US471470A - Orchestral pedal-harp - Google Patents

Description

(No Model.) 2 SheetsSheet 1. G. W. ELLSWORTH.

ORGHESTRAL PEDAL HARP.

No. 471,470. Patented Mar. 22, 1892.

ATTORNEYS (No Model.) W. 2Sheets-Sheet 2.

ORCHESTRAL PEDAL HARP. No. 471,470. Patented Mar; 22, 1892.

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' or top of the sound-boxD the strings E, num- UNITED STATES PATENT OEEIcE.

GEORGE W. ELLSXVORTH, OF BOWLING GREEN, OHIO.

ORCHESTRAL PEDAL-HARP.

SPECIFICATION forming part of Letters Patent No. 471,470, dated March 22, 1892.

Application filed November '7, 1891. Serial No. 411,157. (No model.)

To aZZ whom, it may concern:

Be itknown that I, GEORGE W. ELLSWORTH, of Bowling Green, in the county of \Vood and State of Ohio, have invented a new and Improved Orchestral Pedal-Harp, to be known as the Harmony-Harp, of which the following is a full, clear, and exact description.

The object of the invention is to provide a new and improved orchestral pedal-harp simple and durable in construction and arranged and tuned in such a manner as to give the player command and ready and easy execution of the chords of harmony in all keys.

The invention consists of two series of connected auxiliary bridges adapted to be thrown in engagement with the strings; and it further consists of a pedal mechanism for independently actuating said series of connected auxiliary bridges.

The invention also consists of certain parts and details and combinations of the same, as will be hereinafter fully described, and then pointed out in the claims.

Reference is to be had to the accompanying drawings, forming a part of this specification, in which similar letters of reference indicate corresponding parts in all the figures.

Figurel is a side elevation of the improvement with parts in section. Fig. 2 is an end view of the base of the harp. Fig. 3 is an enlarged face view of one of the auxiliary bridges. Fig. 4. is an edge view of the same. Fig. 5 is an enlarged face view of one of the adjustable stationarybridges. Fig. 6 is an edge view of the same. Fig. 7 is a staff or stave, the notes upon which show the musical notation or relative pitch of the strings when they vibrate free of the auxiliary bridges from the ordinary bridge above. The numbers under the notes correspond to the number of the strings, as shown in Fig. 1; and Fig. 8 is the same when the pedals are down and the auxiliary bridges are thrown in engagement with the strings.

The harmony-harp is provided with a suitably-constructed base-block A, on the front end of which is secured a column B,connected by the neck or scroll O with the sound-box D, extending to the top of the base A. From the scroll or neck 0 extend to the sound-board bored, consecutively, from 1 to 26, and of which the strings 1 to 12, inclusive, are the treblestrings, and the remaining strings 13 to 26, inclusive, the bass-strings. Each string is wound at its upper end on a tuning-pin F, and then extends downward overabridge G, held adj ustably on the scroll or neck 0. The lower end of each string is fastened in the ordinary manner by being passed through a hole in the center strip of the sound-board, knotted under the sound-board, and held firmly in a gain cut in the upper side of the hole by the pin H.

Between the bridges G and the pin H is arranged for each bass-string an auxiliary bridge I, made in the shape of an arm mounted to swing and provided with two pins 1 and 1 between which passesthe respective bassstring, and which when the arm is turned engages the said string, so as to form an auxiliary bridge, thereby shortening the string and raising its pitch one semitone.

It is understood that the respective auxiliary bridge I is located the proper distance below the stationary bridge G to produce the above-mentioned result when the pins I and I engage the string. \Vhen the auxiliary bridge is in the position it occupies when the pedal is up, as shown in Fig. l, the pins 1' and I stand on opposite sides of the string without engaging it, so that the latter vibrates from the stationary bridge G to its pin H and gives the pitch shown in Fig. 7.

Each auxiliary bridge I is pivoted in the middle between the pins 1 and I at I to the neck or scroll, the free end of the arm forming the auxiliary bridge being pivotally connected by a link J, extending-under all the bass-strings and connecting with the several auxiliary bridges belonging to the bassstrings. Thus when the link J is shifted all the bass-strings are simultaneously engaged by their respective auxiliary bridges I, thus simultaneously raising the pitch of the strings one semitone.. The end link J nearest the column B is pivotally connected with a lever K, fulcrumed in the column B and having its inner end pivotally connected with a rod L, extending downward through the column to pivotally connect with a bolt L, passing through the left or bass pedal N, extending in the base A and projecting at the rear end of the same through a slot, as shown in Fig. 2, having a gain cut in its side, in which to secure the pedal in a depressed position when desirable, and thereby bringing the same under control of the performers foot.

Each treble-string is provided with an auxiliary bridge 0, similar in construction to the auxiliary bridge I above described, the several auxiliary bridges for the treble-strings being pivotally connected with a link P, extending under all the strings along the neck or scrollO to finally connect with a lever Q similar to the lever K and pivotally connected by a rod R with a bolt R, attached to the right or treble pedal (not shown) arranged alongside the pedal N in the base A, also under the control of the'performer. As shown in the drawings, the links J and P are preferably made in sections pivotallyconnected with each other. I V y In order to secure a return movement of the auxiliary bridges when the pedals are released from the gain to the position shown in- Fig. 1, springs T and T are connected with the links J and P, respectively, as shown, or may be coiled springs within the scroll fastened to a shaft or spindle, carrying on one end the last auxiliary bridge in the train and on its opposite end a ratchet for adjusting the strength of the spring to the friction of the mechanism.

When the performer desires to change the strings from sharp to flat keys or for executing augmented, diminished, or other unusual chords, he depresses the pedal or pedals with his foot, so thata pull is exerted on the rod or rods L R, and the levers K or Q are actuated, the outer end of the latter swinging upward, thus exerting an upward pull on the link or links J or P, thereby swinging the auxiliary bridges into the positionshown in Fig. 3. As soon as the pedals are released the springs T or T will return the mechanism to the position-shown in Fig. 1.

In executing music it will be observed that if the second string G be played with the thumb of the right hand, the third string D with the first finger, the sixth string B with the third, to which is added the fourteenth string, middle bass G with the thumb of the left hand, and the twenty-first string grave bass G withthe second finger the full tonic chord in the key of G major willbe produced, written Now if each finger of each hand be moved up one 'string, so that the right-hand thumb strikes the first string or treble O the chord produced will be the subdominant in the key of G, written and if instead of ascending one string I descend with. the right-hand thumb to the third string, left hand same, I have the dominant in G,

thus placingin the simplest manner and within the easiest scope of execution the three fundamental chords of harmony, to which may be added the next most used chord in the same key by simply descending with both hands one string below the dominant. Now if I return to the dominant chord with the right hand, and instead of playing the third string with the first finger strike the fifth string, andwith the left hand take the seventeenth string E, and the twenty-fourth, its octave, I have the tonic cord of E minor relativeto G major,

This chord maybe found with equal facility IIO in all keys when the treble-pedal is in use by releasing the pedal and taking the subdominant bass as above. Now by descending toward the column one string at a time the tonic-chord in all the sharp-keys D, A, E, B, and Ffl are found, consecutively, with their dominants, subdominants, and relative minors always in the same relative position, as described in detail in the key of G, though at and after Fyf minor the left pedal will be required in the minor keys. If both pedals be now set, the strings that open gave the key of B five sharps will give the key of O, and by ascending one string at a time away from the column the tonic chords of the keys of O, F, B" E, and D, respectively, will occur with their contiguous dominants, subdominants, and relative minors the same as in the sharpkeys, thus completing the circuit of all the keys of music.

It will be seen that this mechanism is very simple, cheap in construction, and less liable to get out of order than the mechanism of the other pedal-harps. It will further be seen that it is far superior to a single-action pedalharp, as it has all the keys contained in music and it is easier to master than the keyboard of a piano. It will further be seen that it requires less study and practice than would be necessary to fix in the mind of the student the use of the six pedals on the ordinary harp and transposition of the scale, and he will be thoroughly familiar with all the keys on the harmony-harp. The educated musician will be able to arrange orchestral parts and give the harp its proper place as one of the most legitimate orchestral instruments, a place from which it has heretofore been excluded solely on account of the great difliculties met with in its practical use.

Having thus described my invention, I claim as new and desire to secure by Letters Patent-- 1. An orchestral pedal-harp, stringed as described, tuned by fourths, and provided with a set of connected bridges adapted to be thrown in engagement with a set of strings, substantially as described.

2. An orchestral pedal-harp, stringed as described, tuned by fourths, and provided with a set of connected bridges adapted to be thrown simultaneously in engagement with the set of bass-strings and a second set of connected bridges adapted to be thrown simultaneously in engagement with the treblestrings to raise the tone of the strings one semitone, substantially as described.

3. In an orchestral pedal-harp, stringed as described and tuned by fourths, the combination, with a set of connected bridges adapted to engage a set of bass or a set of treble strings, of a pedal mechanism for actuating simultaneously the set of connected bridges, substantially as described.

4. In an orchestral pedahharp, stringed as described and tuned by fourths, the combination, with two sets of connected bridges for the bass and treble strings, of two independent pedal mechanisms connected with the said sets of connected bridges, substantially as described.

5. In an orchestral pedal-harp, stringed as described and tuned by fourths, the combination, with two sets of connected bridges for the bass and treble strings, of two independent pedal mechanisms connected with the said sets of connected bridges, and means for operating the sets of connected bridges and restoring them to their normal position, substantially as described.

6. In an orchestral pedal-harp, stringed as described and tuned by fourths, the combination, with two sets of connected bridges for the bass and treble strings, of two independent pedal mechanisms connected with the said sets of connected bridges, and intermediate mechanism for connectingthe pedal mechanisms with the sets of bridges, substantially as described.

7. In an orchestralpedal-harp, stringed as described and tuned by fourths, an auxiliary bridge formed of a pivoted arm and provided with two pins arranged on opposite sides of the pivot of the arm and adapted to engage opposite sides of a string, substantially as described.

GEO. W. ELLSlVORTl-I. lVitnes ses:

A. E. BOUGHTON, R. V. SLAUSON.

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