IMPROVEMENTS IN MUSICAL INSTRULIENTS
Year: 1851

page_text: ROBEKISUN
ATION.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JOSEPH
CLINTON ROBERTSON, of the firm of J. C. Robertson & Co., of 166, Fleet
Street, in the City of London, Patent Agents, send greeting.
WHEREAS Her present most Excellent Majesty Queen Victoria, by Her
Royal Letters Patent under the Great Seal of the United Kingdom of Great
Britain and Ireland, bearing date at Westminster, the Twenty-fourth day of
April (One thousand eight hundred and fifty-one,) in the fourteenth year of
Her reign, did, for Herself, Her heirs and successors, give and grant unto
me, the said Joseph Clinton Robertson, my exors, adiñors, and assigns, Her
especial licence, full power, sole privilege and authority, that I, tho said.
Joseph Clinton Robertson, my exors, adñiors, and assigns, or such others
as I, the said Joseph Clinton Robertson, my exors, adñiors, 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, in the Islands of Jersey, Guernsey, Alderney, Sark, and
Man, and in all Her Majesty's Colonies and Plantations abroad, the Invention
of IMPROVEMENTS IN MUSICAL INSTRULIENTS," Communicated from abroad; in
which said Letters Patent is contained a proviso, that I, the said Joseph
Clinton Robertson, shall cause a particular description of the nature of the
said Invention, and in what manner the same is to be performed, by an
instrument in writing under my hand and seal, to be inrolled in Her Ma-
jesty's High Court of Chancery within six calendar months next and imme-

page_text: diately 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, tho said
Joseph Clinton Robertson, hereby declare that the nature of the said Inven-
tion, and in what manner the same is to be performed (communicated to me
as aforesaid), are fully described and ascertained in and by the present Speci-
fication thereof, reference being had to the Drawings hereunto annexed,
that is to say:-
Firstly, the said Invention consists in constructing brass instruments on a
new principle, and with new harmonic divisions, whereby the well-known
defects of keyed and holed instruments are remedied. Suppose such an
instrument, the ophicleide, for example, to be in the key of C, and all the
holes and keys closed, the tone is then full and sonorous, and the notes C, G,
C, E, and G, are produced in tune. If, however, you wish to produce the
note E following the first C, you must open four keys, and the main tube of
the instrument is shortened to the extent of two fect eight inches by the
various effects of the holes bored in it. The consequence of this is that the
tone is weakened, and the notes produced extend only to the octave above.
In continuing to ascend the scale the object increases, and the notes become
weak and disagreeable. Again, the instrument in present use has but nine
keys, whereas it ought to have eleven, F and G being wanted, and
even with these added it would be an imperfect instrument.
It is now proposed to make the ophicleide and all such instruments upon
entirely different principles, and to render them capable of producing any note
in the scale according to the laws of harmony. Their weakest notes will be
equal to the best of those made on the old principle, for instead of shortening
the tubes as at present done, the Inventor lengthens them, so to speak, and
the tones, instead of decreasing, increase in strength and volume. Supposing,
for example, all the keys to be open, and that the performer commences with
the upper C, then by closing the key No. 1 (see Figure 1 of the accompanying
Drawings), he does not produce the notes C, but descends to B, and so in like
manner with the numbers 2, 3, 4, 5, 6, the notes thus acquiring strength,
volume, and equality, and being in perfect tune. Moreover, such instruments
having no notes artificially produced and fewer keys, the fingering of them is
much more simple; for basses, counter basses, and bombardos, four keys would
be sufficient. The shorter and smaller instruments will require more keys,
their compass being increased by six notes in the lower parts of the scale.
The number of keys may of course be increased or diminished. In regard to

page_text: this branch of the Invention, what is claimed is the producing of the notes in a
descending instead of ascending order, whatever the number of keys employed,
and thereby lengthening the tubes (in effect) instead of shortening them.
Secondly, the Invention consists in the construction of wind instruments,
partly in wood and partly in brass or other metal. The progress which has
been made in wind instruments leaves little to be desired as regards per-
formances in the open air, but in a room it is impossible to modify the tones of
them sufficiently to 'render them agreeable. The harsh metallic sound of the
altos, tenors, basses, and counter basses, particularly, is always distinguishable.
To remedy this defect, it is necessary to employ different materials for their
construction, and thus render them soft, agreeable, and sonorous. The present
Inventor has succeeded in effecting this by doing away with all the brass parts
of the instrument from the pistons to the bell, and by replacing them with
wooden tubes; the remainder of the tubes of these instruments from the
pistons to the mouthpiece only are of brass or other metal; the part of the
tube which is composed of wood is covered with calf skin or any other suitable
kind of leather, in order to give it the necessary degree of solidity. Amongst
the instruments to which the system is especially applicable are the sax horns
and bugles in F and Eb soprano, C and Bb contralto, F and Eb altos,
C and B' tenor basses, C and Bb basses, all with four pistons or cylinders, and
F and Eb double or counter basses. By giving proper proportions to the
different tubes and making them of the above combination of materials, sounds
may be obtained analogous to those of the human voice. Either the ordinary
mouthpieces or reeds may be employed. What is claimed under this head
is; the combination of wood with brass, or any other metal in the manufacture
of that class of wind instruments above named.
Thirdly, the said Invention consists of an improved quartet horn. Of all
wind instruments the horn is one of the richest in tone and compass, and it is
also susceptible of great variations by changing the keys. However, although
t possesses a change of keys of a complete octave in extent, viz, from B> in
alt to Bb below, a composer writing for this instrument is restricted within
these limits in the parts for the first, second, third, and fourth horns; he is
therefore often compelled to take the deepest notes of a higher key, to form the
accompaniments of another key, which is not effected without difficulty and
always with indifferent success. To remedy the inconvenience and open a
vider field to composers, it is proposed to complete the class of these instru-
nents and form a quartet, not as it at present exists, with the four instruments
ll of the same dimensions, but by giving the soprano part tubes suitable to its
liapason, and changing the proportion of the tubes for the contralto, tenor, and

page_text: pass. By this means the quality of sound requisite by the rules of harmony
will be obtained. Quartet horns, as thus constructed, will be of great, use for
the orchestras of theatres and harmonic societies, and also for military bands.
They may be varied in respect of form at pleasure, and constructed either with
or without cylinders and pistons.
What is regarded and claimed as the essential feature of this improved
quartet horn, is the giving of the soprano part tubes suitable to its diapason,
and changing the proportion of the tubes for the contralto, tenor, and bass, as
before described.
Fourthly, the said Invention consists of a new valve applicable to church
and other organs, to the instruments called expressive organs, harmoniums,
melodiums, and all others wherein valves are used. Numerous attempts have
been made to produce fortes and pianos, both upon organs and all other
instruments put in motion by wind, whether constructed with pipes, mouth-
pieces, tongues, or reeds. One method, which partially succceded, was the
introduction of a larger quantity of air into the reservoir, which imparts sound
to all the pipes by means of a valve. This plan succeeded in the case of pipes
with tongues, but it caused those with mouthpieces to sound the octave
involuntarily. It has therefore been abandoned in organs as insufficient, and
has been applied with better success to harmoniums, melodiums, &c., but still
with very imperfect results, for the producing of the forte occasions a shock
which affects equally the whole range of notes in the key board, so that a
perfect forte or piano is not obtained. What seemed to be required was a
ready means of swelling or diminishing cach note, for example, the air o
melody, loud or half loud, with the accompaniment in the bass as loud or as
soft as may be wished, in order to give the "expression" so desirable to music
The present Inventor has succeeded in obtaining the power of modulating each
note at pleasure, by abolishing the flat valves which are used to shut the
orifices. of the pipes, these valves opening always to the same extent an
admitting always the same quantity of air, produce the monotony observable i
these instruments. He has replaced this valve by a different one of a conica
form (see Figure 2), the cone of this valve entering into the mouth of eac
tube, as shewn at Figure 3, where the mouth of the tube is shut. Figure
shows the valve partly open to obtain a piano effect. Figure 5 shows the valv
The valve opens according to the degree
quite open to obtain a forte.
pressure exercised on the keys, thus producing a crescendo effect, and the fu
power or forte is not obtained until the cone has quite disengaged itself from th
mouth of the pipe. It results from this arrangement that by gradually increasin
the pressure ou the keys, the valve as it gradually disengages itself from the tul

page_text: or air passage, admits an increasing quantity of air (or vice versa), and, thus each
note can be swelled or diminished at will by merely varying the pressure of the
fingers. Although but one method is here described of placing the valves, the
Inventor reserves to himself the right of placing them otherwise, according to
the position they may be required to occupy in different instruments, either in
or out of the reservoir, as may appear best, also to employ different kinds of
levers or means of communications between the touch or keys and the valve.
The claim in regard to this part of the Invention consists in short of the
conical valve affording a very small passage to the air when it is first opened
by the pressure of the fingers on the key with which it communicates, and
opening gradually by an increased pressure until it leaves the mouth of the
tube entirely free, whereby both fortes and pianos are produced at will.
Fifthly, the said Invention consists in an improved mode of constructing
pianos, whereby the following advantages are obtained-First, the volume of
sound is greater, the notes are fuller and stronger, they extend to a greater
distance and fill a greater space; the quality of the tone is superior and more
homogeneous, it comes more freely from the instrument, and the vibration is
more prolonged; second, the bass strings which are very commonly deficient
in volume and quality of tone, particularly in upright or vertical pianos, will
now be of a sonorousness equal, and proportioned to those of the middle and
upper part of the instrument; and, third, the longer the instrument is played
upon the better it will become; it will improve by time like a violin, the strings
being arranged so as not to press on the sounding board, but on the contrary
to keep it constantly in a state of equilibrium, and so also as to facilitate the
vibration.
Figure 6 is a vertical section of a piano on this improved plan of construc-
tion, on the line of the third A in scale, shewing two wires or strings for that
note. A, A, are the two strings stretched parallel to each other between the
two bridges E, E, and passing through holes in the same; a is a continuation
of one of the two strings forming an angle between the bridges C and E, by
resting on the top of the bridge D. The string after passing through a hole in
the bridge C is fastened at the point i at one end, and at the other end it is
fastened in a similar manner to the tuning screw or stud h. a³ is the other
string making an angle in an opposite direction to that of a, by being passed
through a hole in the lower end of the bridge D, after which it is fastened in
the same manner as the first string at i and h. This arrangement admits of
the bridges being much higher than usual; b is the lower table fixed on three
sides to the frame of the piano, and to the cross beam f; g, an interval or
separation between the two tables b and b³.

page_text: Figure 7 is a part front view of the sounding board of the piano reduced-to
a scale of one-half the size of the sectional view; a³, framework of piano;
b, lower table; 6 upper table; g, separation between the two.
"
Figure 8 is a longitudinal section of a piano with one table or sounding
board, the strings being arranged on the same system as in Figure 6, differing,"
however, as regards the construction of the bridges E, E, in this, that instead of
the strings being passed through a hole in the bridge they are passed through
small studs e, e, which are screwed into the bridges.
Figure 9 is a part front view of the piano with one table or sounding board
represented in Figure 8. as is the framework for the table. The claim in
respect of this branch of the Invention is, the producing in pianos of single
notes from two strings arranged as above described, the employment of high
bridges, and the reducing and equalizing the pressure on the sounding boards
as before described.
Sixthly, the said Invention consists of another improvement in pianos, which
is applicable more especially to the class of upright pianos. The Inventor pro-
poses to employ two sets of strings in one piano, both sets being sounded or
struck at the same time by the movement of one set of keys.
Figure 10 is a vertical section of a piano thus constructed; A, A, is the
frame upon which the wires or strings a, a, are stretched; B, B, are the
hammers by which they are struck; C, C, the keys; and E, one of the
lovers by which the front hammers B, B, are actuated; F, F; are levers by
which the movements of the keys are conveyed to the back set of hammers.
At the lower end of the instrument the levers F, F, are connected together
by two horizontal balanced levers G, G². The front lever G is mounted upon
a frame H, together with the whole set of levers of the same kind, there
being one such lever to every key; I is a pedal by which the frame H, toge-
ther with the levers F and G, can be raised up at any desired instant, and the
hammers on the back thrown out of action.
What is claimed under this sixth head of the Invention is the performing
or sets of strings by one set of keys, as above described.
upon two "actions
Seventhly, the said Invention consists of a method of fixing the tuning ends
of the wires or strings of pianos and harps to the frames of the instrument; A
(Figure 1), is a portion of the frame; B, a pin which is screwed into the
frame. At top this pin has a screw formed within a boss, into which there is
fitted a screw C, which carries at one end a swivel D, to which the wire or
string E is attached, and at the other end is formed into a square for the pur-
pose of being laid hold of by the tuning key.
Figure 12 shews another method of tuning by compressing the wire E by

page_text: means of a screw C, between two bridges F, F. The screw works in a
bracket G affixed to the frame a. By these arrangements the continued
striking of the wires cannot so easily slacken the screws, as when formed in
any of the old methods of fixing the wires. The claim in respect of this
seventh branch of the Invention is the two several methods described for
tuning harps and pianos.
Eighthly, the said Invention consists of a method of more easily tuning the
reeds of accordians, seraphines, concertinas, and similarly reeded instruments;
Figure 13 is a longitudinal section, and Figure 14 a plan of a reed formed
according to the said improvement; A is the reed plate; B, the spring or
tongue; C, a plate by which the tongue is fixed in its place; a, a, are two
screws which connect the plates A and C together; b is another screw which
takes into the plate C, the lower end of which screw 6 presses upon the tongue
immediately over a hollow or recess formed in the reed plate. By causing
the scrow 6 to press the tongue more or less into the recess, the pitch of the
note produced is raised or lowered accordingly.
In respect of this branch of the Invention, what is claimed is the method of
tuning the reeds of accordions and other like instruments represented in
Figures 13 and 14, and before described.
In witness whereof, I, the said Joseph Clinton Robertson, have here-
unto set my hand and seal, this Twenty-fourth day of October, in
the year of our Lord One thousand eight hundred and fifty-one.
J. CLINTON (L.s.) ROBERTSON.
J. CLINTON (L.s.) ROBERTSON.
Enrolled the Twenty-fourth day of October, in the year of our Lord One
thousand eight hundred and fifty-one.