US442303A - Majob - Google Patents

Description

(Model.)

J. J. BAGULEY.-

MUSIC CHART.

No. 442,303. Patented Dec. 9,1890.

UNITED STATES PATENT OEEICE.V

JOSEPH JAMES BAGULEC-OF TORONTO, CANADA.

Music-CHART.

SPECIFICATION forming part of Letters Patent No. 442,303, dated December 9, 1890.

Application filed December 27, 1889. Serial No. 335,162. (Model.) Patented in Canada .Tune 17, 1890, No. 34,542.

vbined Mechanical Diatonic Scale, Modulator,

Ohord-Combiner, and Organ-Key Denoter,7 or, for shortness, The Musicians Guide, and I do hereby declare that the following is a full, clear, and exact description of the same, which will enable others skilled in the art to Vwhich it appertains to make and use the saine, reference being made to the accompanying drawings, in which- Figure 1 is a face-plate made of any material, with portions cut out, leaving valternate spaces and bars. The said spaces are numbered from 1 to 8 on the major side, making an octave. The said octave is composed of twelve half-tones, viz., commencing with the space No. 1,then two half-tones or bara, then space No. 2, then two half-tones or bar a., then space No. 8, then one half-tone or bar o, then space No. e, then two half-tones or bar d, then space No. 5, then two half-tones or bara, then space No. 6, then two half-tones or bar a, then space No. 7, then one half-tone or bar a, thenl space No. S. The lower half-tone or part, of bar a, marked P, between 5 and 6 is left loose, part of which extends on each end under the plate shown in Fig. l and between it and plate shown in Fig. 2, and is for the purpose of being used in the minor mode. Lines D, drawn from the bars a to the outer edges of chart, are for the purpose of intersecting other lines drawn from top to bottom for the formation of squares, as at S and T, and for the guidance of the eye from the numbers or symbols in the squares to the letters in the spaces between the bars o. in line with them. Lines E are drawn from top to bottom for the purpose of intersecting those lines, drawn from the bars d outward, to form squares, as aforesaid, as at S and T aforesaid. The

.squares ai S and T aforesaid are for the purnote the number of degree or interval in the scale or key. The first seven letters of the alphabet and symbols denoting flats and sharps in music are used as described on Fig.

,2, also symbols H, as described on same for the purpose of illustrating iiats and sharps on the organ key-board. The syllables in column O on the outer right and left hand sides of the bars a are to assist the voice to produce. the required tones in any key.

Harmonical sounds or degrees are denoted by the following names and order, and the same are to be traced to spaces between the bars on line with them, so as to form the various chords, viz: tonic or key note, as at f, and marked in squares in line with it, with Xl, with its attendant accessories 1-1=*; supertonic or second degree, as at i, and marked in squares in line with it, with X2, 2-2r-;

, mediant or third degree, as at j, and marked in squares in line with it, with X3, 3-3=i; sub-dominant or fourth degree, as at h, and marked in squares in line with it, with X4, t-lzi; dominant or fifth degree, as at g,and marked in squares in line with it, with X5, 5-5=ig sub-mediant or sixth degree, as at 7o, and marked in squares in line with it, with 6, 6-6-53 leading note or seventh degree, as at e, and marked in squares in line with it, with X7, 7-7=i. The various harmonical names of sounds or degrees are repeated in column U, and are in line with spaces between the bars a. Major triads and chords of the seventh will be found marked in the squares at S, on the left-hand side of the bars a, and minor triads and chords of the seventh on the right-hand side of the bars a, inside the squares, as at T, showing clearly their relationship, yet their distinctive character. Root notes or tones are indicated by a cross (X) before the figure in the squares. Accessory notes or tones are indicated by a dash or double dash (2) after the figure, viz: the third of the triad or chord by a single dash after the figure, and the fifth of the triad or chord by a double dash after the 4 dicated by the sign in the square. An

octave is a repeat of a letter higher in the scale, as from C to C. The chart may contain any number of octaves. The bars, squares, symbols, and figures may be et any color.

Fig. l shows the front plate of chart with the plate of Fig. 2 underneath showing in the spaces the letters A B C D E F G. Fig. 2 comprises a plate of any material on which is printed, painted, or marked theletters and symbols, as shown in drawings on face of Fig. 2. The said plate tofbe placed under the plate of Fig. l, with the letters and symbols next tothe bars a, and to the back of which is attached a ring and staple to move said plate, Fig. 2, when required. Fig. 3 shows baelcview of Fig. 2 with ring Q and staple al passing through to front part and clinched, so'as tomove said plate, Fig. 2; Fig. t, back view of Fig. l, showing'bars a and pieces or ribs n for guiding of Fig. 2 when sliding between the said ribs fr. 1/ is the space in which slides the plate of Fig. Fig. 5, aback plate to'eover back ot' chart, showing` slot R toallow ring. Q to slide in moving plate of Fig. 2. The said'back part or plate to be cemented or fastened to pieces or ribs if, as aforesaid, as shown on Fig. 1l.

Flats and sharps on the key-board ot' the organ or piano are represented by a dark color upon the plate ot' Fig. 2, appearing. in the spaces between the bars trot' plate of Fig. l, indicating the flats and sharps to be played on the organ according to the key in which the slide, Fig. 2, is set er placed under Fig. l.

In order to facilitate the playing of any triads or chords of the seventh on the organ, place the chart with the top part to the right, then the major triads and chords of the seventh-will be found in the squaresS above the bars a, and the miner triads and chords of the seventh below the bars a in the squares at T, as aforesaid. If four parts are required, then double the root-note in preference to the accessories.

All the characters described in the squares must be traced in line to letters and symbols in spaces between bars a.

The chart is used in the following manner: Having fixed upon a certain keyfor example, say the key et' C major or open keymove the plate, Fig. 2, with ring Q, until the foundation or key note or letter C comes oppoposite the number one on the major side of the bars on Fig. l. Then will appear the proper intervals in the diatonic scale in the major mood of C, and also all the triads and chords of the seventh mapped out. inside the squares at S-viz., the tonie marked l, l -l= the letters for whiclrwill be found by tracing between the lines to the letters in the spaces between the bars a aforesaid7 which will be C E G; those'constituting the tonic triad in the key of` C major, as aforesaid; or, further, take the chord of the dominant seventh in the same key. Then will appear 5, -zt Trace these to the letters between the bars a and they will bc found to eonsistof G B DF, those constituting the chord of the dominant seventh in the key of C major, as aforesaid.

To modulate into the relative minor to the foregoing C major, first bring down the loose part, bar P, between 5 and G on the major side, and you then have the minor intervals in the key of A minor, and also all the triads and chords of the seventh mapped out in the squares on the right-hand side of the bars a, as at T. For example, the tonic triad will be marked l-l-l=. Trace these to the letters between the bars and you have A C E, those constituting the tonic triad in the key of A minor; or take the dominant seventh, chord in the same key-v'i7.., 5.55 zi. Trace these to the letters in the spaces between the bars and they will be foundto consist'of E HG B D, those constitutingthe `chord ot' the dominant seventh in the key of A minor.

To form any triad or chord of the seventh, either major or minor, first [ind the rootnotc required and add its accessories, trace tothe letters in the spaces between the bars a, then will appear the desired triad or chord olf` the seventh.

This chart shows at sight the variousintervals in'any key according as the slide, Fig. 2, is set under the plate of Fig. l. It clearly defines the difference and relationship be tween the major and minor modes; also, all the triads and chords of the seventh in any key, also how easily to pass from a majorto its relative minor by simply moving bar l, also the attinity of chords. lt is useful in analizingany piece of music. lt is especially useful to the student in learning to playthe flute, violin, organ, or any other instrument, making plain the variousintervals in the diatonic scale, showing the reason of flats and Sharps to be used in the various keys, also showing how to easily pass from one key to another by simply moving slide, Fig. 2, undervthe plate, Fig. l; also, it is an index or key to blaekboard exercises in the diatonic seale,.and`also shows the various black keys to be used in playing on the organ.

Having described my invention, what l claim is- A musical chart consisting' et a main front part provided with a central row of alternate bars and spaces, the half-bar P, andlines D and E, forming squares in which are symbols and Iigures arranged in the manner shown, in combination with a sliding plate provided with symbols and characters shown and arranged to slide between ribs V on the rear side of the main plate, all constructed and arranged as and for the purposes set forth.

Toronto, county ot'V York, Province of Cntario, Dominion of Canada, November 27, A. D, 1889.

JOSEPH JAMES BAG ULEY. In presence of- OcTAvioUs WHITE, CHARLES J osera BiteULnv.

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