US471713A - bracken - Google Patents

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US471713A
US471713A US471713DA US471713A US 471713 A US471713 A US 471713A US 471713D A US471713D A US 471713DA US 471713 A US471713 A US 471713A
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keys
extension
key
pins
organ
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    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10HELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2220/00Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/155User input interfaces for electrophonic musical instruments
    • G10H2220/221Keyboards, i.e. configuration of several keys or key-like input devices relative to one another
    • G10H2220/226Whole-tone keyboards, i.e. having as many keys on the upper row as on the lower row

Description

(No Model.) 2 Sheets-Sheet 1.
J. BRACKEN. EXTENSION KEY FOR TRANSPOSING MUSIG.
l I I Wvbwssas. I Jnrcnior.
(No Model.) 2 SheetsSheet 2.
' J. BRACKEN.
EXTENSION KEY FOR TRANSPOSING MUSIC. 1%. 471,713. Patented Mar. 29, 1892.
UNITED STATES PATENT OFFICE.
JOHN BRAOKEN, OF TORONTO, CANADA, ASSIGNOR OF ONE-IIALE TO JOHN KENNEDY, OF SAME PLACE.
EXTENSION-KEY FOR TRANSPOSING MUSIC.
SPECIFICATION forming part of Letters Patent No. 471,713, dated March 29, 1892.
Application filed April 25, 1891. Serial No. 390,467. (No model.)
To all whom/it may concern:
Be it known that I, JOHN BRACKEN, pianomaker, of the city of Toronto, in the county of York, in the Province of Ontario, Canada, have invented certain new and useful Extension-Keys for Transposing Music, of which the following is a specification.
The object of the invention is to design a simple, positive, and effective means of transposing music on the piano and organ from the keyin which it is written or'played to the desired key without the necessity of exercising the mental faculties in so doing; and it consists, essentially, of securing on the inner portion of the keys of the piano or organ extension-keys, which are connected to the keys proper by pivoted arms, the said extensionkeys being held at equal distances and operated from a cross-bar, to which they are suitably connected, so as to bring each extensionkey of the set to the right or left of the key proper the desired distance to either raise or lower the pitch of the music from the key in which it is written or played, the whole of the mechanism being arranged and constructed in detail as hereinafter more particularly explained.
Figure 1 is a perspective View showing my transposing extensionkeys attached to the ordinary keys of a piano. Fig. 2 is a perspective view showing my transposing extensionkeys attached to the keys of an organ.
In the drawings like letters of reference indicate corresponding parts in each figure.
A are the keys proper.
B are extension-keys, each of which is preferably attached to its corresponding key A by the two arms 0, which are pivoted at one end on the key A. The other end of each arm 0 is connected to the extension-key B by the screw-pins c, which extend through slots Z), made in the extension-key B, so as to permit of its free lateral adjustment.
D is a cross-bar extending throughout the width of the entire set of extension-keys B. Each extension-key is connected, preferably by two pins cl, to the cross-bar, the said pins cl extending through the cross-bar and fitting easily in the same, so as to allow each key A, with its corresponding extension-key B, to be easily manipulated.
E is a rod secured at its inner end in the bracket F, attached to the center of the crossbar D. The rod E projects through the notched slot G and has a knob II formed on its end, so that it may be transferred from one notch to another, so as to raise or lower the pitch or tone.
On reference to Fig. 1, which exhibits the piano-key construction, it will be seen that I 6c place my extension-keys B, preferably, above the keys proper and attach the pilots or pins I to the ends of the extension-keys B instead of to the ends of the keys proper A, so that the pins I come exactly beneath the extension-piece f, by which the hammer is operated to strike its corresponding string. Then the piano is at concert-pitch, each extension-key B stands directly over the key A, to which it is connected, and each pin I stands under its corresponding extension-piecef, operating the hammer for the corresponding string. NVhen, however, the knob H is moved to the left end of the slot G, as indicated in Fig. 1, which in this case is four semitones, the pin I is moved below the extension-piece f, which operates the string four semitones lower than that in which the piece is written. As every key in the piano is operated at'the same time by the knob H, the entire pitch of the piano is changed into four semitones lower.
On reference to Fig. 2, which exhibits the organ-key construction, it will be seen that I place my extension-keys B,preferably,below the keys proper and operate the sticker-pins 8 5 1, operating the reed-valves by the pressure of the extension-keys B when the keys A are manipulated instead of by the keys A direct.
I also preferably provide, as shown in this figure, springs J and pins j, under which the springs J extend. A pin j and spring J extend under each key, so that all the keys are held up flush with each other when they are at rest. Commonly the sticker-pin I supports the key; but I prefer this construction, 9 5 so that the extension-keys may be held entirely above the sticker-pins I, and thereby greatly facilitate their lateral movement when it is required to transpose. Nhen the organ is at concert-pitch, each extension-keyB stands I 00 directly under the key A to which it is con- 11 ected, and each sticker-pin I, which operates the reed-valve, is under itscorresponding extension-key f. When, however, the knob II is moved to the right end of the slot G, as indicated in Fig. 2, which in this case is four semitones, the extension-keyB is moved four keys to the right and extends over the stickerp-in I four semitones higher than that in which the piece is written. As every key in the organ is also operated at the same time, the entire pitch of the organ is changed to four semitones higher. By moving the eX tension-keys in the opposite direction, as indicated by dotted lines in this figure, thepitch of the organ is changed into four semitones lower than concert-pitch.
In Fig. 2 it will be seen that I provide a double cross-bar D, connected together by the arms 61'.
In order to provide for raising or lowering the pitch or tone four semitones, I of course provide four extra pins I, with their corresponding number of individual operating mechanism and strings or reeds at each end of the piano or organ.
From this description it will be seen that I can raise or lower the pitch of the piano or organ four semitones or lessabove concertpitoh or four semitones or less below c0ncert pitch..
Of course it will be understood that I could have the extension-keys so arranged as to cover a greater range in the raising or lowering of the pitch of the piano or organ; but I deem four semitones suflicient for the general purpose of musicians. It will also be apparent from this description that the pitch or tone into which the music is transposed will be played by the musician manipulating exactly the same keys as if he were playing in the key in which the piece is written.
What I claim as my invention is- 1. In combination with the keys proper of a piano or organ, a set of rigidly-supported extension-keys pivotally connected therewith and laterally adjustable to the right and left, as and for the purpose specified.
2. A set of extension-keys B, adjustably supported on the keys proper A by the arms 0, pivoted on the keys A,in combination with the cross-bar D, arranged as and for the purpose specified.
3. A set of extension-keys B, adj ustably supported on the keys properA by the arms 0, pivoted at one end on the keysAand having at the other end pins 0, which extend through slots b in the extension-keys B, in combination with the cross-bar D, arranged as and for the purpose specified.
4. A set of extension-keys B, vadjustably supported on the keys proper A by the arms 0, pivoted on the keys A, in combination 4 with the cross-bar D and pins d, projecting into the cross-bar D from the extension-keys B, as and for the purpose specified.
5. A set of extension-keys B, adj ustably supported on the keys proper A by the arms 0, pivoted on the keys A, in combination with the cross-bar D, pins (1, projecting into the cross-bar D from the extension-keys B, and a pin operating the sounding medium, arranged as and for the purpose specified.
6. A set of extension-keys B, adj ustably supported on the keys proper A by the arms 0, pivoted on the keys A, in combination with the cross-bar D, spindle E, with knob H, and slot G, as specified.
7. A set of extension-keys B, adj ustably supported on the keys proper A by the arms 0, pivoted on the keys A, in combination with the supporting-pins j, held in position by springs J, as specified.
7 JOHN BRAOKEN.
Witnesses:
LEWIS P. ABELL, A. B. MONKHOUSE.
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