A METHOD OF AND INSTRUMENT FOR KEEPING TIME IN MUSIC
Year: 1853

page_text: LETTERS PATENT to Edmund Reynolds Fayerman, of Shaftesbury
Crescent, in the County of Middlesex, Gentleman, for the Invention
of "A METHOD OF AND INSTRUMENT FOR KEEPING TIME IN MUSIC"
PROVISIONAL SPECIFICATION left by the said Edmund Reynolds
Fayerman at the Office of the Commissioners of Patents, with his
Petition, on the 16th July 1853.
I, EDMUND REYNOLDS FAYERMAN, of Shaftesbury Crescent, in the
County of Middlesex, Gentleman, do hereby declare the nature of my
Invention of "A METHOD OF AND INSTRUMENT FOR KEEPING TIME IN
MUSIC" to be as follows:-
Music time has usually been kept by making with the hand, foot, or
bâton certain motions, its duration being reckoned by the number of
vibrations which a pendulum makes in a minute, but having no
reference to the various measures in which music is written. To all the
known modes of keeping music time different objections to each may be
made, and there exists room for improvement if the time were indicated

page_text: on a dial by length of space, or from one vibration to another, whatever
may be its rate of motion, and à collateral guide given to each bar of
music and its divisions, so that they might be visible. As regards a
bar of music, it consists of a certain number of quayers or other
equivalent notes, the different measures of music (regulated by the
number of notes in a bar and their accents) being resolved into two
kinds of time, common and triple. As these different measures are
composed of such a number of quavers that they are all contained
within a given number of bars of each measure, equalizing each other
in quavers, a scale of 48 parts or quavers will, with the exception of
one species of triple time, include them all. This will be apparent if
the different measures are arranged according to the quaver scale
annexed. As all these measures terminate at the 48th division they
may be converted into a circular dial of 48 parts.
Half the scale and dial represented in the Drawings annexed will
suffice for explanation.
Adopting this dial as a foundation, and giving to the dial hand a like
number of vibrations, a space can be devoted to each bar of music in
those measures. If one revolution of the hand in a minute over the
48 parts would shew a slow rate of music time, every additional revolu-
tion or a portion of it would shew an increased rate, and thereby a bar
and its divisions could be seen on the dial. Thus, a dial of 48 parts,
the vibrations agreeing therewith, and having a radius hand of two
inches, would allow a space of about two inches for each bar of 8
quavers, every quaver beat represented by one vibration on the dial
being visible, and a radius of 4 inches would afford sufficient space to
embrace all the measures with their divisions. These bars divided
may therefore, as they are all equal in a series of 48 parts, be given in
consecutive circles, and a measure indicator be added on the dial or
to the hand, or in other ways as a guide to the particular measure
required to be played, the time for music being always reckoned per
minute by the number of vibrations, and not by the number of bars.
The foundation dial is formed from the scale, and is divided into 48
parts, each part or vibration being a quaver or a beat. The circles
may be placed at any convenient distances.

page_text: The first or outer circle exhibits time of 3 quavers (or a
crotchet and a half in a bar), indicated by one line, and each bar also
noted by a triangular mark for triple time.
.The second circle gives time of 4 quavers, indicated by 2 lines for
the 2 crotchet bar, and each bar also noted by a square mark for
common time.
The third circle gives
the 3 crotchet bar, and
(applicable also to the
.
time of 6 quavers, indicated by 3 lines for
each bar also noted by a mark for triple time
common time, which may be subdivided on the
other side of the circle into 2 parts).
The fourth circle gives common time of 8 quavers, indicated by a
broad line, and each bar also noted by a square mark.
The fifth circle gives 12 quavers for 6 crotchet bars. This may also
be marked so as to distinguish the bar as or time, both having the
like foundation in quavers.
By omitting the 8 crotchet bar, which would require the whole dial
(and which seldom occurs in modern music), all the measures then
become comprised within a series of 24 parts, and thus a half dial can
be worked with 2 hands instead of a whole dial with one hand.
By adding 2 other circles divided into one and two parts the dial
may be used for any beat, whatever may be the note taken from 1 to
12, as shewn on the scale of 24 parts.
Having laid the foundation of the 48 part dial, arrangements may
now be made by substituting other dials formed from the original dial,
combining two or more into one, adapting them to quicker or slower
rates of motion, reducing or increasing the number of circles, using a
portion only of a dial, varying the marks of indication, re-arranging
the circles, reducing them to various geometrical figures, increasing the
number of the hands, &c., of which illustrations will be given in the
complete Specification.
The dial in one revolution shews 48 vibrations, and serves as a
foundation from which additional vibrations or beats may be reckoned
up to twice or thrice that number, if required. The dial hand is moved
by clock-work, having a pendulum with 2 bobs or weights, the speed
of which is regulated by raising or lowering the upper bob according

page_text: to a scale giving from 60 to 160 vibrations and upwards per minute,
and according to the rate of motion required for music time that bob
is adjusted on the pendulum rod, and this without stopping the
pendulum, in order to change the position of the upper weight or bob.
By these means music time can be kept, and the machine and dial 5
form a music time-keener.
SPECIFICATION in pursuance of the conditions of the Letters Patent,
filed by the said Edmund Reynolds Fayerman in the Great Seal
Patent Office, on the 6th January 1854.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I,
EDMUND REYNOLDS FAYERMAN, of Shaftesbury Crescent, Pimlico, in
the County of Middlesex, Gentleman, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her
Letters Patent, bearing date the Sixteenth day of July, in the year of
our Lord one thousand eight hundred and fifty-three, in the sevci!-
teenth year of Her reign, did, for Herself, Her heirs and successors,
give and grant unto me, the said Edmund Reynolds Fayerman, Her
special licence that I, the said Edmund Reynolds Fayerman, my
executors, administrators, and assigns, or such others as I, the said
Edmund Reynolds Fayerman, 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, usc, exercise, and vend, within the United
Kingdom of Great Britain and Ireland, the Channel Islands, and Isle
of Man, an Invention for "A METHOD OF AND INSTRUMENT FOR KEEPING
TIME IN MUSIC," upon the condition (amongst others) that I, the said
Edmund Reynolds Fayerman, by an instrument in writing under my
hand and seal, 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 months next and immediately after the date
of the said Letters Patent.

page_text: Drawings therein referred to, that is to say:
IMPROVEMENTS IN TIME-KEEPING.
Time in music has usually been kept by making certain motions
with the hand, foot, or baton, its varieties being noted by Italian words
expressive of certain degrees of comparison, but not defining the exact
time applicable to cach variety. Time has since been reckoned by the
number of vibrations which a pendulum makes in a minute, but in this
reckoning no reference is made to the measures in which music is
written. The time in which music is performed varies considerably,
the slowest rate being about 50 quaver beats, or 25 crotchets in a
minute, whilst the quickest approaches to nearly 350 crotchets.
To all the known modes of keeping time different objections may be
made, and there is room for improvement. The dial seems to offer the
improvement needed. Whatever may be the rate of motion, the length
of the time from one vibration to another may be marked upon it by
the dial hand, while a collateral guide may mark cach bar of music
and its divisions so as to be seen, and it will be perfected by the
addition of apparatus made for striking to warn the car, and for
changing, accelerating, diminishing, or stopping at pleasure the rate of
motion.
A bar of music consists of .a certain number of quavers or other
equivalent notes. The different measures of music are regulated by the
number of notes in a bar and their accents, and are resolved into two
kinds of time, common and triple. These measures have severally such
a number of quavers that they are all contained within a given number
of bars equal to each other in quavers. A scale of 48 parts or quavers
will (with the exception of one species of triple time) include them all.
This will be apparent if the measures are arranged according to the
quaver scale annexed. As all these measures terminate at the end of
that scale, they may be marked upon a circular dial divided into '48

page_text: parts. The half dial of 24 parts with the half scale will suffice for
the illustration.
With this dial as a foundation, and the dial hand worked so as to
vibrate a like number of vibrations, a space can be devoted to each bar
of music. If one revolution of the band in a minute over the 48 parts
shows a slow rate of music time, every additional revolution or a portion
of it will show an increased rate, and a bar and its divisions may be
seen on the dial. A dial divided into 48 parts, and having a hand
with a radius of two inches, will allow a space of about two inches 'for
each bar of eight quavers, every quaver represented by one vibration on
the dial being visible. A radius of four inches will afford sufficient
space to embrace all the measures with their divisions.
The bars with their divisions may be given in consecutive circles,
and an indicator be added on the dial, or to the hand, or in other ways,
as a guide to the particular measure to be used, the time being reckoned
by the number of vibrations in the minute, and not by the number of
bars. As the smallest measure is composed of. an odd number of
quavers the quaver beat has been adopted in this arrangement.
In this arrangement the music measures are worked upon 2 founda-
tions, one of 8 quavers, and the other of 12 quavers, a certain number
of bars of the measures being comprized in each foundation.

page_text: common time, which may be subdivided
time (applicable also to the
on the other side of the circle into two portions).
The fourth circle gives common time of 8 quavers, indicated by a
broad line, and each bar also noted by a square mark.
The fifth circle gives 12 quavers for. the 6 crotchet bar. This may
also be marked so as to distinguish the bar as or time, both having
the same foundation in quavers.
The 8 crotchet or 16 quaver bar would require the whole dial, but
this seldom occurs in modern music. All the other measures may be
comprized within a series or scale of 24 parts, and the half-dial may
be worked with a double hand. If the indication marked on the circles
be insufficient an indicator of any shape may be affixed to the hand, or
the indication may be shown by using the music notes instead of marks,
or by numerals.
The bars, if they are numbered, will be available for counting rests.
The arrangement of the half-dial will allow other half dials to be
placed between the hand and the dial-plate of the machine, and thus
any required dial may be had in front for use.
ILLUSTRATION OF THE DIAL.
In the illustration given the time is taken as beginning with a rate
of one revolution in a minute, but capable of being extended to two
revolutions in a minute; the different measures being 3, 4, 6, 8, and
12 quavers in a bar, or the beats being from 1 to 12 in a bar, and the
half-dial only, with a double hand or 2 pointers, being used.
On the dials the vibration of the hand acts from one mark to another;
but if the music note, numeral, or mark be placed in the centre of the
vibration, and the bars be represented by broad lines of the same width
as the hand, drawn from the extremity of the pointer to the centre of
the dial, the dial will be divided into sections for bars and portions of
bars, and rendered more legible.
A few dials with only a single row of notes in semiquavers, quavers,
or crotchets (as in the notation dials) in the different measures, and
each note in the bar numbered also, with the bars thus put into sections
(or a set of dials, or one dial only, with numerals for each number of
vibrations in a bar), will be found clear and serviceable.

page_text: Several dials and hands are given only as illustrations; some are
intended for use in teaching; others for private practice; some as guides
to the formation of new dials; and some adapted only for time-keepers
of large size.
In some cases a preference may be given to dials with marks only
(as in Nos. 21, 22), or to others where counting bars of rests may be
an advantage (as in Nos. 16, 17), or to music notes only (as in Nos. 19,
33, 34, and others derived therefrom), and having the notes separated
into bars, or to numerals only (as by forming a dial from No. 26, by
removing the marks and placing the numerals 1 to 6, or 1 to 12, in
the upper divisions, and 1 to 4, or 1 to 8, in the lower divisions,
and representing the bars by broad lines), or to music notes and
numerals together (as giving a guide to notes and rests instead of
counting, and to the even and odd vibrations for stops, for in the case
of triplets the odd vibration will fall on the 1st and 3d notes in one
triplet, and on the 2d in the next). Scc Nos. 39 to 50.
DIALS WITH TWO POINTERS.
No. 1. A dial with three circles, the outer for 2 beats in a bar, the
middle for 3 beats on the outer sido and 6 on the inner side, the
12 being taken as 3 fours or 4 threes, and the inner circle, 4 on the
outer side, and 8 on the inner side.
No. 2. A dial with 2 circles, the inner side of the largest for 3 and
6 beats, and the smallest for 2, 4, and 8.
No. 3. A dial with one circle, marked on one side for 3, 6, and 12,
and on the other for 2, 4, and 8.
No. 4. A dial with 2 sets of measure circles, the vibrations in both
being alike. In the upper the marking or counting is by quavers, and
in the other by the whole bar, or by crotchets.
No. 5. A dial with 2 sets of measure circles marked with music
notes. The upper set is for quaver beats only, each vibration being a
quaver. The lower set is for crotchet beats only, each vibration being
a crotchet. This differs from No. 4. If the number of circles be
objectionable, the half dial plan will allow of half dials being formed
with only one measure, in quavers or otherwise, changeable at pleasure.

page_text: .
Nos. 6, 7, 8, 9, 10. A set of 5 dials for showing separately in
music notes the different measures erected on their respective founda-
tions of semiquaver, quaver, crotchet, or minim.
In No. 9, one of
the circles is worked by half bars. In No. 10, the semiquaver circle
has been omitted, in order to give the different divisions of the 12
quaver time.
set.
Nos. 11, 12, 13, 14. A set of 4 dials for showing the 5 measures
together on one dial on their respective foundations, as in the former
No. 12, is the original foundation dial. These two sets of dials
may be found useful in teaching, and also for playing music at a
slow rate.
No. 15. In one species of triple time, of which is the most usual
form, a boat is generally made for each triplet of notes; but if it be
essential that the bar and each quaver therein should be visible, they
may be shown by consecutive circles. This dial is adapted to the
48-part dial, for as 8 bars of that measure contain 72 quavers, they
will be equal to the half dial of 24 parts and 2 repeats, and, therefore,
at the end of the first half circle the beat is counted on the second half
circle, and again on the third half circle, until a complete series of the
72 quavers has taken place at the end of the latter, as is shown by the
progression of the numbers 1 to 8. No strike can be had for this bar
of 9 quavers, but it may be made for each triplet of notes.
No. 16. The original scale comprehends 7 divisions of the number
24, and a beat dial therefore may be formed without reference to music
In this dial there are 7 circles for showing beats of 1, 2, 3,
4, 6, 8, and 12, in a bar, marked in regular gradation.
measures.
No. 17. A beat dial, re-arranged from No. 16. into two parts, and
better suited to the eye. The upper part has 4 circles for 1, 2, 4, and
8 in a bar, and the lower part 3 circles for 3, 6, and 12 in a bar.
This may be further reduced in the number of circles by marking the
outer and inner side of a circle instead of a circle on one side only.
As in practice the number of beats in a minute is limited, the slow pace
being taken by short notes, and the quick pace by long notes, a limited
regulator only is necessary. With 48 vibrations in a minute, and the
regulator extending from 48 to 96 in a minute, this beat dial will show

page_text: all beats from 48 to 96, whatever the denomination of the beat may be.
If the quaver beat be from 48 to 96, the dial will answer for that beat;
if the quaver beat exceed 96, the beat will be taken by crotchets from
48 to 96; if the crotchet beat exceed 96, the beat will be taken by
minims from 48 to 96; and if the minim beat exceed 96, the heat will
be taken by semibreves from 48 to 96. And thus a rate of 384
crotchets in a minute may be shown.
If the foundation be considered as 48 semiquavers, a starting rate
will be represented of 12 crotchets in a minute; and as.demisemiquavers,
6 crotchets. And thus any music measure, at any rate of speed, and in
any notes, is to be arrived at. In short, a vibration may embrace any
number of notes, and a note may have any number of vibrations.
If the motion be at a high rate, beats for a low rate may be counted
by taking the number which the parts of the circle bear to that rate
of motion. Thus, if the rate be 144 vibrations in a minute, that will
be the number counted by the onc-part circle, but by the others
72, 48, &c.
No. 18. A dial having numerals for the bars instead of marks. The
divisions within each bar may also be noted by small numerals or dots.
On the dials the bar number has been placed at the end of the
vibration, and not according to the mode adopted in counting bars, by
expressing the number of the bar at its commencement. In this dial
the upper portion is devoted to 1, 3, and 6 in a bar, and the lower
portion to 2, 4, and 8. The 12 bar can be taken by any of the upper
rows of figures.
No. 19. A notation dial showing the duplicate ratio of music notes,
and serving as a foundation of 48 semiquavers, applicable to the 2, 3,
or 6 crotchet bar, and also to the 4 crotchet bar, by reckoning a bar
and a half on the half dial, and the like on the repeat thereof.
No. 20. The music measures, taken in another view, may be said
to be composed either of 2 or 3 parts, or of 3 or 4 parts, or of certain
multiples thereof, and therefore time may be kept by dials showing
only the divisions of 2 and 3, 3 and 4, or 8 and 12. This dial is
restricted to 3 circles, one for the 1 and 2 parts, and the others for the
3 and 4 parts, and by which all the measures may be counted by

page_text: taking 2, 3, or 4 divisions for a bar. The parts are, therefore, not
numbered.
No. 21. A dial with 2 circles having the foundations as 8 and 12
with the intermediate parts.
No. 22. A diul showing the 4 and 6 parts on double circles, with
two other sets on the duplicate ratio, the foundations being 48, 24, and
12 parts, and enabling time to be shown by the same regulator nt
slower rates. One of the circles requires an entire revolution to com-
plete the series of parts.
Nos. 23, 24, 25, 26. In working out the dial other geometrical
figures instead of circles will also assist the eye, of which examples are
given in these dials. The cypher in the outer circle of No. 26. denotes
the even vibration number.
DIALS WITH CENTRAL NOTES.
No. 37. For 2 beats in a bar.
No. 38. For 3 beats, with the odd vibration mark.
No. 89. For 4 beats, numbered.
No. 40. For 6 beats, numbered.
No. 41. For 4 quavers in a bar, with notes numbered.
No. 42. For 8 semiquavers in a bar, with notes numbered.
No. 48. For 8 quavers in a bar, with notes numbered.
No. 44. For 6 semiquavers in a bar, with notes numbered.
No. 45. For 6 quavers in a bar, with notes numbered, for time.
No. 46. For 6 quavers in a bar, with notes numbered, for time.
No. 47. For 12 quavers (triplets) in a bar, with notes numbered.
No. 48. A numerical dial for 3, 4, 6, and 8 beats in a bar. If the
stop be required, it is better to omit the second set of 1, 2, 3, as the
stop must be worked by the numbers 4, 5, 6.
No. 49. A numerical dial for 8 and 12 beats, with half and quarter
bars for 2, 3, 4, and 6.
No. 50. A numerical dial for 12 and 8 beats, with a similar division.
DIALS WITH EXTRA POINTERS.
No. 27 (with 27 A). When it is required to show only a few bars
limited portions of a dial will suffice, if the number of the pointers be

page_text: increased. This dial consists of 2 sections of the original dial, in which
the foundations of the 8 and 12 quavers become more prominent. The
upper arcs consist of a series of 8 parts (one sixth of the whole dial)
for 1, 2, 4, and 8 beats in a bar, worked with 6 hands or pointers.
The lower arcs consist of a series of 12 parts (one fourth of the whole
dial) for 1, 3, 6, and 12 beats in a bar, worked with 4 hands or pointers.
The form of the hand is given in 27 A. The position of the 12-part
circles has been varied in this dial to suit the cyc, and there will
therefore be no strike at every 12th vibration, but a strike can be had
for cach 6. The 9 quaver time is attainable by the lower series, as 3
sections of 12 are equal to 4 sections of 9. If the 12 parts be not
required the foundations may stand as 8 and 6.
No. 28 (with 28 A). A dial showing only single bars on a quaver or
beat foundation, all working at the same time, with a pointer for cach
bar, repeated in cach circle according to the number of its several
parts. The position of the bars is adopted to harmonize with the
strikes. If the positions are altered to suit the cyc, (as in No. 27,)
the strikes will not in all cases agree with the bars. This dial has
been limited to 4, 6, 8, and 12 parts, as the 2 and 3 can be taken
from those bars.
No. 29 (with 29 A). A dial restricted to the medium numbers 4 and
6, the 2 and 8 being taken as the half of those numbers, and the S
and 12 as double or half bars.
No. 30 (with 30 A). The same as 29, but the position alters the
strikes.
No. 31 (with 31 A). A dial similar to No. 27, reduced to the founda-
tions of 8 and 12. Horizontal lines may be used instead of arcs, if
drawn from their proper vibration points.
No. 32 (with 32 A). A pyramidal dial, serving for bars of 2, 4, 6, 8,
and 12 beats, and by the half section for 1, 2, 3, 4, and 6, but the
strikes do not agree with it. As whole bars there can be no strike,
except for the 8. If the half section be adopted, the strikes will then
act for 2, 3, 4, and 6, as whole bars; or as half bars, if the whole of
the parts be considered as bars. A similar arrangement may be made
by placing one bar on each side for each set of vibrations from 2 to 12.

page_text: In this case the strikes will agree with the dial, except as to the bar
of 8. There is no strike for a single vibration.
No. 33 (with 38 A). Another notation dial on the plan of No. 19,
with a semiquaver foundation, which may be used with the 2 pointers.
The compound hand 33 A, is applicable to both dials, the triangular
pointers answering to the 12 parts, and the square pointers to the 16
parts.
No. 34. Another notation dial, with a quaver foundation.
No. 35 (with 35 A). A. dial showing separately the measures in notes,
on their foundations in quavers, ascending in music notation, each bar
having a distinct pointer. Some of the positions may be varied. As
arranged, the strikes agree with the dial. This form of hand will itself
serve as a dial (to be worked with 2 pointers), and may be marked with
figures, as the indicators on the outer circle exhibit 1, 2, 4, and 8 parts,
and those on the inner circle 3, 6, and 12.
No. 36 (with 36 A). The preceding illustrations have becu on the
half dial, but other variations can be made, if the whole dial of 2 or
more series of the 24 parts be in use. For this purpose the grooves on
the dial-plate may be removed, and the regulating dial placed in
another or lower position. An example on the whole dial is here given.
As that dial consists of 48 parts, and the 5 measures in quavers contain
33 parts, these measures may be arranged on one dial in distinct com-
partments, cach containing one bar on a beat or quaver foundation, or
beginning on a quaver foundation and ascending in music notation.
The positions can be altered, but, as arranged, the strikes agree with
the dial.
If a greater space be required for showing a beat, the radius of the
dial may be extended, and thereby increase the width for the vibration,
or 2 or more vibrations may be taken to represent a beat. If that part
which before was termed a bar be considered as a beat, the foundations
on the 7 circles (No. 16,) will be 4, 6, 8, 12, &c. in a minute,
capable of being extended with the limited regulator to double those
numbers.
If the regulator allows a greater extension the dial becomes avail-
able. If the rate be up to 180, and the bar be used as a beat, a beat

page_text: may be taken in different ways. The 60 beat will be found on the
1-part circle going at the rate of 60, on the 2-part circle at the rate of
120, and on the 3-part circle at the rate of 180. Many arrangements
of this nature may be made, according to the extent of the scale, and
thus a different rate of motion may be had with but a small variation of
the regulator.
DIALLING EXTENDED.
The arrangement has been made on a dial of 48 parts, with a quaver
or beat foundation giving a vibration to each; but the working of the
dial may be varied by altering the vibrations. If there are 48 vibra-
tions in one revolution agreeing with the 48-part dial, the illustrations
before given coincide with the dial. If the works of the machine are
constructed to show 96 vibrations in one revolution of the hand, there
will be two vibrations to each part on the dial of 48, the difference
between these being, that in the 48-vibration dial the vibration is
made from one mark to another, and in the 96-vibration dial a
vibration will fall between each mark. Thus the latter becomes on the
48-part dial, although not so marked, a semiquaver foundation.
If the dial and vibrations comprize 3 series of 24 parts, or 72, the
half dial will be 36, and then the 9 quaver time can be marked, but
not the 8 quaver. If 4 series, or 96 (the half being 48), then the
8 will be in, and the 9 out. If 6 series, or 144, both the 8 and 9 will
be in the half dial.
These have reference to the dial worked with 2 pointers, but more
pointers may be used. In the 72 dial 3 pointers may be employed,
and thereby give the series of 24 parts, acting either from the vibration
point 0 to 24, or centrally from 6 to 80. The 96 may have 4 pointers
acting from 0 to 24, or centrally from 12 to 36. A 60-second dial
will not give the 8 or 9 parts, but a half-second dial will include the 8.
As the different beats in a bar are comprized in the series or scale of
24 parts, the dial may consist of one series or more, and the fewer the
series used the greater will be the number of the revolutions of the
hand. In the illustration a preference has been given to 2 scries or
48 vibrations on one dial for the following reasons:-That dial formed
the original foundation, and taken at one revolution in a minute, it

page_text: approximated to the lowest number of beats in that time, regard being
had to the measures coinciding with it; it enabled the system of dialling
to be illustrated more conveniently by half dials, removable at pleasure,
than by whole dials; the half dial reduced the series into a smaller
space, and caused the eye to traverse a less surface; it brought the
vibrations and circles into a convenient space, and on a half dial of
moderate size, and the rate of motion required in working it not being
too rapid for the eye.
The illustration has been limited to a time-keeper of small size for
private practice, but the time-keeper may be enlarged and adapted to
public use, and thus made available for the choir, the orchestra, the
school, &c.
PRACTICAL ILLUSTRATION.
The numbers, vibrations, or beats by which time is reckoned are
generally comprized between the numbers 60 and 120 in a minute,
taken in quaver, crotchet, or minim notes. Occasionally, and particu-
larly in sacred music, beats are stated at a slower rate than 60, but
double the number on a lower note, or 2 vibrations equal to the
higher note occupy the like time; and a greater number than 120 also
appears, which can be reduced to half the number taken as a higher
note. If the scale for the regulator be limited from 60 vibrations up
to 120 in a minute all the essentials for time-keeping may be said to
be accomplished. A substitution, therefore, of 60 to 120, or one and
a quarter revolution up to 2 and a half revolutions in the place of the
illustration of 48 to 96, unites theory with practice, and the dial and
machine form a music time-keeper.
The dial on which one revolution of the hand gives 48 vibrations
serves as a foundation from which additional vibrations or beats may be
reckoned up to any required number in a minute; and, that it may be
adapted to the measures and the general rate of time, it consists of a
repetition of 24 parts, embracing those measures distinguished by sub-
divided bars. A further repetition or increase is obtained by a pendulum
made to work at a greater speed by means of a movable bob.
If the 60 beats be reckoned in a minute, and the pendulum be set to
the graduated scale at 60, there will be one revolution on the whole

page_text: A
lial and a quarter of it, 24, 24, and 12, equal to two half dials and a
half, or in the whole 60 parts. If the time be counted at 120 beats in
a minute, and the pendulum be set to the graduated scale at 120, there
will be 2 and a half revolutions in a minute, equal to five half dials, or
120 parts in the whole; but the graduated scale on the time-keeper,
constructed according to the Drawings, extends from 60 to 190.
scale agreeing with the duplicate ratio of music notes will be sufficient,
whether that scale be from 60 to 120, or higher numbers in like pro-
portion; the difference being that a slower rate than the pendulum
vibrates will be taken by beats on a different note, and a higher rate at
half the number, or in other ways.
The notation on the dials and the strikes commence from the zero,
point on the left-hand side of the dial, and all the strikes terminate at
the end of each half dial, except the 16 and 48, which require the
whole circle to render the series complete. The strikes are 9 in number,
and can be used for every 2, 3, 4, 6, 8, 12, 16, 24, or 48 vibrations
in a bar, or for portions of a bar, as the dial may serve as a bar-
keeper.
The time can be changed or gradually increased or diminished by
turning the regulator, without any stoppage in the machine.
The motion of the machine can be stopped at any time for a pause
on any vibration by turning the stop-key either to the right or left. If
thic stop is to be made on the odd number, the stop-key must be turned
to the word ODD on the right-hand side, as marked on the dial and if on
an even number, then to the word EVEN on the left-hand side. When
the motion is required to proceed, the stop-key must be set to the word
GO. In all cases the spring of the stop must fall into its notch.
The hand is to be placed on the square at its centre only in onc
position, and for this purpose the notch on the hand must be over the
notch on the square. On the hand one of the pointers has a needle
point which answers to zero, in case it be requisite to know when the
strikes coincide with it.
When the pendulum is set at 60 it will vibrate 4 hours. If it should
be accidently stopped, the stop should be used, and the pendulum made
to vibrate.

page_text: DESCRIPTION OF THE MACHINE.
Fig. 1. A front view of the machine complete. A, is the dial-plate,
upon which are fixed two brass grooves B, B, for the reception of the
various half dials, which severally slide down them on to the rest C.
D, is the hand, which is fitted on a square at its centre by means of a
pipe, so that it is removable at pleasure for the purpose of putting on
another in its place. E, is the regulating dial, having a graduated are
running from 60 to 190, the divisions and numbers indicating the
vibrations of the pendulum and dial-hand during a minute of time,
when the regulating hand F, points to such number. In this Figure
the foundation dial is in its place.
Fig. 2. A side view of the machine complete, showing its general
arrangement. A, is the dial plate, as in Fig. 1. B, the grooves.
D, the hand. E, the spindle on which the regulating hand F, is fixed
in front, and the regulating pulley G, behind. H, is an adjustable
pendulum.
Fig. 3. A view of the going train of wheels in situ; having the dia!
plate and front plate removed. A, is the barrel which contains a spring,
the motive power employed. B, is a main wheel fixed firmly on to the
barrel A, and rotating with it during the unwinding of such spring.
This wheel works in a pinion C, firmly fixed on the same axis as the
second wheel D, and turning with it. This wheel D, works in a pinion
E, on the axis of the wheel F, which wheel (technically called a scape-
wheel) has 24 pins on each side, instead of teeth. These pins act upon
the two dead-beat pallets G, G, one of which is on one side and one on
the other of the wheel F, so as to change the rotating motion of that
wheel to an alternating motion, which motion is transmitted to the
pendulum at each vibration. This it does by means of a pin (in contact
with the pendulum) which is fixed.to the arm H, and thence firmly on
the pallets G, G, so that the uncoiling of the spring maintains the
motion of the pendulum. On the axis of the scape-wheel is fixed the
hand, so that at each vibration the hand goes forward one forty-eighth
part of the whole circle.
. Fig. 4, shows the means employed to retain the spring when it has

page_text: been wound. A, is the axis round which the barrel spring is wound.
B, is a wheel having ratchet teeth on it, squared on to the axis A. C, is
a click, and D, a spring acting on it, to press it into the teeth of the
wheel B. When it is pressed in one direction the axis A, is free to
move, the click C, sliding up the inclined teeth of the ratchet wheel B.
The arbor is prevented from returning by the shape of the wheel-
tooth, and thus the spring is held wound up till it has expended itself
on the pendulum.
Fig. 5, is a back view of the machine, the stop-work being removed.
A, is the dial-plate. B, the back plate of the machine. C, the pen-
dulum vibrating freely on its axis D. E, is its lower or fixed bob.
F, its upper or movable bob, by raising or lowering which the beats of
the pendulum can be regulated or adjusted. To this movable bob is
fixed the regulating line passing from it over the pulley G, down to a
guide H, coincident with the centre of motion of the pendulum D,
and thence round the regulating pulley I, to which it is attached; so
that the revolution of the pulley I, from K, to K. 1, draws the upper
bob F, from the bottom to the top of the rod of the pendulum, at
which place the pendulum makes 60 oscillations in a minute, while at
the bottom it makes 190 in the same time. This regulating pulley is
moved by turning the regulating hand (F, in Fig. 1), so that each
degree of variation from 60 to 190 vibrations in a minute may be
immediately obtained, and that without in any way stopping the motion
of the pendulum or hand, or, in fact, any part of the machine.
Fig. 6, is a side view, and Fig. 7, a top view of the striking arrange-
ment. A, is the scape-wheel, upon the axis of which are firmly fixed
9 wheels, cach lettered B, (as seen in Fig. 7,) and having respectively
1, 2, 3, 4, 6, 8, 12, 16, and 24 teeth. These wheels revolve with the
scape-wheel, and their teeth catch upon the tail C, of the hammer D,
which is thus lifted up until it allows the tooth of the wheel to pass it,
when it falls and strikes the bell E. The bell is fixed to a stand F,
again fixed to a slide G, so that the slide G, the bell E, and the
hammer D, with its tail C, can be brought to any position, to be acted
on by any of the wheels, or none, as required, causing in such case as
many strikes in one revolution of the hand, coincident with 48 vibra-

page_text: tions of the pendulum, as there are teeth on the wheel in action.
The slide is held in its several positions by the spring H, falling into
notches in the piece I. This may be seen better by referring to Fig. 2,
where X, is the spring, and Y, the brass notelied. The mode of fixing
the bell apparatus may be varied by allowing the slide to be pulled out
from the front of the machine instead of the back.
Figs. 8, and 9, are respectively back and side views of the arrange-
ment for stopping the machine, showing the stop out of action, and the
machine stopped by its agency. The turning of the cradle A, upon its
axis on either side brings the roller B, attached to it against the lower
bob of the pendulum, and carries it to the extremity of its vibration,
where it is held until released by the return of the stop to its original
position, when the pendulum is free to vibrate. The stop is retained in
any of the three positions by a spring acting on a notched roller placed
in front of the back plate. The cradle is turned by a key put on the
arbor of the spindle in front of the dial.
The views of the machine are to a scale of half an inch to an inch,
except Figs. 6, and 7, which are of full size.
If the dial consists of 8, 4, or more series of the scale of 24 parts,
then the scape-wheel, pins, strike-wheels, pointers, and other parts of
the machine must be increased and altered accordingly.
IMPROVEMENTS EFFECTED.
The improvements effected consist in the dialling for music time-
keeping; the movable half dials and hands for exhibiting the music
measures and changes at pleasure; the adjustable pendulum for
making an immediate change of time without stopping the motion,
and enabling time to be accelerated or diminished at pleasure; the
strikes for any bar of music in unison with the dial from 2 to 48
vibrations; and the stop for making pauses at any vibration.
And having now described the nature of my said Invention, and in
what manner the same is to be performed, I declare that I claim,-
First, the method or system of dialling for keeping time in music,
herein-before described and illustrated in the Drawings hereunto
annexed.

page_text: And, second, the general arrangement and construction of the instru-
ment herein-before described for keeping time in music, wherein the
time is noted by a strike or bell, and by an adjustable pendulum, all as
herein-before described, and whether the striking arrangement or the
adjustable pendulum be employed separately or in combination.
In witness whereof, I, the said Edmund Reynolds Fayerman, have
hereunto set my hand and seal, this Twenty-sixth day of De-
cember, in the year of our Lord One thousand eight hundred
and fifty-three.
E. R. FAYERMAN. (L.S.)