Talk:Cornett

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[edit] Zink

This instrument is also called the Zink, so if someone could add that it would be ace.

The cornetto/cornett was/is known as the "cornet à bouquin" in France and the "corneta" in Spain.

The cornetto continued to be played in parts of Europe and, possibly, the Americas well into the 19th century. A cornett and trombone ensemble was heard in Stuttgart at late as 1840. D'Indy scored a solo cornetto in his opera Fervaal late in the 19th century.

[edit] Contradiction

(of course, the cornett is a woodwind instrument and this comparison is rather flimsy)

This statement is contradictory to statements above that include the cornett with the brass instruments. I am inclined to agree, because I don't think having tone holes (or being made of wood) is enough to make it a woodwind. There are, infact, some trumpets that have tone holes instead of valves, including modern 'baroque' trumpets, and the serpent is an example of another brass instrument made of wood, I believe. In the brass instrument article, there are named several ethnic instruments, such as shell horns, which are not made of any sort of metal, but are still brass instruments. I don't want to change it myself because I am not an expert, but this has been bothering me for a while. --Vlmastra 18:47, 22 February 2007 (UTC)

Removed it. Calling the cornett a woodwind instrument is as incorrect as calling a saxophone a brass instrument. EldKatt (Talk) 10:46, 3 March 2007 (UTC)

[edit] Cleaning

We need sources for much of the stuff here, especially regarding the mentions of how contemporaries regarded the cornett. It wouldn't be hard to find, I suspect, and I will look at it when I have time. In the meantime I've removed something that struck me as very odd, namely the italicized part of the following:

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.

The one basis for this I can imagine is the fact that some contemporary sources (Burney being a rather famous example) occasionally complain about bad intonation from woodwinds. But you should consider the far more numerous instances where woodwinds are mentioned without any mention of such problems suggests that this wasn't really the norm. My experiences with hearing "authentic instruments" played suggest that intonation was never a problem beyond the skills of any good player (and there were plenty of good players back then too). EldKatt (Talk) 10:52, 3 March 2007 (UTC)

"violins in consort music and cornetts could be similarly used as a substitutes for violins in consort music"

Umm, this is not really true. Cornetti were almost never used in matched consort playing. Also, a "consort," by definition, implies a very fluid instrumentation. However, in the context of the sentence, I have a very hard time seeing a violin replacing a cornett part in a cornett-sackbutt ensemble... The fluidity of choice between cornetti and violins is from later (early Baroque) when many treble parts in canzoni and sonatas (almost exclusively in Italy) were labeled "violin or cornett." This has NOTHING to do with consort music. —Preceding unsigned comment added by Jmclark (talk • contribs) 03:30, 11 October 2007 (UTC)