Year: 1885

page_text: I ALFRED JULIUS BOULT of 323 High Holborn in the county of Middlesex
Engineer do hereby declare the nature of this invention (a communication from
Worthington Theodore Weir of Chicago Illinois United States of America Manu-
facturer) and in what manner the same is to be performed, to be particularly
described and ascertained in and by the following statement :—
This invention relates to organ and piano key boards in which the keys are:
divided or arranged in three harmonic divisions or rows, and in which provision is
made for mechanically transposing the music being played, in order to enable the
player to more readily play the music; and the improvements herein described
relate more particularly to the adaptation of the key-board described in Letters-
Patent of the United States of America N° 304,981 dated the 9th day of September
A.D. 1884 to permanent use on the piano or organ.
The invention consists in the matters herein after set forth and particularly
pointed out in the appended claims. In the accompanying drawings-
Figure 1 is a view of the ordinary key-board of the organ with the stop-action
removed and a part of this key-board in place thereon.
"
Figure 2 shows a frame in which the key-board proper is shifted.
Figure 3 shows such board and frame united.
Figure 4 is a section in line x-x of Figure 3.
Figure 5 is a plan view showing a portion of the keys in place.
Figure 6 is a section in line y-y of Figure 5.
"
Figure 7 shows an indicator by which to determine the position of the board.
For convenience in description the terms "harmonic divisions and "tonic,"
sub-dominant," and "dominant harmonies " are used herein. The term "tonic
harmony" designates, collectively, all the notes constituting the chords or triads of
the tonic in the several octaves of the musical scale. The term " sub-dominant
harmony" designates collectively, all the notes constituting the chords or triads
of the sub-dominant in the several octaves. The term dominant harmony"
designates, collectively, all the notes. constituting the chords of the dominant
seventh in the several octaves, and the term "harmonic divisions", designates,
collectively, the three harmonies above named. The term "half-step" is also used;
Dmins 077
"

page_text: by which is meant a space equal to the width of one key in the ordinary chromatic
board of the organ.
By reference to the drawings it will be seen that the ordinary key-board is left
in its usual position, while this harmonic board is located just to the rear of and
over the ordinary board, thus leaving the latter entirely free and unobstructed
while the harmonic board is also always in proper position for use so that the
player may, use either board at will.
In all organs the ordinary chromatic key-board, marked A in the drawings,
presents an even, level upper surface, A¹ just back of the black keys.
even surface the harmonic board is placed permanently.
Upon this
The frame B shown in Figure 1 is fastened by the blocks b upon the ends of the
frame supporting the keys of the ordinary board A, or otherwise. B¹ is a board
or bar extending from one block to the other, and provided with a series of
vertical holes b', one over each key of the board A, in which rest loose vertical
shafts or pegs 62. Each of these pegs rests with its lower end on a key in the
board A, and its upper end projects a little above the upper surface of the bar B¹.
B2, B3, are rods or bars also extending from one block to the other and lying
parallel with the .bar B¹, and B' is a board lying in front of the peg-bar B' and
extending forward to the ivory and ebony of the board A. Such board B* may
also extend beneath the peg-bar B1 and be perforated by extending the holes b¹
downward.
C is an oblong frame having at its front the bar C¹ and at its rear the rod or
bar C2, and its length between the ends is three half-steps greater than that of the
frame D below described. On the lower surface of the bar C¹ are twelve
These
notches c¹, spaced the same as the pegs b2 and the keys of the board A.
notches are engaged by a pin 63 projecting from the rear side of the peg-bar B¹.
This makes it possible to shift said frame C to the right or left and secure it
against lateral movement over any point in the board A which may be selected.
03, C3 are handles extending from the frame C toward the player. By these he
may lift the front of said frame high enough to release the notches c¹ from the
piu 63, and then shift the frame and let its bear bear it down again and cause
another notch c¹ to engage the pin b³.
D is another rectangular frame one octave shorter than the board A composed
of the front and rear bars D1, D2, connected by end pieces d', d², and a central
sbitting bar D³. The bars D1 and D2 are each grooved on their lower sides to
receive the bars B2, B3 respectively, and ride upon the same, and the rear side of
the bar D2 is also grooved to receive the rod C2 and ride thereon, and each of said
rods is held loosely in its groove by caps or staples, or otherwise.
The frame D rests within the frame C, and is of sufficient width to fill the space
between the bars C1 and C2, while its length is three keys or half-steps less than
the interior length of the frame C, thus permitting the frame D to shift within the
frame C three half-steps and no more. The bar D³ is of sufficient width to almost
fill the space between the bars D1, D2, while it is made a halt-step shorter than the
space between the ends d1, d2, in order that it may be shifted longitudinally with
reference to said bars D1, D2, one half-step and no more. Said bar D³ may be
supported in any suitable manner. The drawings show pins d³ projecting from the
ends of the bar near its rear edge and lying loosely in a hole in the end pieces d', d²,
and also a horizontal pin or wire d secured in a groove in each upper front corner
of said bar and lying loosely in a groove in the end pieces d¹, d. This permits the
bar to be tilted slightly upward at its front and to be shitted. laterally, and
the pins d also serve another purpose to be explained farther on.
attached to the bar D³ and projecting toward the player, by which the bar D³ is
lifted and shifted. When the bar D³ rests against the end piece d2 and the whole
frame D rests at its farthest point to the right in frame C it is necessary to lock or
secure both. This is done by means of a projection d' on the under side of the
lever D' which engages in a notch c² in the bar C¹. As the bar D³ shifts one
half-step within the frame D and the frame D shifts three half-steps (carrying the
D* is a lever

page_text: bar D³ with it) the bar D³ is carried to the left a total distance of four half-steps,
consequently a second notch c² placed four half-steps to the left of the first is
required to lock the lever when it has been moved to its farthest limit to the left.
The inner ends of these keys E may be made of wood or other suitable material,
and may be formed and secured like the inner ends of the ordinary keys of the
organ and each resting at its outer or middle portion on a peg b². Only seven
keys are used in each octave, and these, when the bar D³ is at its farthest limit to
the right, are spaced according to the major scale. All the keys of each octave
excepting the third and sixth are hinged to the bar D2 while the third and sixth
are hinged upon the rear part of the, bar D³ in order that they may be shifted to
the right or left a half-step with reference to all the other keys, thus changing the
spacing from major to minor, and from minor to major.
The outer ends of the keys may be continuous with the inner ends and the same
in form as the ordinary piano or organ keys; but for the present purpose it is
preferable to use the form shown in the drawings. This consists of a piece of wire
or sheet metal E' suitably attached to the front end of the wooden part of the key
and bent downward just outside of the peg-board B1 as shown, until it almost
touches the board B (or the key-board A when the board B is not used) then
outward horizontally about three-fourths of an inch or more, and then upward a
suitable distance to receive or constitute a finger-piece.
F is a face-board projecting downward in front of the peg board and extending
the full width of the organ. By extending said face-board lower down than the
upper face of the peg-board B', the interior of the organ is completely concealed
from view and a finished appearance is given to the organ, and the object of the
downward bend in the arms E' of the keys E is to make room for said face-board.
The handles C³ and the lever D are also similarly bent for the same purpose.
Said face-board F may be a continuation of the front of the ordinary stop-action,
which is to be raised from its customary position on the board A and placed just
above this harmonic board..
The finger-pieces E2 of the keys. are preferably arranged in three rows or banks,
each comprising the keys belonging to one of the harmonic divisions, the lower
bank comprising the keys of the tonic, the middle the sub-dominant, and the upper.
the dominant harmony. This is accomplished by bending the outer ends of the
arms E upward in three different vertical planes, and making the ends in the
second row a little higher than the first and the third a little higher than the first
and the third a little higher than the second. As the first, fourth, and fifth notes
of the several octaves each belong to two harmonies, the keys representing such
notes are each provided with a forked or double arm E¹, one branch thereof being
bent upward to stand in one row and the other in another.
G, Figures 6 and 7, is an indicator placed on the face-board F, back of one of
the handles C³. It is divided longitudinally into twelve spaces of the same width
as the keys in the key-board A, and the vertical shank of one of said handles C³
serves as a pointer for said scale. Said twelve spaces represent the half-steps of
one octave of the key-board A, and therein are marked the letters representing the
key-notes, as shown in the drawings.
The operation of this key-board is as follows:
With the frame D and bar D³ moved to their farthest limit to the right in the
frame C, as shown in the drawings, the keys, as before stated, are spaced according
to the major scale, and the board is then adapted to play any music written in
that scale. The entire board may now be shifted over the board A by lifting the
handles Cand stopping over the desired key-note in the board as is done with
ordinary transposition key-boards. The proper position is shown by the indicator
described, the player moving the entire board by the handle C³ until one of the
handles C³ stands before the proper letter in the indicator.
If it be desired to play in the minor and the board is set for the major, the lever
or arm D and the board D³ are moved one half-step to the left, the keys on the
bar D2 forming a stop. This moves the third and sixth keys each a half-step to.

page_text: the left and spaces the entire board according to the minor scale. When the music
changes from major to relative minor, the entire frame D is shifted by means of
the lever D to its farthest limit to the left; the frame C in the meantime remaining
stationary. This changes the spacing and position of all the keys to relative minor.
These changes can be made with sufficient case and rapidity to enable the player
to make them, when required, during the course of the performance.
In finding the position of the board by the scale G, it will make no difference
whether the board is to be used in the major, minor, or relative minor, the
signature being the same in either case.
In shifting the board by either the handles C or D, all the keys E are raised
from the upper ends of the pegs b².
On raising the bar C¹ to release it, it comes in contact with the entire series of
keys and lifts them, and when the bar D³ is tilted it lifts the front ends of all the
keys mounted upon it as well as those mounted on bar D2. As the bar D³ is not
long enough to extend beneath the keys at the extreme ends of the frame D, the
wires are projected from the ends of bar D³ far enough to lie beneath such end
keys and raise them when the bar D³ is raised.
This key-board is not designed merely as an aid in playing chords or accom-
paniments as are certain other devices heretofore patented. It is capable of use in
playing different grades of compositions, or using the scope and range of the organ
to the same extent that the ordinary board is (excepting that no provision is made
in this board for striking "accidentals," these, when they occur, being struck on the
board A).
"
The omission of the useless keys and the arrangement of the remaining ones
according to the harmonic divisions make this board particularly helpful in playing
" by ear or improvising. This enables a child or unskilled player to supply the
bass and intermediate parts for any notes he may strike, or any melody he may be
playing without reference to key or scale.
While this key-board is described in connection with an organ with certain
modifications of details it is likewise suitable for use on the piano.
Having now particularly described and ascertained the nature of the said
invention and in what manner the same is to be performed as communicated to
me by my foreign correspondent I declare that what I claim is
1. A key-board for musical instruments having the first, second, fourth, fifth and
seventh keys of the different octaves on one support; and the third and sixth on
another, one or both of said supports being moveable a half step with reference to
each other, substantially as shown, and for the purposes specified.
2. A key-board for musical instruments having the third and sixth keys of the
several octaves supported separately from the other keys on a moveable bearing,
whereby said keys may be shifted a half-step to the right or left with reference to
the other keys, substantially as shown, and for the purpose set forth.
3. In a key-board for musical instruments, the combination of a frame D having
the bars D1, D2 and supporting the first, second, fourth fifth and seventh keys with
the sliding bar D³ interposed between said bars D1, D2, and supporting the third
and sixth keys, substantially as shown, and for the purposes specified.
4. The combination of the bar D2 and the sliding bar 13 each supporting the
keys herein enumerated, substantially as shown, and for the purpose specified.
5. In a key-board for musical instruments, the combination of a bar D³ and
frame D supporting the keys as herein described with the frame C, said bar D³ and
frame D being moveable with reference to each other and to the frame C, as shown,
and all together moveable upon a way or ways B2, B3, 'substantially as shown, and
for the purposes specified.
6. The combination of the bar D³, frame D, and keys E hinged to said bar and
frame, substantially as described, said bar D³ being arranged to tilt upward at its
front edge and raise the front ends of the keys E, substantially as shown, and for
the purpose specified.

page_text: 7. The combination with a frame D, seated upon sliding ways B2, B3 and having
the keys E binged to its rear portion, of an open frame C surrounding said frame D
in about the same plane, and hinged thereto at the rear, while its front is free to be
raised to lift the front ends of the keys E, substantially as shown and described.
8. The combination with a frame D seated upon sliding ways B2, B3 and
supporting the keys E, of an open frame C surrounding said frame D in about the
same plane held (temporarily at least) against lateral movement on said frame D,
and hinged thereto at its rear, while its front is free to be raised and drawn
longitudinally to lift the outer ends of the keys E and shift the entire key-board
to the right or left, substantially as shown and described.
9. A peg-board B₁, or similar board extending upward from the key-board A,
and a face-board F projecting downward a short distance in front of said board B¹,
and alinost touching the key-board A, thus excluding the interior of the instrument
from view and at the same time leaving a space for the bent arms of the keys E,
substantially as shown and described.
10. A horizontal board B lying over the key-board A, a peg-board B' extending
upwards at the rear of the board B', and a face-board F projecting downward a
short distance in front of said board B¹, and almost touching the board B', thus
excluding the interior of the instrument from view and at the same time leaving a
space for the bent arms of the keys E, substantially as shown and described.
11. In a key-board for musical instruments, a series of keys E, passing over a
board B, then downward in front of the same, and then forward horizontally
beneath the face-board F, substantially as shown, and for the purpose set forth.
12. The keys E having their outer portion bent downward then forward, and
then upward, substantially as shown and described.
13. In a key-board for musical instruments, a key or keys having a forked arm
or end E', substantially as and for the purposes herein set forth.
ALFRED J. BOULT.