Polytone keyboard

Feb. 18, 1941.

a. fickEnscher

FOLYTONE KEYBOARD

Filed April 29, 1940

2,232,600

Sheets-Sheet 1

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F^icFenscher

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Feb. 18, 1941

2,232,600

A. fick£nscher

P0LYT0NE KEYBOARD

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Patented Feb. 18, 1941

2,232,600

UNITED STATES PATENT OFFICE

2,232,600

POLYTONE KEYBOARD

Arthur Fickenscher, Charlottesville, Va.

Application April 29, 1940, Serial No. 332,377 (Cl. 84—451) may be resorted to which fall within the scope of the invention as claimed.

In the drawings:

Figure 1 is a fragmentary top plan of the keyboard of an instrument embodying my invention.

Figure 2 is a sectional view taken on the line ^e 2—2 of Figure 1.

Figure 3 is a fragmentary top plan of one row of keys embodied in this invention.

In the tuning of a musical instrument, such as the piano, as an example, if a sufficient num- ¹⁰ber of strings or other tonal elements are provided any number of intervals in the octave may be procured. Various systems have been suggested. If practically, pure intonation is to be i« achieved not less than fifty-three (53) tones to ¹⁵the octave should be employed. However the polytone keyboard can be used for a division which is . less than the aforementioned 53 tones t° the octave, and for any desired extension over 20 and beyond the- 53 tones. At the present time the Piano organ or like instruments embody keys for the playing of so-called whole and half step intervals. It is not the intention of my polytone keyboard to provide for these tempered inter^{it iS de}.^{signed for ths} Playing of various whole-steps such as- ratios 7:8, 8:9, 9:10 etc and also any number of so-called half-steps’ diatonic, chromatic, intermediate and others’ also closer intervals which are too close to be classified as half-steps. The closeness of intervals playable would only be determined bv the extension of the banks of keys.

kpvhnfr'rt^er’ ^therefore’ ^t0 provide a systematic keyboard airangement, I have provided a keyboard which is repeated or duplicated for each octave, the drawing showing in Figure 1 slightly tbaTfb^SS °^f T ^oct/^{ve; but n win} be understood that the number of octaves embodying this arrangement will depend upon the size of the in^{Κ WU1 als}° ^{be undei}’stood that the number of rows or banks of keys will depend upon the . number of .tones which are desired or tostrument ^{COnvenienGe in} handling the . The lines above: and below the letters indicating the keys are used in. accordance with Helmholtz intonation designations

Referring first to Figure 1, the numerals iu—c, H—d and 12—e designate the lowest· 60 main whole-step keys (ratio 8:9) of the different lettered tiers of one group of an octave The tlTkPvAfV¹¹ the present instance designates the key of C and this- character has for- facility _β5

Claims.

This invention relates to musical instruments embodying a keyboard such as a piano, organ or like instrument with a more complete harmonic extension than those with the conventional twelve tones to the octave.

It is an object.of this invention, to provide a keyboard for any instrument which is capable of being tuned practically to a laboratory purity and wherein each octave may be broken up into any desired number of tone fractions.

Another object of this invention is to provide a keyboard which is so arranged that the Keys of each tone fraction are arranged in a horizontal plane and are offset laterally from a preceding tone. ,.,:

A further object of this invention is to provide^ a keyboard wherein the keys are arranged m stepped relation, tiers or banks,; with a succeeding key of the same lettered but differently marked intonations offset from. a preceding. key and with one (or more) upper keys of one lettered tier being disposed in alinement with one (or more) of the lower keys of the. higher, lettered tier. The keys in alinement front to back are at the distance, from each other of four (4) and five-twelfth (A) key lengths and the tonal value of the note represented by the-uppermost, key (the one farthest back) is equal .to, or, ac30 ^{Gordlng to the} system of tuning used, substantially equal to the tonal value of the note represented by the lower key (the one farther to the front) on the next lettered tier.

A still further object of this invention is to 35, provide a stepped keyboard arrangement wherein the keys are arranged in groups in each, octave With succeeding keys of each group disposed in the same horizontal plane with the other keys but with the forward edge of a succeeding key 40 offset rearwardly from a preceding key of the same group.

A further object of this invention is to provide a systematic arrangement of keys in a keyboard which are designed for the playing of 45 any musical instrument in practically pure intonation when the instrument is· properly connected to the keyboard.

Embodying the aims aforesaid and others which may be hereinafter referred to, the in50. vention consists of the novel construction, combination and arrangement of parts as will be more specifically described and illustrated in the accompanying drawings-wherein is shown an em- ¹bodiment of the invention, but it is to be under- ^Jo5. stood that changes, variations and modifications ¹

A full octave is

2,232,600 to C, key 18. The interval between C# key 23 and D key ί I, represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a 5 polytone instrument approximately 243:256. Keys 28, 29, 30, 31 and 32, represent tonal values pitched up from D, key 11 with the same relative values between each of the adjacent notes iq as those between the notes of the keys numbered 10, 18, 19, 20, 21 and 22 and these keys are offset rearwardly progressively and are also progressively offset laterally. D, key 32, represents a tonal value or frequency equal to or, ¹⁰dependent upon the system of tuning used, very close to the frequency of D#, key 33.

D#, key 33, is disposed between keys 11 and 12 and is rearwardly offset therefrom. Specifically ²⁰it is nine-twelfths (A) of a key-length farther back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to the front edge of the next same lettered 25 key to the rear: for instance: C, key 10, to C, key 18. The interval between D, key 11 and D# key 33 represents tonally practically the diatonic half-step, ratio 15:16. Keys 34, 35, 36 and 37 30 represent tonal values pitched up from D#, key 33, with the same relative values between each of the adjacent notes as those between the notes of the keys 10, 18, 19, 20, 21 and 22 and these ₃₅keys are also offset rearwardly progressively and are also progressively offset laterally. D#, key 37, represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of E_key 12. ⁴⁰

E, key 12, is disposed between keys 33 and 13.

It is forwardly offset from key 33 and rearwardly offset from key 13. Specifically it is four-twelfths (A) of a key-length farther back than the main ^4akey, note C, No. 10. This is considering a keylength to be from its front edge to the front edge of the next same lettered key to the rear: e. g.;

C, key 10 to C, key 18. The interval between co

D# key 33, and E, key 12, represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being approximately 243:256. Keys 38, 55 39, 40 and 41 represent tonal values pitched up from E, key 12, with the same relative values between each of the adjacent notes as those between the notes of the keys numbered 10, 18, 19, _e020, 21 and 22, and these keys are also offset rearwardly progressively and are also progressively offset laterally. E, key 41, represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the fre- 65 quency of F key 13.

F key 13 is disposed between keys 12 and 47 and is forwardly offset therefrom. Specifically it is one-twelfth (A) of a key length farther ° front than the main key, note C, No. 10. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: that is, for example, C, key 10 ₇₅ of reference been shown on the key 10 although in actual practice this character will be omitted.

The numeral 11 designates the key of D following C and the numeral 12 designates the key of E. These keys 10, II, and 12 are main keys whicfi play intervals that are a whole-step (ratio 8:9) apart. The numeral 13 designates the key of F which plays a note one-half step (ratio 243:256) higher than E which is played by key 12 and the numerals 14, 15, and 16 designate the keys of G, A and B, respectively. Keys F, G, A, B play whole-step intervals (ratio 8:9). ⁼ The numeral 17 designates the key of C in the octave above key 10—C. considered to be from and including key 10 to 20 and including key 17. .

The main key 10—C has associated therewith the keys numbered 18—C, 19—C, 20 C, 21 C _and 22__C which are keys of the same lettered, ²⁵ but differently marked intonations as key 10 _ and which are adapted to actuate tonal elements progressively higher in frequency of vibration than key 10; the Interval between each adjacent key note being approximately ratio 80:81. JThe keys 18—C, 19—C, 20—C, 21—C and 22—C are stepped rearwardly from key 10—C and are also offset laterally from each other and from key 10. The keys 18, 19, 20, 21 and 22 are offset rearwardly equal distances, and are offset laterally in such a manner that the rearmost key, 22-£ will be disposed in alinement with C#, key 23.

⁴⁰ C key 22, represents a tonal value or frequency equal or, dependent upon the system of tuning used, substantially equal to C#, key 23.

C# key 23 is disposed between keys 10 and 11 ⁴⁵ and is rearwardly offset therefrom. Specifically it is seven-twelfths (A) of a key-length farther back than the main key, note C, No. 10. This is 50 considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: C, key 10 to C, key 10. The interval between C key 10 and C# key 23 55 represents tonally practically the diatonic halfstep, ratio 15:16. Keys 24, 25, 26and 27 represent tonal values pitched up from C# key 23 with the same relative values between each of the adco jacent notes as those between the notes of the keys 10, 18, 19, 20, 21 and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. C# key 27 represents a tonal value or frequency equal to, or, ⁶³ dependent upon the system of tuning used, very close to the frequency of D key 11.

D key 11 is disposed between keys 23 and 33 and is forwardly offset therefrom. Specifically 76 it is two-twelfths (A) of a key length farther back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to the front edge of the next same lettered 75 key to the rear: that is, for example-^, key 10

3,232,600 to C, key 13. The interval between E key 12 and F key 13 represents tonally a half-step about midway between that of the chromatic half-step 5 and the diatonic half-step, the ratio being for a poly tone instrument approximately 243:256. Keys 42, 43, 44, 45 and 43 represent total values pitched up from F key 13 with the same relative ₁₀ values between each of the adjacent notes as those between the notes of the keys numbered 10, 18, 19, 20, 21 and 22 and these keys are offset rearwardly progressively_and are also-progressively offset laterally. F key 43 represents 15 a total value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of F# key 47.

F# key 47 is disposed between keys 13 and 14 and is rearwardly offset therefrom. Specifically it is six-twelfths (A) of a key-length farther back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to 25 the front edge of the next same lettered key to the rear: for instance, C, key: 10 to C, key 18. The interval between F key 13 and F# key 47 represents tonally practically the diatonic half30 step, ratio 15:16. Keys 48, 49, 50 and 51 represent tonal values pitched up- from F# key 47 with the same relative values between each of the adjacent notes as those between the notes of the keys 10, 18, 19, 20, 21 and 22 and these keys ^,,J are also onset rearwardly progressively and are also progressively offset laterally. F# key 51 represents a. tonal value or frequency equal to, or, dependent upon the system of tuning used, very 40 close to the frequency of G key 14.

G key 14 is disposed between keys 47 and 57 and is forwardly offset therefrom. Specifically it is one-twelfth (A) of a. key length farther 45 back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to· the front edge of the next same lettered key to the rear: that is, for example, C, key 10 to C, key 18. The interval between F# key 47 and G key 14 represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a poly55 tone instrument approximately 243:256. Keys 52, 53, 54, 55 and 56 represent tonal values pitched up from G key 14 with the same relative values between each of the adjacent notes as those between the notes of the keys numbered 10, IS, 19, 20, 21 and 22 and these keys are offset rearwardly progressively and are also progressively offset laterally. G key 56 represents a tonal value or frequency equal to, or, dependent 65 upon the system of tuning used, very close to the frequency of G# key 57.

G# key 57 is disposed between keys 14 and 15 and is rearwardly offset therefrom. Specifically 70 it is eight-twelfths (A) of a key-length farther back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to the front edge of the next same lettered 75 key to the rear: for instance: C, key 10 to C, key

18. The interval between G key 14 and G# key 57 represents tonally practically the diatonic half-step, ratio 15:16. Keys 58, 59, 60 and 61 represent tonal values pitched up from G# key 57 with the same relative values between each of the, adjacent notes as those between the notes of the keys 10, 18, 19, 20, 21 and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. G# key 61 ¹⁰represents a tonal value or frequency equal to, or, dependent upon the system of tuning- used’ very close to the frequency of A key 15.

A key 15 is disposed between keys 57 and 67 ¹⁵ and is forwardly offset therefrom. Specifically it is three-twelfths (A) of a key length farther back than the main key, note C, No. 10. This is considering a key-length to be from its front ²⁰edge to the front edge of the next same lettered key to the rear: that is, for example, C, key 10 to C, key 18. The interval between G# key 57 = 2« and A key 15 represents tonally a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a polytone instrument approximately 243:256 Keys 62, 63, 64, 65 and 66 represent tonal values ³⁰pitched up from A key 15 with the same relative values between each of the adjacent notes as those between the notes of the keys numbered 10, 18, 19, 20, 21 and 22 and these keys are offset 35 rearwardly progressively and are also progressively offset laterally. A key 66 represents a tonal value or frequency equal to, or, dependent upon the system of tuning used, very close to the frequency of A# key 67.

A# key 67 is disposed between keys 15 and 16 and is rearwardly offset therefrom. Specifically it is ten-twelfths (Ji) of a key-length farther 45 back than the main key, note C, No. 10. This is considering a key-length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: C, key 10 to C, key 18. ₅₀The interval between A key 15 and A# key 67 represents tonally practically the diatonic halfstep, ratio 15:16. Keys 68, 69, 70 and 71 represent tonal values pitched up from A# key 67 55 with the same relative values between each of the adjacent notes as those between the notes of the keys 10, 18, 19, 20, 21 and 22 and these keys are also offset rearwardly progressively and are also progressively offset laterally. A# key 71 ⁶⁰represents a tonal value or frequency equal to, or dependent upon the system of tuning used very close to the frequency of B key 16.

B key 16 is disposed between keys 67 and 17. ⁶⁵It is forwardly offset from key 67 and rearwardly offset form key 17. Specifically it is five-twelfths (τϊ) of a key-length farther back than the main key, note C, No. 10. This is considering a key- ₇θ length to be from its front edge to the front edge of the next same lettered key to the rear: for instance: C, key 10 to C, key 18. The interval between A# key 67 and B key 16 represents tonal- ₇₅

2,232,600 ly a half-step about midway between that of the chromatic half-step and the diatonic half-step, the ratio being for a polytone instrument approximately 243:256. Keys 72, 73, 74 and 75 rep5 resent tonal values pitched up from B key 16 with the same relative values between each of the adjacent notes as those between the notes of the keys numbered 10, 18, 19, 20, 21 and 22, and ₁₀ these keys are also offset rearwardly progressively and are also progressively offset laterally. B key 75 represents a tonal value or frequency equal to or, dependent upon the system of tuning used, very close to the frequency of C key 17.

¹⁵ C key 17 is disposed forwardly from key 16 and is on a level with the octave C key 10. The interval between B, key 16 and C, key 17 represents tonally a half-step about midway between that 20 of the chromatic half-step and the diatonic halfstep, the ratio being for a poly tone instrument approximately 243:256. Keys 76, 77, 78, 79 and 80 are exactly on a level with the lower octave keys 18, 19, 20, 21 and 22 and these keys are also offset rearwardly progressively and are also offset laterally. C, key 80 represents a tonal value or frequency equal to or, dependent upon the system of tuning used, very close to the frequency ^of 2*>^{the octave} above C# key 23.

The hereinbefore described keyboard arrangement sets forth one complete octave, and it will be understood that this same arrangement will be repeated for as many octaves as are covered 35 by the instrument.

The keys 10, II and 12 comprise one main group and it will be noted that keys 11 and 12 are offset rearwardly from key 10 and key 12 is offset rearwardly slightly from key 11.

⁴⁰ Keys 13, 14, 15 and 16 comprise a second main group and keys 14, 15 and 16 are progressively offset rearwardly from key 13 this latter key being one-twelfth of a key-length farther front than key 10.

⁴⁵ The forward ends of keys 10, II, 12, 47, 57, 67 and 76 are disposed on a line inclined rearwardly from the front of the instrument, and the forward edges of keys 23, 33, 42, 52, 62 and 72 are ₅₀ disposed on a line parallel with the line designating the front edges of keys 10, II, 12, 47, 57, 67 and 76. The remaining keys are disposed in similar parallel lines which are inclined to the front edge of the instrument.

It will be understood that each row of keys, reading from the front to the rear and representing tonal values of the same letter or character may be differentiated in any suitable manner as by color or the like so as to make the playing of the keyboard as easy as possible and so 5 that the positioning of the fingers on a particular bank or tier will at once convey to the player the tonal values represented by such bank or tier.

The keyboard arrangement herein disclosed correlates with the present conventional key- 10 board arrangement only in the arrangement of the octave keys, these being the only intervals theoretically pure in the tempered tuning. Other keys are positioned according to intervallic relationships. The lateral offsetting of the inter- 15 mediate tonal keys facilitates the playing of the instrument in that the player is able o determine from the relative position of the keys any desired relationships; these always being found in the same relative positions. 20

The dimensions herein given as to key lengths and spacing thereof are only given as one example, it being understood that these dimensions may be varied to accommodate different keyboard arrangements. 25