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  1. Accordion
  2. Acoustic bass guitar
  3. Aeolian harp
  4. Archlute
  5. Bagpipes
  6. Balalaika
  7. Bandoneon
  8. Banjo
  9. Baroque trumpet
  10. Bass drum
  11. Bassoon
  12. Bongo drums
  13. Bouzouki
  14. Brass band
  15. Brass instrument
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  19. Celesta
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  21. Chapman Stick
  22. Chime tree
  23. Chordophone
  24. Cimbalom
  25. Clarinet
  26. Claves
  27. Clavichord
  28. Clavinet
  29. Concertina
  30. Conga
  31. Cornamuse
  32. Cornet
  33. Cornett
  34. Cowbell
  35. Crash cymbal
  36. Crotales
  37. Cymbal
  38. Digital piano
  39. Disklavier
  40. Double bass
  41. Drum
  42. Drum kit
  43. Drum machine
  44. Drum stick
  45. Electric bass
  46. Electric guitar
  47. Electric harp
  48. Electric instrument
  49. Electric piano
  50. Electric violin
  51. Electronic instrument
  52. Electronic keyboard
  53. Electronic organ
  54. English horn
  55. Euphonium
  56. Fiddle
  57. Flamenco guitar
  58. Floor tom
  59. Flugelhorn
  60. Flute
  61. Flute d'amour
  62. Glockenspiel
  63. Gong
  64. Hammered dulcimer
  65. Hammond organ
  66. Handbells
  67. Harmonica
  68. Harmonium
  69. Harp
  70. Harp guitar
  71. Harpsichord
  72. Hi-hat
  73. Horn
  74. Horn section
  75. Keyboard instrument
  76. Koto
  77. Lamellaphone
  78. Latin percussion
  79. List of string instruments
  80. Lute
  81. Lyre
  82. Mandola
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  84. Manual
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  86. Marimba
  87. Marimbaphone
  88. Mellophone
  89. Melodica
  90. Metallophone
  91. Mouthpiece
  92. Music
  93. Musical bow
  94. Musical instrument
  95. Musical instrument classification
  96. Musical instrument digital interface
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  100. Orchestra
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  102. Organology
  103. Pan flute
  104. Pedalboard
  105. Percussion instrument
  106. Piano
  107. Piccolo
  108. Pickup
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  110. Piston valve
  111. Player piano
  112. Plectrum
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  114. Recorder
  115. Ride cymbal
  116. Sampler
  117. Saxophone
  118. Shamisen
  119. Sitar
  120. Snare drum
  121. Sound module
  122. Spinet
  123. Steel drums
  124. Steel-string acoustic guitar
  125. Stringed instrument
  126. String instrument
  127. Strings
  128. Synthesizer
  129. Tambourine
  130. Theremin
  131. Timbales
  132. Timpani
  133. Tom-tom drum
  134. Triangle
  135. Trombone
  136. Trumpet
  137. Tuba
  138. Tubular bell
  139. Tuned percussion
  140. Ukulele
  141. Vibraphone
  142. Viol
  143. Viola
  144. Viola d'amore
  145. Violin
  146. Vocal music
  147. Wind instrument
  148. Wood block
  149. Woodwind instrument
  150. Xylophone
  151. Zither

 



MUSIC INSTRUMENTS
This article is from:
http://en.wikipedia.org/wiki/Cornett

All text is available under the terms of the GNU Free Documentation License: http://en.wikipedia.org/wiki/Wikipedia:Text_of_the_GNU_Free_Documentation_License 

Cornett

From Wikipedia, the free encyclopedia

 
For the place in England, see Cornett, Herefordshire.
Three different cornetts: mute cornett, curved cornett and tenor cornett
Three different cornetts: mute cornett, curved cornett and tenor cornett

The cornett, cornet, cornetto or zink is an early wind instrument, dating from the Medieval, Renaissance and Baroque periods. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the trumpet-like instrument cornet.

Name

To avoid confusion between this instrument and the more modern cornet (with one t), the cornett is often referred to by its Italian name, cornetto or cornetto curvo (to distinguish it from the straight cornett). Occasionally it is called by its German name, which is zink or krumme Zink (curved spike). The instrument was known as the "cornet à bouquin" in France and the "corneta" in Spain.

Construction

The cornett takes the form of a tube, typically about 60 cm. long, made of ivory, wood, or, in the case of some modern reconstructions of historical instruments, ebony resin, with woodwind-style fingerholes. Usually the cornett is octagonal in cross-section, and it is wrapped in leather or parchment, with the fingerholes penetrating this cover. The cornett is slightly curved, normally to the right, so that the player's left hand, playing the upper holes, and her right hand, playing the lower holes, can more comfortably reach their proper locations. At the top of the cornett there is a small mouthpiece of the kind used in brass instruments; that is, the lips vibrate to produce sound.

The cornett is thus an unusual specimen among wind instruments, with a body constructed like a woodwind but its mouthpiece (and thus mechanism of tone production) being that of a brass instrument. Scholars evidently agree that the latter criterion is more important, and so the cornett should be counted as brass. In particular, the Hornbostel-Sachs system of musical instrument classification places it alongside instruments such as the trumpet.

Modern cornett players tend to use a smaller mouthpiece, whereas those needing to make a compromise--often with the need to go on playing modern brass instruments--may use a much larger mouthpiece, sometimes a trumpet mouthpiece turned down on a lathe so that only the cup and a minimal stub which fits the cornett's mouthpiece receiver are left. The larger mouthpiece gives a less incisive and less "edge" to the sound.

Music for the cornett

Historically, the cornett was frequently used in consort with sackbutts (2 cornetts, 3 sackbutts), often to double a church choir. This was particularly popular in Venetian churches such as the Basilica San Marco, where extensive instrumental accompaniment was encouraged, particularly in use with antiphonal choirs. Giovanni Bassano was an example of a virtuoso early player of the cornett, and Giovanni Gabrieli wrote much of his resplendent polychoral music with him in mind. Heinrich Schütz also used the instrument extensively, especially in his earlier work; he had studied in Venice with Gabrieli and was acquainted with Bassano's playing.

The cornett was, like almost all Renaissance and Baroque instruments, made in a complete family; the different sizes being the high cornettino, the cornett (or curved cornett), the tenor cornett (or lizard) and the rare bass cornett (the serpent was preferred to the bass cornett). Other versions include the mute cornett, which is a straight narrow-bore instrument with integrated mouthpiece, quiet enough to be used in a consort of viols or even recorders.

The cornett was also used as a virtuoso solo instrument, and a relatively large amount of solo music for the cornetto (and/or violin) survives. The use of the instrument had declined by 1700, although the instrument was still common in Europe until the late 18th century. Johann Sebastian Bach, Georg Philipp Telemann and their German contemporaries used both the cornett and cornettino in cantatas to play in unison with the soprano voices of the choir. Occasionally, these composers allocated a solo part to the cornetto (see Bach's cantata BWV 118). Alessandro Scarlatti used the cornetto or pairs of cornetti in a number of his operas. Johann Joseph Fux used a pair of mute cornetts in a Requiem. It was last scored for by Gluck, in his opera Orfeo ed Euridice (he suggested the soprano trombone as an alternative). As a point of interest, Gluck was also the last person to score for the recorder, in the same opera.

Playing the cornett

The cornett is generally agreed to be a difficult instrument to play - it requires a lot of practice. It embodies a design that survives in no modern instrument; that is, the main tube has only the length of a typical woodwind, but the mouthpiece is of the brass type, relying on a combination of the player's lips and the alteration of the length of the sound column via the opening and closing of the finger holes to alter the pitch of the musical sound. Most modern brass instruments are considerably longer than the cornett, which permits the use of harmonics, the sound being altered by slides or valves to control the pitch (of course, the cornett is a woodwind instrument and this comparison is rather flimsy).

The Baroque era was relatively tolerant of bright or extroverted tonal quality, as the surviving organs of the time attest. Thus the Baroque theorist Marin Mersenne described the sound of the cornett as "a ray of sunshine piercing the shadows". Yet there is also evidence that the cornett was sometimes badly played, although it also seems to have been played much more expertly than any other woodwind instrument. Its upper register sounded somewhat like a trumpet or modern cornet, the lower register resembling the sackbutts that often accompanied it, whereas the middle register gave an indistinct wailing sound that was not attractive when played in isolation. Cornett intonation also tended to be fluid, which enabled it to be played perfectly in tune in a range of tonalities and temperaments, unlike other woodwind instruments of the 16th and 17th centuries.

As a result of its design, the cornett requires a specialized embouchure which is, initially, very tiring to play for any length of time. Cornetts were often replaced by violins in consort music and cornetts could be similarly used as a substitutes for violins in consort music and sacred music. Cornettists were frequently violinists.

Cornetts were used to reinforce the human voice in choirs, and many commentators suggested that the sound of a well played cornett, heard at a distance, somewhat resembled the sound of a human voice. The place of the cornett was never really filled by any other instrument and it wasn't until the second half of the 20th century that the cornett revival gave music lovers a chance to hear the sound of this instrument again in its proper context.

The cornett and authentic performance

As a result of the recent early music renaissance, the cornett has been rediscovered, and as before attracts the finest players. In many pieces (particularly those of early to mid Baroque composers such as Claudio Monteverdi, Giovanni Gabrieli, Francesco Cavalli, Girolamo Frescobaldi, Giovanni Battista Riccio, Dario Castello, Antonio Bertali, Pavel Josef Vejvanovskı, Jan Křtitel Tolar, Michael Praetorius, Johann Hermann Schein, Samuel Scheidt, Sebastian Knüpfer, Johann Schelle, Johann Andreas Pachelbel, Giovanni Felice Sances, Johann Joseph Fux, Johann Heinrich Schmelzer, Heinrich Ignaz Franz von Biber, Andreas Hofer, Alessandro Stradella, Matthew Locke, John Adson and Heinrich Schütz) the cornett is indispensable in performance, and the music suffers if other instruments substitute for them. The violin was the usual stubstitute for the cornetto in historical music. The recorder, modern Bb trumpet, oboe and soprano saxophone have all been used as substitutes for the cornetto in modern performances.

External links

  • A page about the cornett
  • Christopher Monk Instruments, one of the more well-known modern makers of cornetts
  • The English Cornett and Sackbut Ensemble, a performance group that makes use of the cornett

See also

  • Cornettino
  • Tenor cornett
  • Alto Cornett
  • Bass Cornett
  • Mute Cornett
Retrieved from "http://en.wikipedia.org/wiki/Cornett"