A B♭ cornet
(Valved aerophone sounded by lip vibration)
|Developed||Early 19th century from the post horn|
|Written range: (lower and higher notes are possible)|
|Part of a series on|
The cornet ( // , US: // ) is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B♭, though there is also a soprano cornet in E♭ and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett.
The cornet derived from the posthorn, by applying rotary valves to it in the 1820s in France.However by the 1830s, Parisian makers were using piston valves. Cornets first appeared as separate instrumental parts in 19th-century French compositions.
This instrument could not have been developed without the improvement of piston valves by Silesian horn player Friedrich Blühmel and Heinrich Stölzel in the early 19th century. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel (or Blümel) was the inventor, and Stölzel who developed a practical instrument.They jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for an improved valve which is the basis of all modern brass instrument piston valves. The first notable virtuoso player was Jean-Baptiste Arban, who studied the cornet extensively and published La grande méthode complète de cornet à piston et de saxhorn, commonly referred to as the Arban method , in 1864. Up until the early 20th century, the trumpet and cornet co-existed in musical ensembles. Symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to both instruments, they started to look and sound more alike. The modern-day cornet is used in brass bands, concert bands, and in specific orchestral repertoire that requires a more mellow sound.
The name cornet derives from corne, meaning horn, itself from Latin 'cornu'. While not musically related, instruments of the Zink family (which includes serpents) are named "cornetto" or "cornett" in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as "old wooden cornets".The Roman/Etruscan cornu (or simply "horn") is the lingual ancestor of these. It is a predecessor of the post horn from which the cornet evolved, and was used like a bugle to signal orders on the battlefield.
The cornet's valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new valve technology, so for 100 years or more, composers often wrote separate parts for trumpet and cornet. The trumpet would play fanfare-like passages, while the cornet played more melodic passages. The modern trumpet has valves that allow it to play the same notes and fingerings as the cornet.
Cornets and trumpets made in a given key (usually the key of B♭) play at the same pitch, and the technique for playing the instruments is nearly identical. However, cornets and trumpets are not entirely interchangeable, as they differ in timbre. Also available, but usually seen only in the brass band, is an E♭ soprano model, pitched a fourth above the standard B♭.
Unlike the trumpet, which has a cylindrical bore up to the bell section, the tubing of the cornet has a mostly conical bore, starting very narrow at the mouthpiece and gradually widening towards the bell. Cornets following the 1913 patent of E.A. Couturier can have a continuously conical bore. The conical bore of the cornet is primarily responsible for its characteristic warm, mellow tone, which can be distinguished from the more penetrating sound of the trumpet. The conical bore of the cornet also makes it more agile than the trumpet when playing fast passages, but correct pitching is often less assured.The cornet is often preferred for young beginners as it is easier to hold, with its centre of gravity much closer to the player.
The cornet mouthpiece has a shorter and narrower shank than that of a trumpet so it can fit the cornet's smaller mouthpiece receiver. The cup size is often deeper than that of a trumpet mouthpiece.
One variety is the short model traditional cornet, also known as a "Shepherd's Crook" shaped model. These are most often large–bore instruments with a rich mellow sound. There is also a long-model or "American-wrap" cornet, often with a smaller bore and a brighter sound, which is produced in a variety of different tubing wraps and is closer to a trumpet in appearance. The Shepherd's Crook model is preferred by cornet traditionalists. The long-model cornet is generally used in concert bands in the United States, but has found little following in British-style brass and concert bands.
A third and relatively rare variety—distinct from the long-model or "American-wrap" cornet—is the "long cornet", which was produced in the mid-20th Century by C.G. Conn and F.E. Olds and visually is nearly indistinguishable from a trumpet except that it has a receiver fashioned to accept cornet mouthpieces.
The echo cornet has been called an obsolete variant. It has a mute chamber (or echo chamber) mounted to the side acting as a second bell when the fourth valve is pressed. The second bell has a sound similar to that of a Harmon mute and is typically used to play echo phrases, whereupon the player imitates the sound from the primary bell using the echo chamber.
Like the trumpet and all other modern brass wind instruments, the cornet makes a sound when the player vibrates ("buzzes") the lips in the mouthpiece, creating a vibrating column of air in the tubing. The frequency of the air column's vibration can be modified by changing the lip tension and aperture or "embouchure", and by altering the tongue position to change the shape of the oral cavity, thereby increasing or decreasing the speed of the airstream. In addition, the column of air can be lengthened by engaging one or more valves, thus lowering the pitch. Double and triple tonguing are also possible.
Without valves, the player could produce only a harmonic series of notes like those played by the bugle and other "natural" brass instruments. These notes are far apart for most of the instrument's range, making diatonic and chromatic playing impossible except in the extreme high register. The valves change the length of the vibrating column and provide the cornet with the ability to play chromatically.
British brass bands consist only of brass instruments and a percussion section. The cornet is the leading melodic instrument in this ensemble; trumpets are never used. The ensemble consists of about thirty musicians, including nine B♭ cornets and one E♭ cornet (soprano cornet). In the UK, companies such as Besson and Boosey & Hawkes specialized in instrument for brass bands. In America, 19th-century manufacturers such as Graves and Company, Hall and Quinby, E.G. Wright and the Boston Musical Instrument Manufactury made instruments for this ensemble.
The cornet features in the British-style concert band, and early American concert band pieces, particularly those written or transcribed before 1960, often feature distinct, separate parts for trumpets and cornets. Cornet parts are rarely included in later American pieces, however, and cornets are replaced in modern American bands by the trumpet. This slight difference in instrumentation derives from the British concert band's heritage in military bands, where the highest brass instrument is always the cornet. There are usually four to six B♭ cornets present in a British concert band, but no E♭ instrument, as this role is taken by the E♭ clarinet.
Fanfare orkesten ("fanfare orchestras"), found in only the Netherlands, Belgium, Northern France and Lithuania, use the complete saxhorn family of instruments. The standard instrumentation includes both the cornet and the trumpet; however, in recent decades, the cornet has largely been replaced by the trumpet.
In old style jazz bands, the cornet was preferred to the trumpet, but from the swing era onwards, it has been largely replaced by the louder, more piercing trumpet. Likewise the cornet has been largely phased out of big bands by a growing taste for louder and more aggressive instruments, especially since the advent of bebop in the post World War II era.
Jazz pioneer Buddy Bolden played the cornet, and Louis Armstrong started off on the cornet but his switch to the trumpet is often credited with beginning of the trumpet's dominance in jazz.Cornetists such as Bubber Miley and Rex Stewart contributed substantially to the Duke Ellington Orchestra's early sound. Other influential jazz cornetists include Freddie Keppard, King Oliver, Bix Beiderbecke, Ruby Braff, Bobby Hackett, and Nat Adderley. Notable performances on cornet by players generally associated with the trumpet include Freddie Hubbard's on Empyrean Isles by Herbie Hancock and Don Cherry's on The Shape of Jazz to Come by Ornette Coleman.
Soon after its invention, the cornet was introduced into the symphony orchestra, supplementing the trumpets. The use of valves meant they could play a full chromatic scale in contrast with trumpets, which were still restricted to the harmonic series. In addition, their tone was found to unify the horn and trumpet sections. Hector Berlioz was the first significant composer to use them in these ways, and his orchestral works often use pairs of both trumpets and cornets, the latter playing more of the melodic lines. In his Symphonie fantastique (1830), he added a counter-melody for a solo cornet in the second movement (Un Bal).
Cornets continued to be used, particularly in French compositions, well after the valve trumpet was common. They blended well with other instruments, and were held to be better suited to certain types of melody. Tchaikovsky used them effectively this way in his Capriccio Italien (1880).
From the early 20th century, the cornet and trumpet combination was still favored by some composers, including Edward Elgar and Igor Stravinsky, but tended to be used for occasions when the composer wanted the specific mellower and more agile sound. The sounds of cornet and trumpet have grown closer together over time and the former is now rarely used as an ensemble instrument:in the first version of his ballet Petrushka (1911), Stravinsky gives a celebrated solo to the cornet; in the 1946 revision he removed cornets from the orchestration and instead assigned the solo to the trumpet.
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones or labrophones, from Latin and Greek elements meaning 'lip' and 'sound'.
The euphonium is a medium-sized, 3 or 4-valve, often compensating, conical-bore, tenor-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos, meaning "well-sounding" or "sweet-voiced". The euphonium is a valved instrument. Nearly all current models have piston valves, though some models with rotary valves do exist.
The flugelhorn, also spelled fluegelhorn, flugel horn, or flügelhorn, is a brass instrument that resembles the trumpet and cornet but has a wider, more conical bore. Like trumpets and cornets, most flugelhorns are pitched in B♭. It is a type of valved bugle, developed in Germany in the early 19th century from a traditional English valveless bugle. The first version of a valved bugle was sold by Heinrich Stölzel in Berlin in 1828. The valved bugle provided Adolphe Sax with the inspiration for his B♭ soprano (contralto) saxhorns, on which the modern-day flugelhorn is modeled.
The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras and bands. A musician who plays a horn is known as a horn player or hornist.
The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's vibrating lips (embouchure) cause the air column inside the instrument to vibrate. Unlike most other brass instruments, which have valves that, when pressed, alter the pitch of the instrument, trombones instead have a telescoping slide mechanism that varies the length of the instrument to change the pitch. However, many modern trombone models also have a valve attachment which lowers the pitch of the instrument. Variants such as the valve trombone and superbone have three valves similar to those on the trumpet.
The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet with the highest register in the brass family, to the bass trumpet, which is pitched one octave below the standard B♭ or C Trumpet.
The tuba is the lowest-pitched musical instrument in the brass family. As with all brass instruments, the sound is produced by lip vibration, or a buzz, into a large mouthpiece. It first appeared in the mid-19th century, making it one of the newer instruments in the modern orchestra and concert band. The tuba largely replaced the ophicleide. Tuba is Latin for "trumpet".
The sousaphone is a brass instrument in the same family as the more widely known tuba. Created around 1893 by J.W. Pepper at the direction of American bandleader John Philip Sousa, it was designed to be easier to play than the concert tuba while standing or marching, as well as to carry the sound of the instrument above the heads of the band. Like the tuba, sound is produced by moving air past the lips, causing them to vibrate or "buzz" into a large cupped mouthpiece. Unlike the tuba, the instrument is bent in a circle to fit around the body of the musician; it ends in a large, flaring bell that is pointed forward, projecting the sound ahead of the player. Because of the ease of carrying and the direction of sound, it is widely employed in marching bands, as well as various other musical genres. Sousaphones were originally made out of brass but in the mid-20th century started to be made from lighter materials like fiberglass; today both types are in wide use.
The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles. It is not to be confused with the trumpet-like cornet.
The baritone horn, or sometimes just called baritone, is a low-pitched brass instrument in the saxhorn family. It is a piston-valve brass instrument with a bore that is mostly conical but it has a narrower bore than the similarly pitched euphonium. It uses a wide-rimmed cup mouthpiece like that of its peers, the trombone and euphonium. Like the trombone and the euphonium, the baritone horn can be considered either a transposing or non-transposing instrument.
The tenor horn is a brass instrument in the saxhorn family, and is usually pitched in E♭. It has a bore that is mostly conical, like the flugelhorn and baritone horn, and normally uses a deep, cornet-like mouthpiece.
The mellophone is a 2- or 3-valve brass instrument pitched in the key of F, G (bugle),B♭, or E♭. It has a conical bore, like that of the euphonium and flugelhorn. The mellophone is used as the middle-voiced brass instrument in marching bands and drum and bugle corps in place of French horns, and can also be used to play French horn parts in concert bands and orchestras.
The Flumpet is a hybrid brass instrument that shares the construction and timbral qualities of a trumpet and flugelhorn. The Flumpet was invented for Art Farmer by David Monette and is currently in production by Monette. The Flumpet is in the key of B♭.
Marching brass instruments are brass instruments specially designed to be played while moving. Most instruments do not have a marching version - only the following have marching versions:
The Vienna horn is a type of musical horn used primarily in Vienna, Austria, for playing orchestral or classical music. It is used throughout Vienna, including the Vienna Philharmonic and Wiener Staatsoper.
A Soprano Helicon is a coiled brass instrument from the helicon family.
There are many different types of trombone. The most frequently encountered trombones today are the tenor and bass, though as with other Renaissance instruments such as the recorder, the trombone has been built in every size from piccolo to contrabass.
The saxotromba is a valved brass instrument invented by the Belgian instrument-maker Adolphe Sax around 1844. It was designed for the mounted bands of the French military, probably as a substitute for the French horn. The saxotrombas comprised a family of half-tube instruments of different pitches. By about 1867 the saxotromba was no longer being used by the French military, but specimens of various sizes continued to be manufactured until the early decades of the twentieth century, during which time the instrument made sporadic appearances in the opera house, both in the pit and on stage. The instrument is often confused with the closely related saxhorn.
A horn is any of a family of musical instruments made of a tube, usually made of metal and often curved in various ways, with one narrow end into which the musician blows, and a wide end from which sound emerges. In horns, unlike some other brass instruments such as the trumpet, the bore gradually increases in width through most of its length—that is to say, it is conical rather than cylindrical. In jazz and popular-music contexts, the word may be used loosely to refer to any wind instrument, and a section of brass or woodwind instruments, or a mixture of the two, is called a horn section in these contexts.
The German horn is a brass instrument made of tubing wrapped into a coil with a flared bell, and in bands and orchestras is the most widely used of three types of horn, the other two being the French horn and the Vienna horn. Its use among professional players has become so universal that it is only in France and Vienna that any other kind of horn is used today. A musician who plays the German horn is called a horn player. The word "German" is used only to distinguish this instrument from the now-rare French and Viennese instruments. Although the expression "French horn" is still used colloquially in English for any orchestral horn, since the 1930s professional musicians and scholars have generally avoided this term in favour of just "horn". Vienna horns today are played only in Vienna, and are made only by Austrian firms. German horns, by contrast, are not all made by German manufacturers, nor are all French-style instruments made in France.