IM- PROVEMENTS IN HARMONIUMS, ORGANS, OR OTHER MUSICAL INSTRUMENTS A PART OF WHICH INVENTION IS APPLICABLE TO TURNING OVER THE LEAVES OF MUSIC
Year: 1865

page_text: LETTERS PATENT to James Henry Smith, of No. 238, Oxford Street, in
the County of Middlesex, Manufacturer, for the Invention of "IM-
PROVEMENTS IN HARMONIUMS, ORGANS, OR OTHER MUSICAL INSTRUMENTS A
PART OF WHICH INVENTION IS APPLICABLE TO TURNING OVER THE LEAVES OF
MUSIC"
Sealed the 2nd January 1866, and dated the 6th July 1865.
PROVISIONAL SPECIFICATION left by the said James Henry Smith at
the Office of the Commissioners of Patents, with his Petition, on the
6th July 1865.
I, JAMES HENRY SMITH, of No. 238, Oxford Street, in the County of
Middlesés, Manufacturer, do hereby declare the nature of the said Invention
for "IMPROVEMENTS IN HARMONIUMS, ORGANS, OR OTHER MUSICAL INSTRUMENTS, A
PART OF WHICH INVENTION IS APPLICABLE TO TURNING OVER THE LEAVES OF MUSIC,"
to be as follows:-
The first part of my Invention relates to an improved mode of constructing
and fixing the footboards of harmoniums. Those at present in use are
hinged flat on the rail at the bottom of the case; instead thereof I attach
to the footboards a rectangular heel or projecting heel or claws, and I hinge
or hang them upon a rod raised some inches from the ground, the plaue of
the bellows being thereby made to fall below the fulcrum, so that the feet
placed upon these footboards, instead of being compelled to move with

page_text: them in an arc constantly extending away from the performer, are made to
move within the segment of a circle, the centre whereof constantly approaches
towards the performer as the feet are brought down.
The second part of my Invention combines a pedal action laid in the
plane of the footboards in such a manner that during the upward and down-
ward movements of them the pedal action can be operated by the heel and
toe of the performer without any cessation of or hindrance to the blowing.
To accomplish this end I pivot a boss or raised block at or about the centre
of the footboard, and support it by springs or by india-rubber to obtain an
inclination corresponding to the direction of the applied pressure. Around
this moveable boss or raised block upon which the foot of the performer rests
I place a series of levers grouped conveniently for the range and dip of the
heel and toe of the performer; these levers act upon a series of small cams,
cranks, or pulleys, which are in contact with other levers, rods, or links,
operating on the pallets of the pedal-note box, which box or "pan" is placed
in any convenient portion of the instrument, or on the original "pan" of the
instrument if desired. On the series of levers on the footboards I place
moveable or sliding knobs or studs capable of being graduated in distance
from the central boss. I also place these levers on the under side of the
footboards, which I groove or slot in radiating or parallel lines, the studs or
knobs then appear or rise through the grooves to be actuated as aforesaid by
heel and toe.
By another arrangement for the pedal action, and which will be most
important for the larger class of harmoniums, I make the reed pan, carrying
one or more registers for the pedal notes, of suitable dimensions for a full
resonance, and fix it on bearings from side to side at the bottom of the case,
and by pipes and wind courses so connect it with the bellows and wind chest
that it shall receive an adequate supply of wind. I also attach to the
pan
an expanding reservoir or bellows, and carry tubes or wind courses forward to
the base of the footboards. These footboards I make double with a hollow
space between; round the outer edge I cut a groove or channel forming a
continuous wind course from side to side; the upper portion of the course
is perforated on its inward surface with a series of holes, into which are set
pipes or flexible tubes leading downwards, and passing out at the unenclosed
lower portion to form connection with the pedal-reed pallets wherever placed.
Each little tube lying in these footboards runs through a small block carrying
a stud rod or jointed lever, which acting by springs or other devices com-
presses the flexible tube beneath, or by a reverse method lifts up and throttles
it. The upper frame of the footboard is provided with the moveable boss or

page_text: raised block previously described, and parallel or radiating grooves, through
which the blocks rise, and these blocks sliding on the tubes are easily tightened
and adjusted at their required distances. When these parts are all properly
fixed the little tubes are all pressed or throttled; the wind enters at one point
and has its free course upward and around the footboard, and thence similarly
along the companion footboard, or passing directly back to its original source.
When it is desired to operate the pedal notes, or, in other words, to make
thepedalvibrators speak, pressure on one or other of the little levers or studs
relieves the underlying tube from pressure or unthrottles it, allowing the
wind to pass down, and the pressure of the air opeus the pallet of the note
either by direct pneumatic force, or by means of levers, springs, or their
equivalents, being used in combination therewith. By an additional con-
trivance when a further supply of wind is desirable, I make supplemental
bellows to supply the pedal-reed box, or I form the footboards into bellows,
and open a communication between them and the wind reservoir, at the same
time leaving them a free movement to pull down and act on the original
feeder bellows of the harmonium.
I also by another modification cause the footboards to carry their own reed
pans and registers of pedal notes, placing the pans within or beneath
the footboards in such a position of attachment as to have the pallets operated
by the pedal levers, and the wind supplied by the foot movements simul-
taneously, or from the wind chest or other source; and these several modes
of my Invention may be constructed for independent use with pianofortes and
other instruments.
The third part of my Invention relates to an improved plan of constructing
certain portions of the harmonium herein-after described, whereby many
important advantages accrue. Harmoniums on the plan now in use are so
constructed that there is one large wind chest and its reservoir bellows
simultaneously supplying with one weight of wind all the ranks of vibrators
in the pan immediately above. Two feeder bellows are connected by
levers with the footboards, and the alternate movements of the footboards
keep up the supply of wind, so that both feet are engaged to complete one
movement necessary to the general supply of the main reservoir. By
the plan of my Invention each register of reeds or rank of vibrators,
bass and treble, is provided with its own distinct bellows and its own reservoir,
each placed and acting in combination with a corresponding separate and
distinct footboard or foot bellows capable of being actuated at any moment by
the foot of the performer, thus forming groups of footboards and bellows for
the bass and groups of footboards and bellows for the treble portions of the

page_text: instrument, and admitting of pairing either of the groups of the bass with
another in a group of the treble. To this end I make a foundation board
for the harmonium channelled for communication with other parts of the
instrument, and having various branch conduits intersecting the main arteries,
so that by ports or slides set within these ramifications, or so acting to compress
air tubes inlaid, the wind may be diverted into any circuit desired. Then I
arrange a series of footboards, either parallel, radiating, or converging, so as
to be conveniently within rauge of the feet of the performer, these footboards
corresponding, or nearly so (as may be preferred), with the number of stops
or registers, and according to either particular form of my Invention herein-
after described each board may be constructed for single or double action,that
is to say, to supply or keep up the supply of wind by the downward movement
of two feet alternately, or by the upward movement of one foot alternating
or reciprocating with its downward movement, namely, first, by the group
of
footboards operating by lever communication with the feeder bellows in two
varieties, the single action hinged at the lower end, and the double action
hinged or pivoted nearer the centre, and yielding alternating movement by
heel and toe; second, by the group of bellows boards or reciprocating treadle
bellows; these bellows are capable of highly ornamental configuration,
arranged spreading out fan-like from the centre to the sides of the instrument,
or converging towards the centre. The bellows are formed to act somewhat
similar to a shape known as "cuckoo bellows," and supply wind by alternate
motion of heel and toe, so that each bellows commands the speech of each
register with which it is in connection. The right foot thus keeps control over
the treble portion of theinstrument without the co-operation of the left foot,
which is reserved to undisputed sway over the bass region. Within the
treadle bellows are valves opening for the passage of the compressed wind
into the tubes or into the channelled board below; the channels, tubes, or
pipes lead off thence each to a little bellows (barnacle or parasite bellows
they may be termed), so arranged or fixed that by pneumatic power the
feeder bellows are made to act. For some registers requiring little weight
of wind, the wind may be allowed to pass directly into the feeder bellows,
and in many instances the treadle bellows alone will yield an ample supply
for the speech of particular registers. For a small class of instrument the
group of treadle bellows may be formed for only single instead of duplex
Action.
A further addition to this portion of my Invention consists in connecting
any in these series of footboards or treadle bellows in such a manner by slides,
levers, overlaps, or their equivalents, that any number of them may be

page_text: actuated by the foot simultaneously, and kept in action without changing the
position of the foot.
The fourth part of my Invention provides a novel means of effecting the
opening and closing of registers, and of indicating at the same time the grade
of expression assigned to each for operation. The usual draw stops placed
in harmoniums are in my Invention rendered useless; and instead thereof I
make and use several dial points, studs, or index hands, moving in segments
of circles towards or from positions marked on the dial plates, and the per-
former can set these so that the expression and force to be allotted to each
quality of tone can be determined beforehand and varied at will. In the
ordinary construction of harmoniums expression is to be had from the
registers on all or none, it is cut off alike from bass and treble, and set on in
the same manner,so that in giving a penetrating phrase in the higher registers
the bass is acted on with the same force and is obtrusively loud, but by my
improvement the power of expression!resides in everyregister distinctively, or
in any combination of them at pleasure.
The fifth part of my Invention relates to an improved configuration of the
sound chambers, or reed pans," or pipes of harmoniums, or organs more in
accordance with the laws of acoustics than has hitherto been attempted. The
interior of the ordinary "pan" is formed similar to a comb of decreasing
width and depth from the bass portion upwards to the extreme of the treble;
this comb is enclosed between two thin boards cut with slots to each chamber
at the bottom for the admission of wind through the mortice of the reed or
vibrator,and at the top for the emission of wind on the lifting of the pallet;
before the screwing on of the reeds it is run in with thin liquid glue to make
each chamber distinct or free from wind communication with its neighbour,
and leaving the interior surface as smooth as can be obtained under the
process.
Thus completed it is techuically termed the "pan."
Now according to my Invention, instead of the ordinary smooth surface
for the sound chambers or sound pipes, I construct a cut, carved, or moulded
surface interiorly of suitable form. I either cut or carve the interior or I
make an additional interior surface of wood, glass, gutta-percha, or other
material, carved or moulded into a shape approaching a semi-annular
corrugation, or a shape so indented that it shall deflect the wind in its passage
and cause it to rebound towards the reed at or near its centre of vibration,
thereby effecting a prompt and firm intonation. This improvement, which is
effective throughout the range of every register, will be eminently serviceable
in correcting the slow and difficult speech of the thick heavy reeds of the

page_text: bass, by giving an accelerated impetus to the undulations which initiate the
vibratory resonance of the reed.
This part of my Invention is also applicable to organ pipes; its adoption
will greatly tend to remedy the chief defect they labor under of getting out
of tune by the changes of temperature affecting the length of the pipes, and
raising or flattening the pitch, for these corrugations or semi-annular indents
will cause an expansion inwards as well as outwards, and thus form a
compensating organ pipe.
A further modification of this portion of my Invention consists in forming
the "pan" of a combination of cylinder bores instead of the comb-cut for-
mation. I make the requisite number of cylindrical bores in block, one for
each reed, and determine the length of bore for the sound chambers by sliding
stops closing one or both ends, and capable of being adjusted and fixed to the
proportioned length designed for the register. The reed is screwed to an
opening at the side of the bore or fixed independently on a barrel or tube
passing into or connected with the bore, or I make an additional external
cylinder sliding upon or joining the main cylinder, thus forming a double
bore; and upon or within one or other of these bores the reed is fixed, for it
should be understood that great variability of adjustment is important in
respect of the air cells and sound chambers, as by the space, length, and
formation of these the differing qualities for each register are influenced and
governed; the reed gives the pitch of note in its rank, but the sound chambers
determine the quality of the resonance. These cylinder bores I form in rank
of a solid block, or of detachable portions connected. I also give an interior
surface spirally convoluted or semi-annularly indented.
By the sixth part of my Invention I give an additional double-sound board
to the harmonium. Immediately beneath the vibrators I affix a board
extending in thickness to an inch or more at one end, and diminishing
toward the other end; this board on the side nearest the vibrators is formed
with separate cells or chambers to each reed (as in the organ, seraphine, or
concertina); and leading into each cell I form several ducts, chiefly of conical
shape, in size, number, and position determined by the quality of tone to be
produced. The pallets or closures of these ducts, of both upper and under
board, I so form that they may be lifted by key levers or left undisturbed, all
or any number of them. On the upper side of the "pan" I place a similar
board, chambered or partly chambered, reversing the position of some of the
conical ducts in order to give such variation in the character and distinctive-
ness of the tones of different registers as may be desirable. And further to

page_text: aid the peculiarities of tone I alter the shape of some of the ducts, making
them cylindrical, elliptical, or triangular; and within some I insert transverse
plates, bars, or membranes, to divide the air current in its passage; and in
some instances in the employment of this system I insert thin plates, and
membranes within the air cells and sound chambers to attain a similar result,
and applyalso myplan of indented surface to the interior air cells and chambers
of the sound boards.
As the pedal action previously described may not in combination with my
radiating treadle bellows be conveniently operated by the seventh part of my
Invention, I obtain a pedal note and other effects in connection with the
manual by affixing to the sound board or the pan a flexible tube or tubes in
combination with "tuyeres" and presser feet. Into one side of an india-rubber
or leather tube (lined with gold-beaters' skin) I fix a series of "tuyeres," an
octave or more in number, and having a corresponding series of conical ducts
leading into the sound chambers. I insert the "tuyeres" into them, and
then
open a communication between the wind chest and one end of the tube,
the other end being closed when necessary. The compressed wind passing
through the "tuyeres" on to the upper surface of the reed is so nearly of
the same weight and pressure as that acting on the under surface of the reed
the force of one current is counteracted by the force of the other, (and although
the "pallet" is opened) no proper intonation of the reed cau be produced. A
little moveable presser foot or duplex foot, which I attach beneath the keys.
or pallet levers is then brought down to stamp on or compress the tube, so
that only those reeds sound into the chambers of which the counterblast of the
air current is not thrown. Thus the lowest note pressed on, or fundamental
bass note in the sub-octave would alone intonate,although in another register
(the pallets of which were simultaneously opened) all the keys pressed would
sound; and it will be understood that according to the direction aud position
of the presser feet any note can be made to speak merely by leaving to it its
naturalwind, or by determining the direction right or left in which the current
from the wind chest shall pass to ensure vibration or not. When pedal tones
are desired of greater power than the "pan" contains the same method can
be brought into action on a distinct reed pan being added with vibrators
of a deeper scule, independent though commanded by the manual. By
another method I apply the tube and "tuyeres" to the upper side of the
pan or of the sound board beyond the pallets, but over or above the
extreme points of the reeds, making apertures of conical form for the insertion
of the tuyeres into the upper chambers; the tube need not then be con-
nected with the wind chest, as the mode of producing the desired result is

page_text: reversed ; one end only of the tube is closed, so that the chambers are in
direct communication with the external air, and consequently although the
pallet be opened sufficient vibration cannot be set up in the chamber to
catquamar
'cause
the reed to sound. It is like opening the holes of a flute, which in effect cuts
off the pipe that there is not length enough to produce a low note; so these
open tuyeres when of sufficient size prevent speech; for a channel of
certain length and space regulated to the pitch of the reed is necessary to
produce the sound of the note under an equal weight of wind. Now if the
duplex presser foot attached to the lowest C of the manual is brought down
upon the tube,either directly or by extended levers, the tube is entirely closed,
and any note in its compass will vibrate; if the D be now pressed the C will
have no power of speech, because its wind is allowed to escape through the
tuyere; so the opposite end of the tube being closed, and the direction of
the current of wind reversed, the notes are acted in the opposite rotation.
By the open tuyere tube the sound chamber is so modified that there is
not a right deflection of the current nor sufficient wind for the reed to intone
its proper note. Thus the great objection of an overburdened bass can be
obviated, the repitition of close thirds en combined registers in great measure
avoided, and the harmony more dispersed.
By another arrangement of the flexible tubes with tuyeres in combination
with presser feet or duplex presser feet, or with claws of lifting action, or with
tracker connections to these, part music may be given on distinct registers, each
part beingallotted to a particular register of the character essential to the true
delivery of the composition. To that part of the sound board nearest thereeds, or
of the double-sound board (described in the sixth part hereof), or to the tubes
and ducts leading to the mouths of the cylinder bores (described in the fifth
part), I affix the flexible tube with tuyeres with a free end shaped like the
hell of a trumpet within the wind chest or bellows reservoir; each tuyere
is inserted into a' conical duct leading to the reed, and controlling the wind
current by whiclŕ it intonates (the remaining ducts, if several, lead to one
reed being in series closed off by lever or tracker movement, or its equivalent);
the presser feet or lifting claws are each attached to a key or pallet lever,
and are made adjustable so as to be capable of such a radius of motion that
they shall stamp on the flexible tube beneath, or by claw, tracker, or lever
communication actuate to compress the tubes of other registers. Thus a
duplex presser foot stamps down on the tube controlling the diapason register
and on that for the bourdon register simultaneously, and being brought down
on the left of the note or porthole of the reed, both registers sound their
notes in unison; but if one of these sections of the foot be turned so as to

page_text: come down to the right of the porthole or reed duct, then one register only
will intonate, and so the tenor part will be heard only on that register when
two notes or key levers are in action together. Similarly the registers for
the bass and all other parts are actuated to produce a like result, for these
presser feet or lifting claws are so arranged that they can all be acted on and
reversed and thrown instantaneously in and out of gear by leverage, or be
regulated to operate a closure in any part of the flexible tube or tubes
adjacent or remote, and single out any portion of a harmony to a selected
register. Either of these methods can be extended over the instrument, and
the flexible tubes laid horizontally, longitudinally, or diagonally. By the latter
plan some of the effects can be obtained which are produced by the "sesqui-
altera" or "mixture" stops of the organ. In order to obtain a deeper pedal
note than the reeds in the " pan" will afford, I lay a larger set of reeds in an
independent pan with sound board and tube with "tuyeres" to act for this
purpose in, connection with the manual.
With the combination of the several parts of my Invention I am enabled to
place the pans in moveable frames, and set them either vertical or diagonal
as well as in the usual horizontal position, merely making such variations as
may be found necessary. The diagonal plan which I use has the advantage
of allowing several pans to be laid in parallel courses readily accessible for
turning, of occupying less depth in the build of the instrument without
restricting the sound chambers to less length and space than they ought to
occupy, and of also admitting the making of the ports for the entrance of
wind to the reeds act also for the closure pallet as in organs, likewise I can
make one pallet movement act connectedly over or under the ends of these
parallel paus so as to operate four or more rauks of registers, and more
particularly are these advantages increased by the use of my "cylinder bore
pan."
The eighth part of my Invention consists in adding to the mortice of the
reed a fixed or moveable collar or raised moulding surrounding the reed, thus
gaining a more rapid speech of the reed in consequence of the increased current
of air impinging on the reed. The "reeds" and reed mortices for har-
moniums or other musical instruments I propose to make of aluminium bronze,
or other alloys of aluminium, whereby greater purity and softness of tone of
the "reed" is obtained.
The ninth part of my Invention relates to a novel mode of supporting a
small harmonium or orchestrina, thereby rendering it easily portable and
compact, and capable of ascending and descending and resting at various
graduations of height. To accomplish this I make a framework at each end

page_text: of levers crossing each other, and pivoted at their centres and points after the
manner familiarly known as the "lazy-tongs;" these are connected from end
to end by horizontal rods. At the foot the far ends of the lowest levers are
held by a nut or pin, but the fore ends are free to move on a notched plate.
The top of the framework at the junction of the levers is fixed to the
harmonium, while at the junction of the second pair of levers a vertical bar
is attached working upward in a groove, in which is a spring moveable over a
notched plate or rack. When the harmonium is lifted from its lowest position
up to the required height the fore ends of the lever catch in the notched
plate, the upper vertical bar slides to the spring in its notch, and the descent
of the harmoniums is so determined that only by a simultaneous movement of
the foot on a lower rod joining the two fore ends, and with the hands on the
bar springs can it be allowed to fall, thus all risk of accidental descent is
avoided. The wind to these small harmoniums being supplied by foot bellows,
one or more flexible tubes form connections with the wind chest, so that the
whole structure descends into a portable compass ready to be brought into
use by merely lifting up the key board to any convenient height. Cross ties
fixed by thumbscrews give adequate rigidity to the frame.
I
The tenth and last portion of my Invention relates to a mode of employing
the wind of the harmonium for the purpose of turning over the leaves of
music by pneumatic leverage, and additionally by pneumatic suction.
conduct a flexible tube from the reservoir, passing it above the key board to
the back of the frame used for supporting the music, at the top of the frame
the wind enters a little bellows, expands it, and causes a semi-spheroidal
expanding chamber to commence au upward revolution on an inclined plane,
moving from right to left; from this chamber a spiral tube reaches to the
upper margin of the music leaves, and having at its end a small suction
trumpet with a membraneous disc. This trumpet lies on a little disc of india-
rubber, mica, or other suitable material previously affixed on each leaf.
When the bellows expands the chamber sucks air along the spiral tube, and
an exhaust action takes place at the trumpet's disc, the tube swings round
carrying the leaf with it until released on the left by a cut off or air admission
when the inclined curve has been mounted, and the tube then falls forward
by its own impetus to fix on the next leaf that lies ready for turning.
In a modification of this part I sometimes apply the revolving force without
the suction, forming the spiral tube with a little feeler end or proboscis to pick
the discs or otherwise, double spring rings or clips being then fixed on the
music leaves for that purpose. The control over the wind pipe is given by a
lever of compression connected to a little finger platform made to be above
up

page_text: the key board, or in any other position easy for the touch of a finger at any
range of the hands. This little machine can be readily detached from the
instrument, and may be employed for turning over the leaves of music for
organs and other musical instruments.
SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said James Henry Smith in the Great Seal Patent Office on the
6th January 1866.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, JAMES
HENRY SMITH, of No. 238, Oxford Street, in th County of Middlesex,
Manufacturer, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Sixth day of July, in the year of our Lord One
thousand eight hundred and sixty-five, in the twenty-ninth year of Her
reign, did, for Herself, Her heirs and successors, give and grant unto me, the
said James Henry Smith, Her special licence that I, the said James
Henry Smith, my executors, administrators, and assigns, or such others as I,
the said James Henry Smith, my executors, administrators, and assigns,
should at any time agree with, and no others, from time to time and at
all times thereafter during the term therein expressed, should and lawfully
might make, use, exercise, and vend, within the United Kingdom of Great
Britain and Ireland, the Channel Islands, and Isle of Man, an Invention
for "IMPROVEMENTS IN HARMONIUMS, ORGANS, OR OTHER MUSICAL INSTRUMENTS,
A PART OF WHICH INVENTION IS APPLICABLE TO TURNING OVER THE LEAVES OF
MUSIC," upon the condition (amongst others) that I, the said James Henry
Smith, my executors or administrators, by an instrument in writing under my,
or their, or one of their hands and seals, should particularly describe and
ascertain the nature of the said Invention, and in what manner the same was
to be performed, and cause the same to be filed in the Great Seal Patent
Office within six calendar mouths next and immediately after the date of the
said Letters Patent.
NOW KNOW YE, that I, the said James Henry Smith, do hereby
declare the nature of my said 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, and on reference to the accompanying
Drawings, that is to say:-
The first part of my Invention relates to an improved mode of constructing

page_text: and fixing the footboards of harmoniums. Those at present in use are hinged
flat on the rail at the bottom of the case; instead thereof I attach to the foot-
boards a rectangular heel or projecting heels or claws; 1 hiuge or hang these
heels or claws upon a rod raised some inches from the ground, the plane of the
footboards being thereby made to fall below the fulcrum, so that the feet
placed on these footboards, instead of being compelled to move with them in
an arc constantly extending away from the performer, are made to move
within the segment of a circle in such a manner that the part which originally
formed the centre of motion is now caused constantly to approach towards the
performer as the feet are brought down. Thus greater ease is obtained, the
footboards move over their allotted space in less time, and in consequence of
the arc of movement so nearly coinciding with that described by the ankle
considered as pendant from the knee, the strain upon the muscles of the
leg and instep is obviated, and as the levers of the feeder bellows connected
with the footboards are moved more nearly in a vertical line, and are not
thrown aside in their bearings by a diagonal pull, less power is expended in
operating the bellows and less friction is occasioned.
In Sheet 1 of the annexed Drawings the sectional view of a footboard,
Figure 2, shows most clearly the application of this
part of my Invention.
The position of the ordinary centre of movement is shown at *, and the arc
described is represented by the dotted line a, b..
My improvement consists in furnishing the footboard with a heel c, c, and
thus raising the centre of movement to the point d, whereby the arc described
follows the dotted liue a, c, and hence the pull upon the cord f, f, which
works the bellows, is almost perpendicular.
The second part of my Invention combines a pedal action with the ordinary
blowing action of the footboards, the pedals are laid in such a manner that
during the upward and downward movement of the footboards they can be
operated by the heel and toe of the performer without any cessation of or
hindrance to the blowing. To accomplish this end I pivot a boss or raised
block or rail at or about the centre of the footboard, and support it by
springs or by india-rubber, to obtain an inclination corresponding to the
direction of the applied pressure. Around this moveable boss or raised block,
upon which the foot of the performer rests, I place a series of levers, grouped
conveniently for the range and dip of heel and toe; these levers act upon a
series of small cams, cranks, or pulleys, which are in contact with other levers
and rods, or linked to cords operating on the pallet of the pedal note box,
which box or pan is placed in any convenient portion of the instrument, or is
combined with the original reed pan of the instrument if desired. On the

page_text: series of levers I place moveable or sliding studs, capable of being graduated
in distance from the central boss to accommodate the various sizes of feet, but
these studs may be made and remain fixed, if to the boss is attached a wooden
or leather sole, which shall press the studs at a determinate position irre-
spective of the size of the foot placed upon the sole, and thus without any
alteration accommodate every performer. I also place the levers on the
under side of the footboards, which I then groove or slot in radiating or in
parallel lines; the studs then appear or rise through the grooves.
This part of my Invention is illustrated by Figure 3 in Sheet 1 of the
Drawings, and shows the same as applied to working the pallets by means of
cords. g, g, is the block or boss on which the foot rests, and which is furnished
with a sele l,l, and the pedal levers h, h, are provided with studs m, m, against
which the sole l, l, acts. The levers h, h, actuate bell-crank levers n, n, to
which are attached the cords o, o, passing over a pulley or roller p, p, and
leading to the pallets.
"
By another arrangement for the pedal action, and which will be most
important for the larger class of harmoniums, I make the reed box or "pan,"
carrying one or more registers of pedal notes, of suitable dimensions for a full
resonance, and fix it on bearings from side to side at the bottom of the case,
and by pipes and wind courses so connect it with the bellows and wind chest
that it shall receive an adequate supply of wind. I also attach to the " pan
an expanding reservoir or bellows, and carry tubes or wind courses forward to
the base of the footboards. These footboards I make double with a hollow
space between them; round the outer edge a groove or channel forms a
coutinuous wind course from side to side; the upper portion of the course is
perforated on its inward surface with a series of holes, into which are set pipes
or flexible tubes leading downwards and passing out at the lower edge to form
connection with the pedal-reed pallets wherever placed. Each little tube in
these footboards runs through a small block with a spring stud above, or lies
in a groove beneath a rod or lever, acting by springs or other devices to
compress the flexible tube, or by a reverse method to lift up and throttle it.
The upper frame of the foothoard is provided with the moveable boss or raised
block previously described, and has parallel or radiating slots through which
the blocks or studs rise; the blocks slide on the tubes, and are easily
tightened and adjusted at required distances. When these parts are properly
fixed the little tubes are all pressed or throttled, the wind enters at one point
and has its course upward and around the footboard, and thence similarly
along the companion footboard, or passing directly back to its original source.
When it is desired to operate the pedal notes, or, in other words, to make the

page_text: pedal-reed vibrators speak, pressure on one or other of the little levers or
studs relieves the underlying tube from pressure, allows the wind to pass
down, and by pneumatic force either to open the pallet or to act direct upon
the reed to produce intonation.
.
This part of my Invention is illustrated by Figures 1 and 2 (Sheet 1). In
Figure 1 the upper part shows the surface of the footboard, and the lower
part is a sectional plan. i, i, is the wind course passing round the footboard;
and k, kc, are the flexible tubes leading to the pallets. These tubes are always
choked by their respective pedal levers h.h, excepting when the latter are raised
by pressing the heel or toe on either of the studs m, m. By an additional con-
trivance, when a further supply of wind is necessary, I make a supplemental
bellows to supply the pedal-reed box, or I form the footboards into bellows
and open a communication between them and the wind reservoir, at the same
time leaving them a free movement to pull down and act on the original
feeder bellows of the harmonium.
1
I also by another modification cause the footboards to carry their own reed
pans of pedal notes and register stops. I place the "pans" within or beneath
the footboards, in such position as to have the pallets operated by the pedal
levers, and the wind supplied by the foot movement simultaneously, or from
the wind chest or other source.
Figure 4 (Sheet 1) illustrates this part of my Invention. a, a, is the wind
chest; b, b, the reeds; c, c, the sound channel; and d, d, the sound pallets,
connected by the rods e, e, to the pedal levers f,f; g,g, is the wind pipe from
the wind chest above, the bellows of which are worked by the cord h, h; and
the supplemental bellows at the back may be actuated by oblique levers, as
shown by dotted lines i, i.
The register stops are described in the 4th part, concerning the opening and
closing of registers.
The above described parts of my improvements may be constructed for
independent use with pianofortes and other instruments.
The third part of my Invention relates to an improved plan of constructing
certain portions of the harmonium herein-after described, whereby many
important advantages accrue. Harmoniums on the plan now in use are so
constructed that there is one large wind chest and its reservoir bellows,
simultaneously supplying the wind to all the ranks of vibrators in the pan
immediately above. Two feeder bellows are connected by levers with the
footboards, and the alternate movements of the latter keep up the supply of
wind; so that both feet are engaged to complete and keep up a regularity in
the influx of wind to the main reservoir. According to my Invention each

page_text: register of reeds or rank of vibrators, bass and treble.is provided with its own
distinct feeder bellows and its own reser voir, each placed and actingin.com-
bination with a corresponding separate footboard for foot bellows, capable of
being actuated at any moment by the foot of the performer, thus forming a
group of footboards and treadle bellows for the bass and a group of foot-
boards and treadle bellows for the treble portion of the instrument, and
admitting of pairing either one in the bass group with another in thegroup.of
the treble. I arrange a series of footboards, either parallel, radiating, or
converging, so as to be conveniently within range of the feet of the performer,
these footboards corresponding (or as nearly so as may be preferred) with the
number of stops or registers. For these there are two modes of action, the
single action and the double action; of these again each has two forms of
construction; first, the form operating by lever communication with the
feeder bellows in single action, hinged at the lower end and keeping up the
regular supply of wind by the downward movement of two feet in alternation;
and the double action hinged or pivoted near the centre, and keeping up the
wind by the alternate upward and downward movement of cne foot alone;
second, by the form of operating by treadle bellows; for using these I make
a foundation board for the harmonium, with channels of coinmunication with
other parts of the instrument, and having various branch conduits intersecting
the main arteries; so that by ports or slides set within these ramifications, or
acting to compress air tubes inlaid, the wind may be diverted into any circuit
desired. The bellows are capable of highly ornamental configuration, arranged
spreading out fan-like from the centre to the sides of the instrument, or con-
verging from the back towards the centre. The bellows are formed to act
somewhat similarly to a shape known as "cuckoo bellows," and supply wind
by alternate motion of heel and toe, so that each bellows commands the speech
of each register with which it is in connection; the right foot thus keeps
control over the treble portion of the instrument without the co-operation of
the left foot, which is reserved to undisputed sway over the bass region.
Within the treadle bellows are valves opening when relieved from pressure of
the footboard to allow the bellows to fill, and closing at the moment of re-
applied pressure; the compressed air then fills a little bellows (barnacle or
parasite bellows they may be termed), and is also flowing through the trunk to
the channeled board below and thence to the registers. The use of these
barnacle bellows is to continue the flow of the air current during the return
movement of the footboard, in changing the appliance of heel and toe pressure
on the feeder bellows. There is a general reservoir common to all the

page_text: registers. For the class of small instruments the group of treadle bellows
may be formed for single instead of duplex action.
A furtheraddition to this portionof my improvements consists in connecting
any in these series of footboards or treadle bellows in such a manner by slides,
levers, overlaps, or their equivalents, that any number of them may be actuated
by the foot simultaneously, and kept in action without changing the position
of the foot. This portion of my Invention is represented at Figures 5 and 6
(Sheet 1) of the Drawings. a, u, is the bellows footboard, and b, b, are the
radiating register footboards working thereon; c,c,are the bellows; d, d, the
valves; e, e, the parasite or barnacle bellows for maintaining the pressure;
and f,, is the wind course; g, g, (Figure 6*) shews a crank for interlocking
two footboards together at one end only; h, h, a lever for interlocking them
at both ends by one movement; and i, i, is a sliding bar, by means of which
several registers may be interlocked at once. If the bellows portion be
removed at the back or other part of the instrument the double-action foot-
board can then by levers operate the bellows. This variation does not
therefore need illustration.
The fourth part of my Invention provides a novel means of effecting the
opening and closing of registers, and of indicating at the same time the grade
of expression assigned to each for intonation. In the ordinary construction of
harmoniums, expression is to be had from the registers on all or none, it is
cut off alike from bass and treble and set on in the same manner, so that in
giving a penetrating phrase on the higher registers the bass is acted on with
the same force and is obtrusively loud. I am aware that all the bass portion
has been separated from all the treble portion with expression stops to each
half, but the essential difference I attain by my Invention invests at will any
register of the instrument with this absolute power, whilst all the other
registers, bass and treble, are without it, and are playing only with reservoir
force, yet instantly to any number of registers the same absolute power of
expression may be transferred or combinedly held. I obtain this distinctive
expression by a new construction conducting the wind in a double channel, and
for the old build of instrument by a new arrangement, passing the wind above
or aside the wind chest into the little chambers occupied by each register or
rank of vibrators. For this end I make the wind trunks equal in width to
"the pans," with a portion running from side to side so that a double trunk is
formed, the inner trunk throws wind into the great wind chest as usual, the
outside trunk is carried up to the level of the board carrying the valves
operated by the draw stops. I make apertures at the end of each register

page_text: section of the board, so that the wind passes directly under the reeds without
communication with the reservoir or the wind chest,and without any opening
of the valves connected with the usual draw stops. The new set of valves
fitted over the new apertures are operated by connection with the pedal foot-
boards, and for convenience a set of small stops to be moved by hand might
be placed under the ordinary stops or under the fore ends of the keys as a
series of expression stops. The various forms of pedal footboard previously
described effect the opening and closing of these valves without any change of
construction, but the pedal levers instead of opening pedal note valves open
register valves. The levers should be made broader and arranged in fan
shape, so that two or more may be under pressure of the foot at one time and
others be interlocked as required. The pedal levers may also be so connected
as to actuate the general register stops. Unless double-action feeder bellows
are used by each foot the new wind trunks at each end of the instrument
must be united by a branch trunk that the supply of wind may be regular.
When the wind trunk is placed along the front, as usual for large instruments,
then branch trunks must be carried round the ends of the register chambers
to accomplish the same result. The usual draw stops of harmoniums are
dispensed with in my improved build, and instead thereof I make and use
several dial points, studs, or index hands moving in or over segments of circles
to or from positions marked on the dial plates, and the performer can set
these (each being marked to the register on which it has effect), so that the
degree of expression can be determined beforehand and again varied at any
moment. Thus by my improvements the power of expression resides in every
register distinctively or in any combination of them at pleasure. The arrange-
ments for effecting these improvements as applied to the old build of
harmoniums are shewn in Figure 7 (Sheet 1). a, a, is the reed chamber;
b, b, the great wind chest; c, c, the reservoir bellows; and d, d, the feeder
bellows; e, e, is the draw stop valve, and f, f. is the reservoir valve; g, g,
shews the passage of wind to the reservoir, and h, h, that of the wind to the
reed chamber for expression; i, i, is the connecting branch trunk; and k, k,
the cut-off valve. The arrangement for the expression adapted to my new
build of harmonium is shewn at Figures 8 and 9, the former being a partial
longitudinal section (with the key board shewn in elevation), and the latter a
vertical transverse section. In Figure 8, a, a, is the reed chamber, and b, b,the
wind trunk leading from the bellows, and c, c, the passage leading to the wind
chest or drum d, d; e, e, is the moveable valve which directs the wind either
at once to the reed chamber for expression, or (when turned into the positiou
shown in dotted lines) into the reservoir, at the same time opening a commu-

page_text: nication from the drum head wind chest d, d, to the reed chamber. On these
Figures (8 and 9), the index hands or dial points are shewn atf, f, in front of
the instrument above the key board. 7, 9, are the reservoir bellows; h, h, being
the perforated fixed boards, and i, i, the expanding boards; k, k, are the
openings from the drum head or wind chest, and 7, 1, are springs for
compressing the bellows.
The fifth part of my Invention relates to an improved configuration of the
sound chambers or reed "pans" or pipes of harmoniums or organs more in
accordance with the laws of acoustics than has hitherto been attempted. The
interior of the ordinary "pan" is formed similar to a comb, of decreasing
width and depth from the bass portion upward to the extreme end of the treble;
this comb is enclosed between two thin boards (sound boards they may be
termed), cut with slots to each chamber at the bottom for the admission of
wind through the mortice of the "reed" or vibrator, and at the top for the
emission of the wind on the lifting of the pallet; before the screwing on of
the reeds it is run in with thin liquid glue to make each chamber distinct or
free from communication with its neighbour, and leaving the interior surface
as smooth as can be obtained under such process; thus completed it is
technically termed "the pan." Now according to my Invention, instead of the
ordinary smooth surface for the sound chambers or sound pipes, I construct a
cut, carved, or moulded surface interiorly of special form. I either cut or
carve the interior, or I make an additional interior surface of wood, gutta
percha, glass, or other material, carved or moulded into a shape approaching
a semi-annular corrugation, or a shape so indented that it shall deflect the
wind in its passage, and cause it to rebound towards the reed at or near its
centre of vibration, thereby effecting a prompt and firm intonation. This
improvement, which is effective throughout the range of every register, will be
eminently serviceable in correcting the slow and difficult speech of the thick
heavy reeds of the bass, by giving an accelerated impetus to the undulations
which initiate the vibrators of the reed. This shape of air chamber, channel,
or tube is an application for the purpose described of that configuration
which it is observable naturehasgiven tothe vocal tubes ofall aniniated beings,
more especially is this apparent in animals producing producing low deep
tones of voice. The semi-annular indents are then manyin number and strongly
marked; one side of the tube is smooth, and along this the air glides swiftly
on its shortest course, the other portion of the sides of the tube is indented
with concave rings, which, like boulders on a river's bank, ripple the current
into indulations, and hold back or retard the swifter flow of the opposite side,
In other words, one portion of the air column is compelled to pass over a

page_text: greater extent of surface than the other, and still further to aid theindulations
set up, the rebound of the air is thrown forward upon the smoother part, and
thus the whole air column is brought into sympathetic vibration. I name this
improvement the trachean sound pipe from its resemblance to the wind-
pipe or "trachea," (so called from the Greek "trachus," rough or indented,
to distinguish it from the smoother "food-pipe or gullet.") This part of my
Invention is also applicable to organ pipes, its adoption will greatly tend to
remedy the chief defect they labor under of getting out of tune by the
changes of temperature affecting the length of the pipes and raising or
flattening the pitch, for these corrugations or semi-annular indents will cause
an expansion inwards as well as outwards, and thus form a compensating
organ pipe. The internal corrugated form of the sound pipes is seen at g*, g*,
in Figure 9 (Sheet 1).
A further modification of this portion of my Invention consists in
forming the "
"pan" " of a combination of sections of concentric cylinders
instead of the ordinary formation. I make the requisite number of
cylindrical bores in block, one for each reed; these cylinder bores [ form in
ranks of a solid block or of detachable portions connected. When detachable
they are fitted in layers so as to form the section of a cylinder, or complete
pans are laid diagonally in series within the section of the cylinder, when solid
they are bored in rank diagonally through the section of a cylinder. The
length of the bore for these sound chambers is determined by sliding stops
fitted into a closing one or both ends, and capable of being adjusted and
fixed to the proportionate length designed for the register. Thereed is screwed
to an opening at the side of the bore, or fitted independently on a barrel or
tube passing into or connected with the bore, or I make an additional external
cylindrical bore sliding upon or joining the main one, thus forming a double
bore, and upon one or other of these tubes or bores the reed is fixed, for it
should be understood that great variability of adjustment is important in
respect of the air cells, sound pipes, and chambers, as by the space, length,
and formation of these the differing qualities of tone for each register are
influenced and governed, the reed gives the pitch of the note in its rank, but
the sound chamber determines the quality of the resonance. For the sake
of gaining space for the sound tubes and bores where the registers are of
large scale, the pipes or tubes are placed in layers, the white keys only having
relation to the lower layer, and the black keys to the upper layer. To the
pipes, bores, and channels I give the interior surface spirally convoluted or
semi-annularly indented as previously described. The value of the cylindrical
formation in allowing great length of channel with compactness in the ranks

page_text: and layers, and the facilities it offers for the action of the pallets or closure
movements (however increased in number) by merely one rod at right angles
or other suitable angles with the key levers will be apparent on reference to
the illustrations of this part, and the illustrations and descriptions of pallet
movements at the end of the seventh part. The concentric cylindrical
arrangement of the sound pipes or channels is shown at g*, g*, Figure 9,
which also illustrates the "trachean" or indented form of the interior,and the
way in which the pallets *,h*, are acted upon by the rods *,*,in connection
with the keys k*, k*. The space l*, *, between the reservoir bellows g, g
and the plate face or pallet action, should be occupied by a series of parallel
lamine with intervening spaces corresponding to the apertures of the sound
tubes or chambers, being as it were a series projected from or a continuation
of the laminæ m, m, Figure 8, which separate the sound chambers, thereby
giving to each note as it is sounded forth a distinct vestibule of resonance
through which to pass, and the power of which may be modified in any degree by
the lower section of the revolving cylinder case being moved higher or lower.
By the sixth part of my Invention I give an additional double-sound board
to the harmonium. Immediately beneath the vibrators (when, as in the old
build, the wind comes from below), or above or before them (when, as in my
new build, the wind enters from above, the reed being in an inverted position,
and preserving the same corresponding relations), I affix a board,extending in
thickness to an inch or more at one end, and diminishing toward the other
end; this board, on the side nearest the vibrators, is formed with separate
cells or chambers for each reed or vibrator (separate, as in the organ, seraphine,
or concertina), and leading into each cell I form several ducts, chiefly of
conical shape, in size, number, and position determinable by the quality of
tone to be produced. These ducts or mouthpieces strengthen the tone,as do
the multiplied apertures of the philosophical instrument known as "the syren."
On the upper side of the "pan" (old build, or lower side new build) I place
a similar board, chambered or partly chambered, reversing the position and
modifying the form of some of the ducts or apertures, in order to give such
variation in the character and distinctive qualities of tone of the different
registers as may be desirable. And further to aid the peculiarities of tone I
change the shape of some of the ducts or apertures, making them cylindrical,
elliptical, or triangular by a sliding bar and plate, which being adjusted but
slightly higher or lower will entirely change the quality of tone when desired,
and reinstate the original quality at pleasure; this improvement I call the
"mezza voce slide." It will be obvious from the illustration how various the
changes attainable, how an elliptical duct or aperture covered by another

page_text: elliptical aperture will, when one is moved over the other, be converted into. a
circular aperture or orifice. I also insert. transverse plates,, by preference. of
mica or glass, or bars of wood.or, metal, or parchment, and, these, pallets.or
closures of the ducts.or apertures I so form that they may be lifted by levers,
or left undisturbed, all in the series constituting a register, or any number of
then. In some instances I insert thin plates and membranes within the air
cells and sound chambers, to divide the air current in its passage, and attain
similar results in differences of character in the tones, and apply also my plan
of transversely indented surface to the interior air cells and chambers of the
sound boards.
Figures 10 and 11 show the application of the "mezza voce" slide. a, a, are
the pallet openings; b, b, the pallet valves; and c, c, the "mezza voce" slides.
These slides are fixed to a bar d. d, which can be moved up or down, and it
will be evident that by this movement all the pallet openings on one register
can be simultaneously contracted and again expanded to their original size
and form at will.
In Sheet 2, Figure 14 (in which the pallets are horizontal, as in the old
build), it will be seen that the slide u, v, may be made to move sufficiently to
cover one or more rows of ducts in the sound boards.
The seventh part.-As the pedal action previously described may not be
conveniently operated in combination with my radiating treadle bellows, by
the seventh part of my Invention I obtain a pedal note and other effects in
connection with the manual by affixing to the sound board or the pan a
flexible tube or tubes in combination with tuyeres and presser feet. Into one
side of an india-rubber or a leather tube (lined with gold-beaters' skin) I fix a
series of tuyeres, an octave or more in number, and having a corresponding
series of ducts leading into the sound chambers. I insert the tuyeres into
them, and open a communication between the wind chest and one end of the
tube, the other end being closed when necessary, the compressed wind passing
through the tuyeres on to the inner surface of the reed in its mortice is so
nearly of the same weight and pressure as that acting on the outer surface
that the force of one current is counteracted by the force of the other, and
although the pallet be opened no proper intonation of the reed can be pro-
duced. A little moveable presser foot or duplex foot, which I attach beneath
the keys or pallet levers, is then brought down to stamp on or compress the
tube, so that only those reeds sound into the chambers of which the counter-
blast of the air current is not thrown. Thus if two keys in the bass are
pressed on, the lowest or fuudamental bass note in the sub-octave would alone
intonate, although in another register the pallets of which were simultaneously

page_text: opened the notes under all the opened pallets would sound, and it will be
understood that according to the direction and position of the presser feet any
note can be made to intonate merely by leaving to it its proper wind, or by
determining the direction, right or left, in which the current from the wind
chest shall pass to ensure vibration or not. When pedal tones are desired of
greater power than the pan contains, the same method can be brought into
action on a distinct reed pan or set of sound tubes being added with vibrators
of a deeper scale, independent, though commanded by the manual.
Figure 12, Sheet 1, is a section illustrative of this part of my Invention.
a, a, is the india-rubber tube, and b, b, the tuyere connecting it to the curved
pedal note tube c, c; h, h, is the pallet valve for the pedal note, and i, i, is
the presser foot attached to the key k, k, for compressing the india-rubber
tube a, a. The pedal note tubes for the sharps and flats are arranged as seen
in Figure 15, and also shown by dotted lines in Figure 12.
By another method I apply the tube and tuyeres (speaking of the old build
of instrument) to the upper side of the "pan" or of the sound board, beyond
the pallets, but over or above the extreme points of the reeds, making apertures
of conical form for the insertion of the tuyeres into the upper chambers; the
tube need not then be connected with the windchest, as the mode of producing
the intended result is reversed, one end only of the tube is closed, so that the
chambers are in direct communication with the external air, and consequently
although thepallets be opened on the registerthus arrangedsufficientvibration
cannot be set up in the chambers to cause the reeds to sound. It is like
opening the holes of a flute, which in effect cuts off the pipe, so that there is
not length enough to produce a low note, so these open tuyeres, when of
sufficient size, prevent intonation, for a channel of certain length and space
regulated to the pitch of the reed is necessary to produce the sound of the
note under an equal weight of wind. Now if the duplex presser foot attached
to the lowest C of the manual is brought down, turned to the left upon the
tube, either directly or by extended levers, the tube is entirely closed, and any
note in its compass will vibrate, but if the key be released, the presser foot
reversed and turned to the right, and the key again brought down, the C will
have no power of speech, because its wind is allowed to escape through the
tuyere. The D, and any note struck above that, would intonate, because the
tube beyond is closed; of any two notes struck, the lower one would not
sound, so the opposite end only of the tube being closed, and the direction of
the currents of wind reversed, the notes are acted upon in opposite rotation.
By the open tuyere tube the sound chamber is so modified that there is not a
right deflection of the current nor sufficient wind for the read to intone its

page_text: proper note; thus the great objection of an overburdened bass can be
obviated, and on combined registers the repetition of thirds will be in a great
measure avoided, and the harmony be more dispersed.
In Figure 15 (Sheet 2) a; a, is the flexible tube, open at one end to the
external atmosphere, and b, b, the tuyere; d, d, is the presser foot, and e, e, the
presser lever;ff, is the trachean sound chamber; g, g, the sound board; and
h, h, the wind chest ; i, i, is the pallet, and k, k, the pallet lever. When the
tube a, a, is open, as shown in the Drawing, the wind will pass through the
reed without causing it to sound, but as soon as the presser foot closes
the flexible tube the reed will commence to vibrate and the note will be
produced.
By another arrangement of the flexible tube with tuyeres in combination
with presser feet or duplex presser feet, or with claws of lifting action, or
with tracker connections to these, part music, quartett, or other concerted
music may be given on distinct registers, each part being allotted to a
particular register of the character essential to the true delivery of the
composition. To that part of the sound board nearest the reeds, or of the
double-sound board described in the sixth part hereof, or to the tubes, or to
the ducts leading to the mouths of the cylinder bores described in the fifth
part, I affix the flexible tube with tuyeres with a free end shaped like the bell
of a trumpet tixed within the wind chest or the bellows reservoir. Each
tuyere is inserted into a conical duct leading to the reed and controlling the
wind current by which it intonates (the remaining ducts of several lead to
one reed, being in series closed off by lever or tracker movement, or its
equivalent); the presser feet or lifting claws are each attached to a key or
pallet lever, and are made adjustable, so as to be capable of such a radius of
motion that they shall stamp on the flexible tube beneath, or by claw, tracker,
or lever communication actuate to compress the tubes of other registers.
Thus a duplex presser foot stamps down on the tube controlling the "diapason"
register and on the tube for the "bourdon" register simultaneously, and being
brought down to the left of the note or porthole of the reed both sound their
notes in unison, but if one of these sections of the foot is turned so as to come
down to the right of the porthole or reed duct then one register only will
intonate; and again, if two keys are pressed one will give two notes in unison,
but the other only one note. Similarly the registers for the bass and all other
parts are actuated to produce a result, for the current of air can enter from
reversed ends, and the presser feet or lifting claws are so arranged that they
can all be acted on and reversed and thrown instantaneously in or out of gear
by leverage, or be regulated to operate a closure in any part of the flexible

page_text: tube or tubes adjacent or remote, and single out any portion of the harmony
to a selected register. Referring to Figures 14 and 14*, Sheet 2 of the
Drawings, the plan and scope of this system will be best comprehended.
Three tubes 1, 2, 3, are laid longitudinally across parallel lines representing
an octave of key levers; there are tuyeres to every note, but for clearness
those only are marked which enter into the chord of the bass C, F, A, these
tubes control the intonation of three registers 1,2, and 3, (respectively bourdon,
diapason, clarion), or more easily understood in relation to part music as
1, bass; 2, counter-tenor; 3, first tenor. The wind for the bass flows from
the left; for the first tenor, from the right; but for the second or counter-
tenor part the wind flows from both right and left, as shown by the arrows.
The plan by which that tube acts is described the first in this section as the
"counterblast." The first and third tubes are at opposite ends closed by an
inflating capsule a, a, Figure 14*, the use of which is to allow room for the
wind when suddenly compressed and forced to the closed end under the action
of the presser feet. There are, as will be observed, three keys, each opening
pallets of three registers, so that nine notes altogether would be heard in the
harmonium as ordinarily constructed, but by my improvement actual part
music is given. Three voices only are heard, each in its own quality; the
bass register can only give the C, for the F and A have no wind passing their
tuyeres; the first tenor can only give the A, for the C and F have no wind;
the counter-tenor gives only the F, for the C and A have no intonation under
the counterblast," and this register has the peculiarity that if another note
is added within the chord C, F, A, or within a larger chord, it is taken up, as
it were, by another counter-tenor, and not by the other voices; thus the true
relations of the musical composition are preserved. Either of these methods
can be extended over the instrument through any of the registers, and the
flexible tubes laid longitudinally or diagonally. By the latter plan some of
the effects can be obtained which are produced by the "sesquialtera or
"mixture" stops of the organ. When the instrument is made with two
manuals the effects are extraordinarily increased, the voices having their
compass unrestricted.
وو
Figure 14 (Sheet 2) is a section showing the general construction of my
improved harmonium as adapted for playing madrigals or other part music.
1, 2, 3, are the flexible tubes or supply pipes. a, a, is the key lever; b, b,
the presser feet; c, c, the reversing rods for the same; d, d, are the tuyeres
or feed pipes; e, e, the vibrators (that of the tube 1 being fixed at the end
furthest from the aperture for the ingress of air); f, f, the trachean or
indented sound pipes; g,g, the pallets; h, h, the lifting claws; i, i, the sound

page_text: board, with conical ducts or openings, and v, v, the "mezza voce " sliding
plate, having corresponding apertures for the emission of sound, which by
the return curve of the tube are on the saine planeas the orifice for the ingress
of air. In order to obtain a deeper pedal note than the reeds in the pan will
afford, I lay a larger set of reeds in an independent pan with sound boards
and tube with tuyeres to act for this purpose in connection with the manual;
also tubes without tuyeres leading from one register to another diagonally
over the pallet buard would produce other variations, and act as octave
couplers.
With the combination of the several parts of iny Invention I am enabled
to place the pans in moveable frames and set them either vertical or diagonal
as well as in horizontal position, merely making such variations as in the
several constructions may be found necessary. The diagonal plan which I
use has the advantage of allowing several pans to be laid in parallel courses
readily accessible for tuning, of occupying less depth in the build of the
instrument without restricting the sound chambers to less length and space
than they ought to occupy, and of also admitting the making of the ports
for the entrance of wind to the reeds act also for the closure pallet, as in
organs; likewise I make one pallet movement act collectively over or under the
ends of these pans, so as to operate four or more ranks of registers, and more
particularly are these advantages increased by the use of my cylinder bore
"
pan,
In Figure 12 (Sheet 1) d, d, are the diagonal reed pans, and e, e, is the
wind trunk, which is connected to the reed pans by short flexible tubes f, f,
the said tubes being choked or throttled by pins attached to the pallet valve
rod 9, g, so that all the closures are made simultaneously. The saine end
is attained in the form of harmonium shown in Figures 8 and 9, Sheet 1, by
connecting each pallet rod with the closure plates of several rows of vibrators,
or a similar effect may be produced by the use of a parallel motion as repre-
sented at Figure 16 (Sheet 2),a, a, being the pallet valves; b,b, the apertures;
c, c, the pallet valve rod; and d, d, the parallel links;
The eighth part of my Invention.-The reeds and mortice plates for
harmoniums or other musical instruments I propose to make of aluminium
bronze, or other alloys of aluminium, whereby a greater purity and softness
of the tone of the reed are obtained, and I add to the mortice plate of the
reed a fixed or moveable collar or raised moulding surrounding the reed,
thereby gaining a more rapid speech of the vibrator, in consequence of the
increased strength of the current of air impinging on it.
Figure 17 (Sheet 2) shows longitudinal and transverse sections of my.

page_text: improved reed. a, a, is the mortice plate; b, b, the tongue or reed; and
c. c, the raised collar or moulding, which latter may be either a fixture or
adjustable.
The ninth part of my Invention relates to a novel mode of supporting a
small harmonium, rendering it compact and easily portable, and capable of
being raised and lowered, and of resting at various gradations of height.
To accomplish this I make a framework at each end of levers crossing each
other and pivoted at their centres and points after the manner of the instru-
ment familiarly known as the "lazy tongs;" these are connected from end
to end by horizontal rods. At the foot the backward ends of the lowest
levers are held by a uut or pin, but the fore ends are free to be moved on a
notched plate. The top of the framework at the junction of the levers is
fixed to the harmonium, while at the junction of the second pair of levers a
vertical bar is attached, working upward in a groove, within which is a spring
moveable over a notched plate or rack. When the harmonium is lifted from
its lowest position up to the required height the fore ends of the lowest levers
catch in the notched plate, and the upper vertical bar slides to the spring
catch in its notch, and the descent of the harmonium is so determined that
only by a simultaneous movement of the foot on a lever connected to the
lower rod joining the two fore ends, and at the same time pressure with the
hands on the bar springs, can it be lowered, thus all risk of accidental descent
is avoided. The wind to these small harmoniums being supplied by foot
bellows, one or more flexible tubes form counection with the wind chest, so
that the whole structure descends into a portable compass ready to be brought
into use by merely lifting up the key board and its case to any convenient
height. Cross ties fixed by thumbscrews give adequate rigidity to the frame.
Figure 18 (Sheet 2) illustrates this part of my Invention. a,, is the
body of the instrument with the end of the case removed, and b, b, are the
lazy-tongs levers fixed thereto at the point c; d, d, is the notched bar and
spring catch. The backward end of the lowest lever is pivoted to the base
at e, and the forward end works over a notched rack f, f; g. g, is the lever
for lifting the forward ends of the levers out of the rack by pressure of the
foot when it is desired to lower the instrument; h, h, are the bellows.
The tenth part of my Invention relates to a mode of using the wind of the
harmonium for the purpose of turning over the leaves of music by pneumatic
leverage, and also by pneumatic suction. I conduct a flexible or other tube
from the reservoir or wind chest, passing it above the key board to the back
of the frame used for supporting the music; the tube here enters a small
hemispherical bellows, one board of which is fixed and the other one free to

page_text: move the half circle distance on expansion. Within this bellows is another
smaller bellows or chamber of suction, only with very limited movement, and
having an extended wing somewhat hollowed or curved. The wind enters
the larger bellows by an aperture covered by this wing, whereon its first
pressure acts, and simultaneously the further flow of wiud causes the larger
On the rod forming
hemispherical bellows to expand to their full extent.
the axis of these bellows is fitted an inclined plane of spiral ascent, or a spiral
wire for the same purpose; in this rod a smaller rod with cross bar or wire
slides upwards, which cross bar when moved from right to left or swung by a
projecting wire from the bellows beneath is caused thereby to commence an
upward revolution on the inclined plane. From the little suction chamber a
small flexible tube is carried, being spirally wound round the swing rod or
wire to admit of any necessary degree of extension, and is connected with a
small suction trumpet which is supported freely at the further end of the rod,
and has a membraneous or elastic disc; a similar disc, but more tightly
stretched and hacked with mica or other suitable material, is affixed by clip or
spring to each leaf of music. When the bellows expand the suction chamber
is extended also and exhausts this air along the spiral tube, and there being no
communication with the external air from the chamber an exhaust action
takes place at the trumpet disc, and also between the outer surface of that and
the underlying surface of the leaf disc, so that the trumpet becomes attached
by pneumatic pressure to the leaf. The tube immediately swings round with
the movement of the bemispherical bellows, carrying the leaf with it; when
half the distance is passed over the swing rod commences to mount the spiral
incline or wire, until on reaching the farthest distance the leaf is released from
the trumpet by the sliding of the discs from each other consequent on the
spiral ascension of the trumpet. The bellows then, on the opening of a valve,
are closed by a spring or elastic cord, the rod and tube at the same time
returning round the incline and throwing the trumpet on to the disc of the
next leaf that lies ready for turning.
By a modification of the employment of this apparatus I apply the revolving
force without the section. I attach to the spiral tube or to the swing rod a
little feeler end or proboscis to pick up the discs, or double spring rings or
clips being fixed on the leaves instead of discs; on completing the revolution
the discs are disengaged by spring or tilt action. The control over the
wind pipe is given by a lever of compression attached to a little finger platform
placed above the key board or in any other position easily to be reached by
the finger at any range of the hands. This little apparatus can be readily

page_text: detached from the instrument and may be used with organs, and by pro-
vision of foot bellows or other application of wind with other musical
instruments.
In Figure 19, Sheet 2, a is the supply tube; b, the hemispherical bellows
expanding to half circle; c, the suction chamber with ring; d, entrance for
the wind; e, tube attached to suction chamber; f, trumpet; g, disc; g*, g*,
leaf disc; h, projecting wire from bellows; k, swing rod; l, sliding rod;
m, axis of bellows; n, spiral incline; o, screw to fix trumpet at varying
distance and inclination.
Figure 20 is a section of the hemispherical bellows looking down across the
dotted line
Having now described the nature and object of my said Invention for
"Improvements in Harmoniums, Organs, or other Musical Instruments, a
Part of which Invention is applicable to Turning Over the Leaves of Music,"
together with the manner in which the same is to be or may be performed
or carried into practical effect, I would remark in conclusion that I
claim as my Invention the various improvements herein-before described and
shewn in the annexed Drawings, or any mere imitation or modification
thereof, constructed and operating in substantially the same or a similar
manner.
In witness whereof, I, the said James Henry Smith, have hereunto set
my hand and seal, this Sixth day if January, One thousand eight
hundred and sixty-six.
Witness,
2.9
GEORGE DAVIES,
Patent Agent,
1, Serle St.,
9.1 Lincoln's Inn.
JAMES HENRY SMITH. (L.S.)