which may be called the A set and shown in thin line consists of F₁, C₁, G₁, D₁, A,
E, B, D, C, G. The others which may be called the C series shown in thick lines
consists of A, E, B., F, C, G, D, 'A, E. The order of these is, that of any three
the first or lower is the subdominant and the third the dominant to the middle one
which is the tonic. Thus F, C, G, E subdominant, C tonic, G dominant, C, G, D, C'sub-
dominant, G tonic, D dominant and so on throughout. It will be observed also in
the table and diagram that nine scales of each set completes the circle of the scales..
For the notes of A in the C series correspond with those of the 'G in the A series
A doh being to all intents the same as 'Goh, Be as Are, Cm as Bm, Dabas (ah, Exoh
as Dob, Fh as Elab, and "G" as F". And in the continuation of the A series.
upwards, the scale of D is equal to E of the C series, and "A to B and so on, and
444

page_text: also if the series be continued downwards D, is equal to *C, and G. to *F, and
so on. Practically then 18 scales, 9 in each series complete the circle of the scales.
Therefore to construct a perfect instrument arrangement has to be made for the
two sets of nine as fewer would make the instrument imperfect. One of the
modes and means by which the tuning pitch or tone of the strings or wires of
the instrument are changed from one scale or key, and set to another, as say those
in connection with the back row of keyboard keys from C, their supposed normal
key to that of say G, is by an application of the principle of finger stopping as
applied to violins, by which the vibrating portion of all the wires sounded from the
back keyboard originally tuned to say F, are shortened sufficiently to raise the pitch
or tone of the note to F, and this is effected by the means and mechanism to be
described. The same principle and similar means and mechanism being employed for
producing all the scales or keys on the back and front keyboards by shortening the
required number of strings or wires to raise the tone sufficiently to produce the
desired key or scale. One method of effecting this change is by the use of a com-
bination of small lever stops or wedges put in action by a series of rods or
pushes" worked by cams arranged preferably at the bottom part of the instru-
ment or at the end of the wires furthest from the striking hammers or other sounding
mechanism, all as will be described.
"
By one method as illustrated by Figure 5 the string or wire W is made to pass
along a groove A¹ in a wood or metal piece A attached to the sounding board of
the instrument, and near the end of the string or wire where it is fastened, in
which groove it is free to vibrate throughout its whole length. At that part of
the string or wire W where it is necessary to stop it in order to raise the pitch
by shortening the vibrating portion of the wire, a small notch A³ is made across
both sides of the groove A¹ into which a small wedge, peg, or
66 stop "B is made
to enter and press the string or wire against the bottom of the groove which is
made at a slight angle to the wire when in its normal position, and so prevent
the string or wire vibrating past this stop B to its full length. These lever "stops"
may be formed as shown in Figures 5 and 6, by a small lever or double lever C,
jointed at C¹ to a board D or analogous attachment properly situated in relation to
the strings or wires, which lever C carries by a joint Ca small wedge shaped knob
or finger B. As the number of changes required in the pitch of the various notes is
for five of the seven only two, and for the other two notes three, in some cases this
knob or finger B instead of being wedge shaped would have two points as shown
and corresponding two notches or other appliances or two or three of the lever
stops B may be placed close together and connected to one another by a wire 6 or
other connecting link so as to act on the same wire as occasion requires, the stops for
each note being arranged according to its requirements. The normal position of these
lever stops B, C, would be bent at the middle joint C so that the point would be
clear of the wire W and would be brought into action by the rod or push E which
on being moved outwards in the direction of the arrow would press against the lever C
by the pin or projections e, and by straightening the lever stop would cause the point
of the stop B to enter the notch at the desired point, which thus compresses the
string or wire between the point of the stop and the bottom of the groove in which
the wire is carried. Instead of a groove with notches being used wedge-shaped pieces
or ridges may be placed opposite the lever stop so that the wire may be gripped
between them in a manner analogous to the finger stopping of guitar strings in
which case the stop may be flatter at the point. This method of stopping the strings
or wires is illustrated in Figure 7 in which the wire W is carried over and a little
above the pieces or ridges F attached to the sounding board G and is compressed
against the ridges F by the lever stops B, C, which may, as well as those formerly
mentioned, be tipped or covered at the point with leather, india rubber or other
elastic material as indicated at B. In this case the push, shown broken away from
its connection actuates the lever stops by a slot or slots E', acting on projections B
on the upper part of the stops B, a spring B' being employed to return the outward
stop to its normal position when the push recedes from it. These rods or pushes E,

page_text: carried in guides E' are each actuated by a cam H as shown in Figures 5 and 9 of a
contour suitable for bringing its rod or push E into action as desired. These cams H
of which there may be one for each wire or vibrator it is desired to operate upon,
are fixed or secured on a spindle or core I and revolve with it. Each cam H may
work within a square space or slot E³ in a frame or enlargement E near or at the
end of the push E, and may each bave a reverse or counteracting cam H' attached, so
as to maintain the cam H and "push" E in whatever position it is sot.
This spindle
or core I of cams H, H', is revolved to the desired point by a pedal or pedals fixed
convenient to the player's foot and acting by means of a ratchet or ratchets, as shown
in Figure 8, fitted with spring catches or pawls J, on a duplex wheel K fitted with
two sets of ratchet teeth preferably ten in number and set in opposite directions, so
that it may be turned by the action of the pedal or pedals in either direction at will
of the player, or a species of star wheel actuated by levers may be used, or any other
equivalent mechanism. A set of cams H H on their spindle I and ratchet wheel K
and other fittings being provided for each of the two sets of keys and their respective
strings or vibrators, or it might be two sets of cams on one spindle. Each cam may
be formed of a disc shape bored or formed with a square or other central opening to
receive the spindle or core I. Figure 9 is a plan of the end portion of a duplex set
of cams showing one arrangement of the various parts, I, I, are the spindles, square
in this case, carrying the cams H and counteracting cams H' which actuate the
pushes E, those of the back set being formed with an open part or slot indicated at E
to enclose and so pass the front spindle I. The spindles I being turned to the desired
point by the ratchet wheels K which are actuated by the pawls J carried on the bar J'
Figure 8, by any convenient lever or pedal mechanism. The periphery of the
cylinder and cams is divided longitudinally into ten equal spaces, a space for each of
the 9 scales of a series, and the tenth for facility in passing from the lowest to the
highest, and vice versa. Starting from the space for the scale of U or A, all the cams
would be at a uniform radius or distance from the centre of revolution. Passing
upwards to the space for E or G, the radius of the cams for the fourth and sixth notes
would be increased, while for the others the radius would remain the same.
similar change in the radius of the fourth and sixth cams would be made for all the
scales in ascending. In descending the change would be made from C, A, to a
smaller radius, and so on for all the scales lower than C, A. In an analogous manner
all the cams would be formed to suit their particular notes, and Figure 10 shows a
set of seven cams one for each note and configuration. The seven cams are duplicated
one set for the A series of scales and one for the C series both sets being alike. The
letters attached to each can show the notes of each series for which they are adapted
in order to produce the round of the scales as described. The cams may be made to
actuate the pushes by pressing on struts or projections attached to them instead of
working in square slots or frames at their ends, or by other equivalent or analogous
means. These cams may be all made of one size or in sets of diminishing sizes for
each octave, and may be cast or formed separately and fixed on the core or spindle, or
the core with all its cams may be cast in one piece, or they might be cut out of a
cylinder of wood; and they may be placed either at right angles to the strings or
wires or diagonally thereto. Instead of the projections being formed on the periphery
of the cams, they might be formed to suit certain cases on the sides of the discs
forming the cams, as illustrated by Figure 11 in which H H show plan views of two
such cams and are front views and 'h' are sectional back views respectively of
the said cams H, H.
A
Instead of shortening the vibrating portion of the strings or wires by stopping as
described by "pushes and lever stops, this may be effected by another method.
Instead of attaching the end of the strings or wires to pegs as usual they may be
attached as illustrated by Figure 12 at some distance from the end and near the centre
by pins as at P or otherwise to short metal or wood bars or levers L, or they may be
carried over and past said bars or levers and fastened to pegs in a usual manner, one
bar or lever L being used for each string, playing or movable on a rest or rests R³, so
B

page_text: that instead of the fingers or stops pressing the string downwards, as in the formerly
described arrangement, the stops B would be raised in succession to catch the string W
by the cams H pressing on the other end of the lever or bar L. One mode of pivotting
the bar or lever is by using two struts or rests R' of convenient length, set at such an
angle that the apex of the lines of continuation of the rests is on a level with the stops
forming an equilateral or isosceles triangle. These rests or struts are jointed and
movable, on that on which they rest, connected to the sounding board G, and at their
connection with the lever L; by this form of pivot the string is raised by the stop B,
without having to slide on it The other end of the bar or lever L is pressed by a
cam H, either directly as shown or by an intervening rod to raise the tone or pitch
of the note hy bringing one of the stops B in close contact with the wire W, and
when the pressure of the cam H is removed, the pressure of the string raised by
the stop B returns the lever L to its previous position. Where additional power
to set back the lever is required it can be done by a weight or spring L, or it
might be by a catch actuated by the greatest projection on cam or by the cam
being made in the form of a slot or groove cut into the side of a disc as indicated
at H in Figure 15. In their normal position, the strings or wires W would be
kept at their correct tension for the desired pitch by the cams H as described
pressing on the ends of the levers L opposite to where the strings or wires are
stretched. When in order to raise the pitch of the note, the cam H would be
turned until a projection on its periphery such as H2, forced the end of the bar L
further down, which would raise the other end and bring it or projecting stops
or ridges B on it in close contact with the string or wire, and so shorten the
vibrating length of same; and these bars could be so formed with angled surfaces
or with projecting ridges that this operation could be repeated, so as to give the
required number of changes to the pitch; and to these balanced bars the strings or
wires could be attached in various ways and at different distances from the centre,
or might be carried past them and attached to the sounding board, or levers suitably
attached to it and to their ends may be used for tuning thein. A somewhat analogous
method of shortening the vibrating portion of the strings or wires is illustrated in
Figure 13 in which the wire W is carried over the lever L and down past it to
where its end is secured in a usual manner. This lever L is carried by a joint L' on
a support or upright jointed to the sounding board G at L³ or it may be simply
pivotted there. The joint L' is preferably provided with a stop L" to prevent the
lever yielding in that direction and secure stability. To raise the pitch or tone of
the string or wire W the end of the lever is pressed down by the cam as indicated
at H and the whole works in a manner analogous to the last described arrangement.
No reverse or compensating cams would be required in either of these last two
cases.
In applying these improvements to organs sounded by pipes, an analogous
arrangement of cams and pushes could be used, and the pushes E as illustrated by
Figure 14 may be carried up the sides of the pipes P and by actuating sliding
covers P¹, having openings Pas required, would open or close similar and corre-
sponding openings P3 in the organ pipes P, by which means the pitch or tone of the
pipes could be altered as desired, the openings P³ in the sides of the pipes at the top
being arranged to give the desired vibrations to the notes. As pipes of organs can
be arranged in any order if suitably connected with the wind chest, and as all the
pipes of the same note must be changed at the same time for all the octaves and all
the stops, the pipes might be arranged as illustrated by Figure 15 in rows according
to their notes, that is to say all the C's in one row, all the D's in another row, and so
on, and as each octave diminishes in length they might be set in rotation or order,
the longest at one end and the shortest at the other, all the pushes E for one note of
each octave could then be actuated by a lever L pivotted at the end L' nearest to the
shortest pipes, and at the other end L supported and moved by the cam H when
revolved. This cam H may be of the same construction as those used in the arrange-
ments already described, in which case the end L2 of the lever L would rest on it, and

page_text: the pushes E and sliding covers P1 after being raised might be brought back to their
normal position by their own weight or it might be by springs, weights, or other
mechanical contrivance. It is preferred however to form the cams as shown in
the Figure 15 that is with a cam shaped groove H of a suitable contour formed
in the side of a disc H, in which groove would work a pin or projection / on the
end of the lever L, and which by means of this pin l, would be raised and lowered
by the revolving of the cam disc H H". This form of cam could also be used to
actuate the pushes or levers in the arrangements illustrated by Figures 5 to 13
and obviate the need of the compensating cams H¹. By this means only one octave
of cams for each set of pipes connected with the separate keyboards would be
required, but other and equivalent means and appliances may be used to effect the
same purpose. Reed instruments as harmoniums, American organs, and such like
could be constructed to act in an equivalent manner, but another modification of
the cam cylinder is preferred for instruments with reeds or other vibrators which.
cannot conveniently be altered in pitch. A vibrator (fixed in tone) is required for
each one of the changes in the scale. There are for an octave 23 in the A series
and 23 in the C series; but 3 of A and C are the same, and 3 of each of the
other pairs. Also the flats of the lower scales, in some cases, are the same as the
sharps in the higher scales; so that by using those that are the same in both
series A and C, 28 vibrators are sufficient to complete the scales for an octave.
One arrangement of mechanism suitable for applying my improvements to reed
instruments such as harmoniums or American organs is illustrated by Figure 16,
which shows the improved arrangement but in which the wind chest, bellows, and
other parts are omitted as they form no part of this invention. In this arrangement
levers L that move the dampers or covers D for the reed openings are arranged
in fours for each key with catches F to take hold of the end E of one of either
the back set C or front set A of keys when moved by the player and according
to the key being played. These catches F are preferably placed upright and
hinged at their lower ends to the lifting bars or levers L, and are kept pressed
by springs S against a cylinder of cams such as has been described, each divided
as before stated into 10 divisions, or it may be as shown in this Figure 16 a
cylinder H formed with analogous grooves or slits in such a way that when a
particular reed R of a note is desired to be sounded, the cylinder H being turned
by a ratchet wheel arrangement, such as has been already described, to the required
point the lifting bar catch F is pressed forward by the spring S and allowed to
fall into a groove or slit made in the cylinder H, which motion of the catch
brings it into position to catch or hook on to a bar a on the underside of the inner
end of the keyboard key A which key being depressed as shown, raises the catch A
and the damper D and the reed R is sounded. When the other keys or scales are
wanted, the roller H is turned as required, and catches A, are so put out of and into
position as to sound the reeds required by the particular scale or key, but other
similar and equivalent mechanism may be used. Only one of the four notes or
catches is needed for any one key. A groove, when grooves or slits are used, in the
space (say of C) allows the catch for the required C, or other note, to take hold of
the key of the finger-board. This groove is continued up and down in the spaces set
apart for the scales, in which the C of that sharpness is required. When a scale
space is reached at which another pitch of the note is required, that groove ends, and
a groove for the catch of the other note begins, and so throughout all the notes for
all the scales. Where a catch is required to be used for two keys (one of the sharp
and the other of the flat scale), the grooves for the one key may be like the rest,
while that of the other may be shaped to give a side inclination to the catch, and
bring it on to the end of the other key desired, as shown at h' Figure 16 A in which
case it is preferred to allow the catch to rest on the roller by a projection to prevent
it catching in the groove. These cylinders would be actuated by any ratchet and
pawl arrangement worked by a pedal, which by one action of heel or toe would move
them backwards or forwards one space only, by one movement, or be turned by any

page_text: simple lever connection to the pedal or pedals used for actuating them, or they might
be turned by hand. A small indicator to show the key at which the instrument is set,
such as a wheel coloured and marked on its periphery with the designation of the
various keys, or a disc suitably marked, may be placed at a convenient part of any of
the instruments described and connected to and turned by the roller or cylinder of
canis by an endless band, or equivalent means might be added, or the indicator may
be formed by a band marked with the various keys and connected to the mechanism
in a suitable manner, one such indicator to be fitted for each keyboard, and set of
cams. Another application of my improvements to an instrument sounded by reeds
such as a harmonium or it might be an American organ is illustrated by Figures 17,
18, and 19. Figure 17 is a vertical section in the line 1-1 in Figure 18, which is a
plan of the end portion of the arrangement, which may be continued to any desired
number of octaves. In these views the wind chest, bellows, and pedals are omitted as
the arrangement of these forms no part of this invention. Figure 18 is a diagram of
the scales for one octave specially prepared for this instrument and shows in the upper
part d where the vibrations are noted, the position and succession of the vibrators of
which in accordance with the arrangement referred to in connection with Figure 16
there are 4 io each note that is 28 to each octave of the instrument and which are
sufficient to provide for the changes for all the scales. These vibrators or reeds R and
their dampers or covers D are ranged in two rows alternating as the vibrations
increase in number, and are actuated by catches F, which in turn are actuated by the
keys A and C of the double keyboard provided, catching the bent down parts F1,
according as the catches F are thrown into or out of position by the action of the
cam or grooved rollers H, H. These catches F are formed of stout wire and those
belonging to the upper roller are formed so as to enclose the roller H and to rest in
grooves on the upper part of the roller and are connected to the dampers D by
wires F, those for the lower roller H do not enclose the roller but merely lie in
grooves on the top and are also connected to the dampers this is the arrangement
preferred, but which might be considerably modified. The wires of leading from the
damper D to a fixed portion of the instrument f1 act as springs to close the dampers
when the keys A and C cease to be depressed. The cam or grooved rollers H which
may be made of a length to suit any desired number of octaves have shallow
grooves formed on their circumferences four to and within a space equal to the
breadth of each of the keys A and C of each set, in which shallow grooves the wire
catches Flie when not in action, but these shallow grooves ¹ are made much deeper
in parts h which parts are arranged according to the diagram to suit the various
scales as will be explained. When it is desired to play the instrument in any desired
scale the roller either that of the A set of scales or the C set is turned by any
suitable ratchet wheel arrangement such as indicated at W, W₁, W, until the
desired set of catches fall into the deeper grooves and by so doing come into
position for their bent down parts F¹ to engage with the upper part A¹ or C of
the keys A or C which being depressed would through the medium of the catches F
and connections F' open the dampers D and sound the reeds R. The keys of the
sets A and C may be made of thin metal bent at right angles and pivotted at a, c,
springs S being used to return them to their normal position when the pressure of
the finger is removed, but modified forms of keys might be used, and they might
also be made of any suitable material. In order to produce the various scales two
catches F one acting on the upper roller and one acting on the lower are some
times required to be connected to the same vibrator damper D, as shown at F
and sometimes a catch from the next key is also connected as shown at F where
there are three catches connected to one vibrator damper and a reference to the
diagram will explain these arrangements, and for this reason it is preferred to have
the two rollers placed close to one another and in a vertical plane. The ratchet whee
and pawl may be a duplex arrangement as indicated in dotted lines and the bars W
carrying the pawls W2 may be actuated either by hand or by any ordinary peda
and lever arrangement as indicated at at W. N is an indicator disc attached to the

page_text: spindles of the cam rollers preferably outside of the instrument one for each roller
and having the signs of the scales provided for by each roller marked on the
periphery so as to indicate by means of a pointer or otherwise what scale is in position
for playing, and also enable the player to turn the roller to the point to produce the
scale desired. The cam rollers have the deep grooves correctly cut in thein by the
aid of the diagram Figure 19 which shows the changes of vibration of the various
notes of an octave required to produce all the scales diatonically correct and these
diagrams can be duplicated for any number of octaves each octave requiring the
same. In the diagram the thin lines represent the notes required to produce the
A series of scales and the thick ones those of the C series, and cam rollers can be cut.
with deep grooves by applying the diagrains to rollers preferably of wood the circum-
ference of which is equal to the height of the diagram from a to b, and for the roller
of the A set cutting deep grooves where the thin lines occur and for the roller of the
C set where the thick lines occur. In the upper part of the diagram is shown as
at c¹ in what cases catches both of the A and C series are required to be attached to
the same vibrator damper and also as at c where a catch is carried from an adjacent
note in order to completely supply the requirements of all the scales. This arrange
ment though specially adapted for harmoniums or American organs may also be used
for pipe organs by having pipes fitted instead of reeds in which case the dampers
might be made to open down instead of up. It might also be applied to instruments
sounded by wires or strings by suitably connecting the catches to hammers acting on
the wires or strings in modes modified slightly from those in present use for
pianofortes.
Having now particularly described and ascertained the nature of my invention, and
in what manner the same is to be performed, while I do not bind myself to the exact
shape, proportion, or arrangements of the parts illustrated or to any particular material
of which they may be made, I declare that what I claim is :-
First. The application to instruments sounded by wires, strings, pipes, or reeds, of
the combination of a double keyboard one or more sets of cams or grooved rollers
actuating lever stops, slides, catches, or dampers, all substantially as and for the
purposes and advantages herein described and by way of illustration shown in the
accompanying drawings.
Second. In instruments sounded by wires, strings, pipes, or reeds, the application
and use of a duplex keyboard with two sets of keys all formed alike and distinguished
by being coloured or otherwise marked, all substantially as and for the purposes and
advantages herein described and by way of illustration shown particularly in Figures 1
and 2 of the accompanying drawings.
Third. In instruments sounded by wires, strings, pipes, or reeds, the application and
use of one or more sets of cams or analogously grooved rollers actuating mechanism
for altering the tone of notes, all substantially as and for the purposes and advantages
herein described and by way of illustration shown in the accompanying drawings
particularly in Figures 5, 9 to 13, and 15 to 18.
Fourth. In instruments sounded by wires or strings the application and use of lever
stops or stopping levers to shorten the vibrating portion of said wires or strings all
substantially as and for the purposes and advantages herein described and by way
of illustration shown in Figures 5 to 7, 9, and 12 and 13 of the accompanying
drawings.
Fifth. In instruments as organs sounded by pipes the application and use of one or
more sets of cams actuating pushes and slides covering tuning holes in the pipes, all
substantially as, in the manner and for the purposes and advantages herein described
and by way of illustrations shown in Figures 14 and 15 of the accompanying
drawings.
Sixth. In instruments sounded by reeds as harmoniums or American organs, or it
might be by pipes wires or strings, the application and use of a combination of a
double keyboard and one or more sets of cams or grooved rollers acting on catches

page_text: connected to the vibrator dampers or it might be hammers, all substantially as and
for the purposes and advantages herein describe:i and by way of illustration shown
in the accompanying drawings particularly in Figure 16, 16 A, 17 and 18.
Unted the 20th October 1900
W. R. M. THOMSON & Co.,
96, Buchanan Street, Glasgow, Agents.