US1270985A - Note-sheet for player-pianos and the like. - Google Patents

Description

C. F. STODDARD.

NOTE SHEET FOR PLAYER PIANOS AND THE LIKE.

APPLICATION FILED APR. 23. 1912. RENEWED OCT. 2a. 1916.

Patented July 2, 1918.

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CHARLES F. STODDARIJ, OF BOSTON, MASSACHUSETTS.

NOTE-SHEET FOR PLAYER-PIANOS AND THE LIKE.

Application filed April 23, 1912, Serial No. 692,649. Renewed October 28, 1916.

To all whom it may concern:

Be it known that I, Crrumns F. S'roD- min), a citizen of the United States, and a residentof Boston, county of Suffolk, and State of Massachusetts, have invented a new and useful Improvement in Note-Sheets for Player-Pianos and the like, of which the following is a specification.

This invention relates to notesheets or the like, as, for instance, the well known perforated note-sheets for automatic or partly automatic musical instruments.

One of the principal objects of the invention is to provide a notesheet characterized by a novel construction and arrangement of note playing perforations such that the playing of an automatic piano-player, for eX- ample, is greatly and desirably improved, especially as regards the emphasizing, more or less, of selected notes or the relative suppression in greater or less degree of other non-selected notes, and preferably also as regards the tone-coloring and the correlation of tonal effects.

The character of the invention may be best understood by reference to one illustrative embodiment shown in the accompanying drawing, which shows a preferred notesheet such as may be used upon standard player-pianos or piano-players.

In the drawing, an arrow indicates the assumed direction of travel of the illustrative notesheet. The perforations represented by full lines are those which would have been cut in accordance with prevailing prior art practice, usually by reference to a score or record of the composition intended to be embodied in the note-sheet. The prior art practice referred to consists generally in locating the advance ends of the perforations in proper relations to play the notes in desired musical sequence, and giving to the perforations relathrelengths corresponding to the relative durations of notes indicated upon the score or record.

In the illustrative improved note-sheet of the drawing, some of the full line perforations are extended, as indicated in dotted lines, by being substantially prolonged to produce unique effects more fully explained hereinafter, practically without regard to the (lllftlOllS of tones representd by the symbols or indications in the score or record.

One of the important features of the invention pertains to the correlation of two or Specification of Letters Patent.

Patented July 2, 1918.

Serial No. 128,344.

more perforations for sounding and resounding the same tone a plurality of times. For instance, the perforation 5 sounds a note which is resounded three times by the perforations 7 22 and 24-; the perforation S initiates a tone which is twice resounded by the perforations l0 and 26, respectively. For illustration, the perforation 5 is shown as having a prolongation 6, the rear end of which is positioned in close proximity to the advance end of the resounding perforation 7. Preferably, the hiatus between the rear end of prolongation 6 and the advance end of perforation 7 is made, in the illustrative example, as small as practicable to ermit of a resounding by the perforation In the usual operation of a player-piano action, the advance end of the perforation 5 would cause the undamping and percussion of its corresponding string. After this initial percussion, the damper would remain away from the string throughout the length of the perforation 5 and prolongation 6. When the rear end of the prolongation 6 reaches the tracker, and the tracker vent is closed, the damper is returned to the string, thereby tending to terminate the vibration of the string. It is a fact, however, that the damping of a string does not immediately cause a complete cessation of vibration. On the contrary, since the string is vibrating through a considerable length, and the damper is applied to only a small fraction of that length, the momentum of the string continues its vibration for a substantial period after the damper is applied. This vibration, which continues after the damper has been applied, and which may be called for convenience residual vibration, is especially marked and audible in the strings of the lower middle, and bass, divisions of the piano, said strings being of greater mass and inertia. Therefore, when the rear end of the prolongation 6 permits the redamping of its string, the residual vibration is still continuing when the note is resounded by the advance end of the perforation 7.

The effect of this arrangement is to resound the note while the string is still vibrating. In other words, the effect is to super-pose upon the already existing residual vibration a further vibration resulting from another percussion. hus, the combined ef fect of the perforation 5, its prolongation 6, and perforation 7, is to produce a substan- 1 a whisper in a silent room would be decidedly audible and conspicuous. In like manner, the fact that the note of the perforation. .7 occurs in the midst of the sub stantially continuous tone and before the vibration. sustained by the prolongation 6 has terminated, renders the note of the perforatien .7 substantially less emphatic and conspicuous than it would be if the prolongation 6 Were lacking orwere terminated at a substantially greater distz nce from the ad- Vance end ofthe perforation 7 In other words,, the vibrations sustained by the perforation ti and the residual vibration, substantially reduces thecontrast produced by the resounding of the note, and therefore the note appears to the listener to be softer and less conspicuous.

Itisassumedthat prolongation 17 is terminated asclose as practicable to the advance end of the prolongation 22; and that the prolong tion 23 is terminated as close as practicable to the advance end of the perforation 24 Thus, the note initially sounded by the perforation 5 is continued substantiallywithout interruption to therear end of the perforation. 24, the resounding thereof by ,the perforations 7, 22 and 24c having the effect upon the bearer of substantially subdued punctuations of the continuous tone -subdued, because of the lessened contrast the established continuity of tone rk similar effect is produced by the perforation 8 having its tone prolonged substantially continuously by the prolongation 9, perforation l0, prolongation 18, perforation26 and prolongation 27, the resounding of the tone by the perforations 10 and 2,6 appearing to the hearer to be substantially subdued. Thus, the prolongations and resounding perforations following the perforation5, together with the prolongations and resoundingperforations following the perforat on 8, pro,duc e asubstantially continuous harmony, punctuated at intervals to suit the desired musical sequence of the notes, by resounding perforations, the whole harmony having a generally subdued efiect, producing a more or less subdued bgqk rtamcnfor suchnotes as may be desired to be emphasized.

For example, it may be assumed that the perforations 11', 13' and 11 are intended to play notes WhIOll are des1red to be com parati'vely conspicuous. .To suit this pur pose, the prolongation-12 of the perforation 11 may be terminated far enough from the advance end of the perforation 13 to permit the residual vibration of its string to cease entirely before the resounding of the note. Thus, the contrast upon resounding is rendered more marked and the note played by the perforation 13 appears more conspicuous. It will be evident to those skilled in the art that there may be various intermediate degrees of contrast between the extreme represented by the prolongation 6 and perforation 7, wherein the contrast is minimized, and that represented by the prolongation 12 and perforation 13 wherein the contrast is a maximum. For instance, if the rear end of the prolongation 12 Were moved nearer to the advance end: of the perforation 13, but not so close as the prolongation 6 to the perforation 7, the contrast would be diminished but not minimized. Such an arrangement of selected perforations may be adopted consistently throughout any practicable extent of the sheet. For example, the notes of the perforations 11, 18, 14, 29,30 and 32 will be played with substantial emphasis as contrasted with the notes played initially by the perforations 5 and 8 and continued as described. I

The effect of relatively subduing the note of perforation 7, for example, may be attributable not only to the superposing of thenew vibration upon the already existing residual vibration, but also to the condition of the hammer action at the time the, note is resounded. When a string is being held undamped, as by the prolongation 6, the hammer of the action stands at an intermediate position close to the string as compared to its position when the string is damped and the action idle. Vi hen the rear end of the prolongation 6 returns the damper to the string, the hammer begins its further retreat toward its position of-maximum distance from the string, but the immediately following resounding operation caused by the advance end of the perforation 7, catches the hammer before it has completed its full retreat and therefore the stroke of the hammer in resounding the note is of less length than the normal stroke. As is Well understood inthe art, the loudness of the note depends largely upon the length of the hammer stroke, this circumstance being utilized in the soft pedal mechanism of the piano, which moves all the hammers up close to the strings to cause soft playing. It follows, therefore, that the prolongation 6 holds the hammerin an intermediate position and the advance end. of the perforationj returns the hammer to the string for a new percussion before the hammer can return to its normal position of maximum distance from the string.

It is evident, therefore, that the note resounded by the perforation 7 may be not only subdued by contrast to the continuing tone, but may be also actually subdued by the control of the hammer by the cooperation of the prolongation 6 and perforation 7.

In the case of the prolongation 12 and perforation 13, the distance between the two may suffice not only to terminate the residual vibration, but also to permit the hammer to retreat to its maximum distance from the string. Thus, the note may be resounded by the perforation 13 with an absolute intensity greater than it would have if prolongation 12 were terminated closer to the perforation l3.

It is preferred to combine the features of construction and arrangement, such as described above, with a characteristic prolongation, such as to-produce a highly desirable tone coloring and quality. For instance, the specific perforation 1 has a prolongation 2 which extends throughout the length of that part of the note-sheet illustrated in the drawing; and it is assumed that the tone of the perforations 1, 2, is in harmony with all the other notes played. The effect of .this prolongation is to contribute the sounding of the tone of this perforation to all of the harmonies which follow the initial sounding and throughout the playing of all the notes represented in the drawing. If the note-sheet were cut in accordance with prevailing prior art practices, the note of perforation 1 would have only the duration represented by the full line perforation 1 and its tone would not enter into any of the succeeding harmonies, but wouldbe entirely lost thereto. On the other hand, the prolongation 2 provides that the tone-sounding element, the string, for instance, shall be maintained free tovibrate not only to the original percussion, but also sympathetically in response to the vibrations of other notes which are sounded.

The transverse lines in, 022, m m divide the perforations into three groups corresponding in general to groups of notes in the composition to be played. For example, the group between the lines m, we may correspond to a so-called pedaled section of the score or record from which the sheet is made; i. 0., a section through which a loud or damper pedal operation is supposed to extend, as by being so indicated upon the score or record. That is to say, it may be assumed for illustration that the damper pedal is intended to be depressed and released at points corresponding respectively to the lines 222 and m,- and to be again depressed and released at pointscorresponding respectively to the lines P and m and again depressed and released at points corresponding respectively to the lines P and m Thus the note sheet sections mm, Pm and P'm may be considered as pedaled sections of the sheet, so-called for convenient designation. Said three sections may be considered as comprising a musical phrase, for instance.

It will be noted that the perforation 1 extends, for illustration, throughout three of these groups or sections. The perforation 3 has a prolongation at to sustain its note, or hold its string open for sympathetic vibration, throughout the duration of the first group m, m, and a perforation 5 has a prolongation 6 extending into close proximity with a perforation 7 :by which the same note is resounded in accordance with the musical sequence of the composition. The same is true of perforation 8,its prolongation 9, and a resounding perforation 10; and also of a perforation 11, a prolongation 12, and a resounding perforation 13. A perforation 14: has a prolongation 15 which sustains the tone intothe next group. A note 16 is also sustained from its initial sounding throughout the duration of the first group.

*ith the described illustrative arrangement itis seen that each note in the first group is sustained, following its initial sounding, substantially continuously throughout the duration of the group as a whole so that at all times each note may contribute either its own initial vibration or its sympathetic vibration to the volume of tone which is produced.

For instance, by the full line cutting, according to the prior art, only. two notes (those of perforations 14 and 16) would be sounding when the index X reaches the tracker bar and consequently the tone and harmony would be very meager; but with the illustrative prolongations embodying this invention, seven notes will be sounding (either normally or sympathetically) when the index X reaches the tracker bar, and the resulting richness of tone and harmony will be remarkably different.

It will be noted that the perforations 1, 7, 10 and 1% have respective prolongations 2, 17, 18 and 19, which continue their corre sponding notes from the first group of perforations, past the line m, and into the second group of perforations. At the same time, the prolongation 4 of the perforation 3 isterminated at the line 772 and also the normal perforations 13 and 16 are similarly terminated. This illustrates the elimination from the continued volume of harmony of certain notes which, if further prolonged, would create substantial discord, or would be otherwise undesirable,it being assumed, for example, that the strings of perforations 3, 13 and 16 would create material discord if left undampedto sound with the notes of the second group. The notes of perforations 1, 7, 10 and 14, however, being harmonious with the notes of the second group, they are continued by their prolongations so as to contribute their additional harmony to thatof the succeeding notes. The note originally sounded by the perforation 5 is continued, preferably without substantial interruption, by the prolongation 6, resounding perforation 7, prolongation 17, resounding perforation 22, prolongation 23, and resounding perforation 24c; but it is assumed that said note would not enter desirably into the harmony of the third group, and therefore the perforation 2 1 is terminated, for instance, at the line m In like manner, the note originally sounded by the perfora tion 8 is continued through the resounding perforation 26 and prolongation 27, the latter being terminated to avoid discord with the note of a perforation 28 in the third group. The note originally sounded by'the perforation 1 f is continued through a resounding perforation 29 and prolongation 30 which continues throughout the second and third groups, it being assumed that the note thereof is harmonious with the'other notes. In like manner, the note of the second group originally sounded by the perforation 20, is continued by the prolongation 31, resounding perforation 32, and prolongation 33 throughout the second and third groups; and,as already stated, the note of perforation 1 is continued by its pro longation 2 through all three of the groups. A new note is sounded by perforation 34 in the second group and is continued by the prolongation 35, resounding perforation 36, and prolongation 37, through the third group; and a new note sounded by perforation 4.4 in the second group is continued throughout the third group by its prolongation 45. The note of perforation 21, it is assumed, would not enter desirably into the third-group harmony, and therefore the perforation 21 is not prolonged. beyond its normal termination. In the third group additional notes are soundedby perforations 47, 25, 38, 2s, 39, 40 and 4.1, and these are continued by prolongations and resounding perforations as indicated, with the result that when the line m reaches the tracker bar, there would then be sounding (either normally or sympathetically) twelve diiferent notes, some of them having been prolonged from the first group, others. from the second group, and some merely prolonged within the third group, With the cutting in accordance with priorart practices, as in: dicated in full lines, there would be. only three notes sounding at the time the line m- -reaches the tracker bar;

Thus it will be evident to those skilled in the art that an arrangement of perforations suchas contemplated in this .i'iivent-ion may greatly improve the p synay seen-rising a very unique tone coloring and breadth of sustaining tone and harmony while subduing such resounded notes as desired, and emphasizing selected resounded notes.-

Certain features of the above explained invention are covered in an application, Serial Nuinber 687,307, filed by me on March 30, 1912, .and those features are not intended to be claimed herein, except in combination with other features herein described. Certain characteristics of construction and arrangement described above are also broadly covered in other copending applications.

It is to be understood that the illustrative embodiment of the invention which is shown .in the drawing may be variously modified to suit the characteristics of different compositions'or interpretations, and the invention may be variously embodied otherwise, all within the scope of the subjoined claims.

Claims 1. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having desired perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolongations extending beyond the rear ends of other perforations which are terminated to eliminate their tones from the volume of tone being sustained; certain of said prolongations having their rear ends positioned as close as practicable to the advance ends of corresponding resounding perforations to cause the resoundings to occur during residual vibration of the strings; and certain selected prolongations being terminated sufficient distances from the advance ends of corresponding resounding perforations to permit residual vibration of. the strings substantially tocease prior to the resoundings. 2. A note-sheet for player-pianos and'the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having desired perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is'made, said prolongations extending beyond the rear ends of other perforations which are terminated .to eliminate their tones from the volume of tone being sustained; and certain of said prolongations having their rear ends positioned as close as practicable to the advance ends of corre sponding resounding perforations to cause the resoundings to occur during residual vibration of the strings. 1

3. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to asses their notes in desire musical quence; and having desired perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolongations extending beyond the rear ends of other perforations which are terminated to eliminate their tones from the volume of tone being sustained; and certain of said prolongations being terminated suificient distances from the advance ends of corresponding resounding perforations to permit residual vibrations of the strings substantially to cease prior to the resoundings.

4. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having desired perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolongations extending beyond the rear ends of other perforations which are terminated to eliminate their tones from the volume of tone being sustained; and certain prolongations having their rear ends positioned close to the advance ends of corresponding resounding perforations but spaced far enough from said advance ends to permit residual vibration of the strings substantially to cease prior to the resoundings.

5. A note-sheet for layer-pianos and the like, having note per orations therein with their advance ends relatively located to sound their notes in desired musical sequence, and arranged tocorrespond with a succession of musical phrases; sections of the note-sheet corresponding to the respective phrases being characterized by having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolonged perforations overlapping in succession along the length of the respective phrase sections and cooperating to produce a substantially continuous singing tone within the respective phrases; and having certain of said prolongations terminated at selected distances from the advance ends of corresponding resounding perforations according as the resounding is desired to occur during or after cessation of the residual vibration of the strings.

6. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and arranged to correspond with a succession of musical phrases; sections of the note-sheet corresponding to the respective phrases being characterized by having perforations prolonged beyond lengths corresponding to the notation on the score or record from Which the sheet is made, said prolonged perforations overlapping in succession along the length of the respective phrase sections and cooperating to produce a substantially continuous singing tone within the respective phrases; and certain of said prolongations being terminated as close as practicable to the advance ends of corresponding resounding perforations to cause relatively subdued resoundings punctuating the singing tone.

7. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and arranged to correspond with a succession of musical phrases; sections of the notesheet corresponding to the respective phrases being characterized by having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolonged perforations overlapping in succession along the length of the respective phrase sections and cooperating to produce a substantially continuous singing tone within the respec tive phrases; and certain of said prolongations being terminated sufficient distances from the advance ends of corresponding re-,

sounding perforations to permit full emphasis of the resoundings.

8. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and arranged to correspond with a succession of musicalphrases; sections of the note-sheet corresponding to the respective phrases being characterized by having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheet is made, said prolonged perforations overlapping in succession along the length of the respective phrase sections and cooperating to produce a substantially continuous singing tone within the respective phrases; and certain of said prolongations being terminated respectively at different distances from the advance ends of corresponding resounding perforations to cause different degrees of contrast between the resounding tones and other concurrently sounding tones.

9. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence and to produce a succession of musical harmonies; sections of the note-sheet corresponding respectively to such musical harmonies being characterized by having perforations prolonged beyond lengths corresponding to the notation on the score or record from which the sheetis made and such prolongations extending from one such section into a subsequent section to augment the tone volume produced bythe latter section beyond that indicated by the score or record; and certain of said prolongations being terminated respectively at different distances from the advance ends of corresponding resounding perforations to produce different degrees of contrast between the resounded tones and other concurrently sounding tones.

10. A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; and having perforations in one pedale d section of the sheet prolonged beyond lengths corresponding to the notation in the score or record from which the sheet is made, and extendin into a following pedaled section of the sheet; and having prolonged perforations with their rear ends located in close proximity to the advance ends of corresponding resounding perforations substantially to minimize the emphasis of the resoundings.

V 11, A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence; having1 selected perforations prolonged beyond engths corresponding to the notation in the score or record from which the sheet is made, said prolongations extending far enough to permit audible sympathetic vibration of their strings and overlapping other perforations to cause such audible sympathetic vibration; and certain of said prolongations bein terminated respectively at different distances from the advance ends of corresponding resounding perfo ations to cause different degrees of contrast between the resounded tones and other concurrently sounding tones.

"12. A note sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and comprising initial perforations and corresponding resounding perforations; pertain initial perforations being prolonged beyond lengths corresponding to the notation in the score or record from which the sheet is made, and said prolongations being terminated as near as practicable to the advance ends of the corresponding resounding perforations substantially to minimize the emphasis of the resoundings.

7 13. A note-sheet for player pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and comprising initial perforations and corresponding resounding perforations; v ertain initial perforations being prolonged beyond lengths corresponding to the notation in the score or record from which the sheet is made, and said prolongations being terminated as near as practicable to the advance ends of the corresponding resounding perforations substantlally to minimize the emphasis of the resoundings; and certain other initial perforations being also prolonged as aforesaid but having their prolongations terminated at greater distances from'the advance ends of corresponding resounding perforations.

14; A note-sheet for player-pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and comprising sounding perforations and corresponding resounding per forations; certain of said sOl nding perforations being prolonged beyond lengths corresponding to the notation in the score or record from which the sheet is made, and said prolongations being terminated respectively at different distances from the advance ends of the corresponding resounding perforations,to cause different degrees of empha sis in the resoundings.

15. note-sheet for player-pianos and the like, having note perforations therein and their advance ends relatively located to sound their notes in desired-musical sequence, and comprising sounding perforations and corresponding resounding erforations; certain of said sounding per orations being prolonged beyond lengths correspondingto the rotation in the score or record from the sheet is made, and said prolongations being terminated near enough to the advance ends ofjresounding perforaing residual vibration of the strings,

, 16. A note-sheet for piano-players and the like, having note-perforations therein and their advance ends reljatiyely located to sound their notes in desired musical se quence, and comprising sounding perforations to cause the resounding to occurdur tions and corresponding resounding per- ;quence, and comprisingsounding perforat ons and corresponding resounding perforations; certain ,of said sounding perforations having their-rear ends located at dis- 'atflnces from the advan ends .of corresp nd ing resounding perforations, differing from .the respe tive corresponding distances indicated by the score or record from which the 11otcsheet is made, to determine degrees of emphasis of the resoundings.

18. A note-sheet for player pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence, and comprising sounding perforations and corresponding resounding perforations; certain of said sounding perforations having their rear ends located at distances, from the advance ends of corresponding resounding perforations, differing from the respective corresponding distances indicated by the score or record from which the note-sheet is made and also differing from each other to cause diiferent degrees of contrast between the resounded tones and other concurrently sounding tones.

19. A note-sheet for player pianos and the like, having note perforations therein with their advance ends relatively located to sound their notes in desired musical sequence and comprising sounding perform tions and corresponding resounding perforations; the imperforate bridges between certain of said sounding perforations and their corresponding resounding perforations having diiierent lengths to cause different contrasts in the respective resoundings, the lengths of said bridges being predetermined arbitrarily to suit said purpose regardless of the lengths of bridges corresponding to the score or record from which the note-sheet is made.

In testimony whereof I hereunto afiix my signature in the presence of two subscribing witnesses.

CHAR-LES F. STODDARD.

lVitnesses:

LAURENCE A. JANNEY, GEO. T. F OSTER.

Copies of this patent may be obtained for five cents each, by addressing the Commissioner of Patents, Washington, D. 0.

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