DE284919C - - Google Patents

Description

IMPERIAL

PATENT OFFICE.

PATENT LETTERING

- JVr 284919 - CLASS 51 a. GROUP

CARL PAUL JUNGE in DUISBURG.

Harmonium. Patented in the German Empire on July 7, 1914 .

The present invention relates to a harmonium, which as an orchestral as well as Solo instrument can come into use and on the one hand by the enlarged Range of two-sided half-games, on the other hand, characterized by rapid change of timbre target. The simplicity of the construction offers the possibility of a cheap one Manufacturing.

The innovation is that the wind chambers two in the transverse direction of the valve base have running register divisions, one of which between the first left play and the full work, the second is located between the second and third right games.

The drawing illustrates the subject matter of the invention in an exemplary embodiment, namely shows:

Fig. Ι the harmonium in a perspective view,

Fig. 2 the same in the front view after removing the front wall with partial Longitudinal section,

3 shows the bottom view of the valve base,
4 the plan view, and
Fig. 5 shows the section of the same according to AB of FIG. 2, while

Fig. 6 and 7 illustrate the disposition of the register arrangement.

It denotes 1 the step stool, 2 the scoop bellows, 3 the wind tunnels, 4 the wind ^ TaHe ~ ünd ~ 5 "the" valve base. The upper face the latter is through the leather beads 6, 7, 8 running in the longitudinal and transverse directions divided, which is used to accommodate the wind chambers 9 of the first, 10 of the second, 11 of the third, 12 of the fourth game forming partitions 13 are used.

As can be seen from FIGS. 6 and 7, the wind chamber division 7, 8 enriches the left half-games m with the notes lying between α b and c d , thereby increasing the previous range α e to df. Furthermore, this design of the wind chambers enables the mechanical registers -p to be arranged in the treble with a pitch range g h. In order to achieve the new sound connections created by the wind chamber division 7, 8, the increased valve openings 14 of all the games in the longitudinal direction are provided with valve flaps 15, some of which are common. The right half games η are here extended to three octaves (Fig. 1 and 7), whereby a total tone range k I of the right half games is created. This disakant range enables the wind instruments to be used correctly. Above all, the solos of the clarinet, which forms the second game with the left half-game Bourdon, can play along

Claims (4)

can be played using your own clarinet register. The new treble overtones also offer the possibility of the required playing style of the full work (Grand-Jeu). The first game sounds an octave higher than the second and is given the flute in the right half game, while the cello in the left half. To achieve a natural vibrato that is necessary for the deceptive imitation of the last instrument ίο, the tongues of the cello part (three octaves) can be built in double rows and tuned to float. The third game sounds two octaves higher than the second and contains the flageolet on the right and the viola on the left. The fourth game, which is at the pitch of the second game, has oboe on the right (without Forteregister - English horn) and bassoon on the left. Through this pitch, one achieves a harmony of the clarinet, oboe and flute that corresponds to the pitch of the orchestral instruments in question. The combination of the first, second and fourth game creates the lifelike sound effects of the brass instruments French horn, trumpet and trombone in a pitch and expressiveness appropriate to the orchestra. The pitch of the fourth game enables the oboe, the French horn and the trumpet to be used as solo parts in conjunction with the mechanical registers 0 (Fig. 6) of the first and third game. In addition, the treble and bass amplification of the second game can be changed as required by the fourth game by the same pitch of the second and fourth game. To achieve these purposes, the valve flaps 15 of the first, second and fourth game are actuated by vocal strips 16, which are hinged to the underside of the venous base 5 by hinges 17 and are moved by the .Registerzuges 18 through the abstract 19 in the usual way. The corresponding vocal line connection of the first, second and fourth game forms a fifth and sixth game, the first of which contains French horn on both sides, the second trumpet on the right and trombone on the left. This results in a significantly strong, orchestral richness of sound from these wind instruments. The fifth game consists of a combination of the second and fourth half-games, which are at the same pitch and which have the timbre of the French horn when the fort register is switched off the clarinet and oboe with the upper sourdins of the first game results in an imitation of the trumpet. This vocal strip arrangement also enables the mechanical registers 0 and p (FIG. 6) as well as the valve flaps 15 ', which are arranged independently of both half-games of the second and fourth game, to be activated simultaneously with the main register. The full work (Grand-Jeu) connects the second game with the treble of the fourth and the upper sourdine of the first game, whereby an orchestral harmonic sound effect of this register is achieved, because the Grand-Jeu of the orchestral harmonium should not have the character of an organ or a house harmonium , but to imitate the sound effect of an orchestral wind group. Since the system described is intended to be used specifically for the orchestra and the expression is constantly expressed in the orchestra, the magazine bellows and the expression register are dispensable and have therefore been eliminated. This reduces the manufacturing costs of the plant. The toggle levers 21, 22, 23, 24 and knee pushers 25, 26, which are arranged on the front wall 20 of the harmonium and which play the six half-games of the first, second and fourth game individually or in combination by pressing the on the Actuate tuning bars 16 attacking rods 27. The knee levers 21 (bassoon) and 22 (cello) are folded with the left knee, the knee levers 23 (flute) and 24 (oboe) with the right knee to the left or right. The knee presses 25 (Bourdon) and 26 (clarinet), on the other hand, are pushed forward into the harmonium. However, with the left knee in combination the toggle lever 21 or the toggle lever 22 with the knee lever 25, and with the right knee the toggle lever 23 or 24 with the knee lever 26 can come into effect at the same time. This combination creates the imitations of the French horn, the trumpet and the trombone. The toggle levers are appropriately bent inward and provided with rollers 28 at their ends for more convenient operation. Godfather NT-A ν Proverbs: 1. Harmonium, characterized in that the wind chambers (9,10,11,12) two have intermediate walls (13) extending in the transverse direction. 2. Harmonium according to claim 1, characterized in that the valve bottom (5) articulated vocal strips (16) so on the individual half-games are distributed that through the connection of the vocal strips distributed over the first, second and fourth game with one another, such as also through the pitch of the fourth game, which is the same as the pitch of the second game a fifth game (French horn) and a sixth game (trombone and trumpet) are formed can be. 3. Harmonium according to claim 1 and 2, characterized in that the second and fourth game each have a middle valve flap (15 '), which of the left and right half-games alternately through articulated on the valve base (5) and on the individual half-games distributed vocal strips (16) can be operated. 4. Harmonium according to claim 1 to 3, characterized in that on both sides the knee lever (25, 26) that activates the second games, knee lever (21, 22, 23, 24) are arranged, which attack the vocal strips of the first, second and fourth game and are designed so that they can take effect individually or in conjunction with the knee pusher. 1 sheet of drawings. Berlin, printed in the ReichsdrUCkerei.