it consisted of a stopped diapason, principal, twelfth, fifteenth, and tierce. When of 4 ranks the stopped diapason was omitted; when of 3, that and the principal were left out; so that the 'composition' on the middle C key stood thus—
and the one or two separate stops necessary were added or 'drawn' with the cornet when the series of 5 pipes was not complete. The pipes of the solo cornet were 4 or 5 'scales' wider or 'larger' than the corresponding pipes of the ordinary stops, to render the tone very powerful and broad; and very frequently, in order to make it still more prominent, the stop was placed on a sound-board of its own and raised a few feet above the surrounding pipes, in which case it was called a 'mounted cornet.' Father Smith's solo cornet at the Temple (4 ranks) was not mounted.
The Echo Cornet, of soft tone, and shut up in a box, was of 3 ranks, or 4 at most, the composition being as above given. 'Cornet Voluntaries,' as they were called, were in great vogue for a very long time, and consisted of runs and twirls for the right hand, played in single notes, first on the louder stop and then repeated on the softer, the left hand meanwhile playing a soft bass. So fashionable were these peculiar display pieces that Dr. Dupuis states on the title-page of his volume of voluntaries, containing specimens of the kind, that they were 'Performed before their Majesties at the Chapel Royal, St. Paul's Cathedral, etc.'; while Russell, in his book printed in 1812, shows that the attachment for the old Echo still lingered exactly a century after it had been improved upon by the invention of the Swell (in 1712), by directing at the head of one of his pieces 'The Swell Pedal not to be used in this movement.' The name 'Echo Cornet' is still frequently applied to a compound stop of small scale and light tone in swell organs. In many of the continental organs the cornet stop extends down to tenor C; and in some places it is used, on account of its strong and travelling tone, as an accompaniment to the priest's voice at the far end of the church. This is, or was, the custom a few years ago in many of the churches of Cologne, including the cathedral.
As the cornet is a compound stop that can be carried through the usual compass of a manual without any 'break' in its composition, it is sometimes looked upon as a good stop for covering the repetitions which necessarily occur in all compound stops that rise to a greater altitude than itself above the unison. At such times it is made as a 'progressive' stop; that is to say, it has fewer pipes in the bass, with an increasing number up to the middle of the key-board. Commencing with two pipes on the CC key, a third rank is added at tenor C, and a fourth at middle C; and the stop starts with a fifteenth and tierce, to which are added first a twelfth and then a principal, thus—
The 'large scale' is preserved, but the pipes have only narrow mouths, and produce a pleasant and rather flute-like quality of tone. A stop somewhat of this kind occurs on the great manual of Schulze's fine organ in Doncaster parish church.
CORNETTE, Victor, son of an organist, born at Amiens 1795, a musician of indefatigable activity. He entered the Paris Conservatoire in 1811, and studied composition under Lesueur. He served in the band of the 'Grenadiers tirailleurs de la Garde Impériale' in 1813 and 1814, and was at Waterloo; was professor at the College of St. Acheul from 1817 to 1825; member of the orchestra at the Odéon (1825), Opéra Comique (1827); chorus master at the Opéra Comique (1831–1837); director of singing at the Gymnase de musique militaire (1839): conductor of the Strasburg theatre (1842); chorus master to the Opéra national (1847); and again chorus master at the Opéra Comique (1848); also trombonist in the band of the Garde Nationale, and deputy organist at St. Sulpice and the Invalides. Cornette composed an enormous mass of music for every variety of instrument, and published methodes for trombone, ophicleide, cornet à pistons, bugle, saxhorn, saxophone, bassoon, oboe, horn, trumpet, harp, cello, viola, organ, and harmonium.
CORNO, the Italian term for Horn.
CORNO DI BASSETTO. See Basset-horn.
CORNO DI CACCIA, i. e. hunting horn, the French horn. The name often occurs in J. S. Bach's scores.
CORNOPEAN, a name originally applied to the cornet à pistons, though now disused.
CORNYSHE, or CORNISH, William, was master of the children of the Chapel Royal, in which office he succeeded Gilbert Banestre about the year 1490 [App. p.599 "William Newark in 1509"]. In the Privy Purse Expenses of Henry VII under date Nov. 12, 1493, a payment is entered 'to one Cornyshe for a prophecy in rewarde, 13s. 4d.,' and in the Privy Purse Expenses of Henry's Queen, Elizabeth of York, under date Dec. 1502, a similar amount for 'setting of a carralle upon Christmas day.' When the chSdren of the chapel under Cornyshe took part in the performance of a play at court they were rewarded with the sum of '6l. 13s. 4d.' Cornyshe was a great favourite with Henry VIII. We find a payment, '8 Henry VIII. Nov. To Master Cornishe, gentylman of the King's Chapell, upon a warraunt, in rewarde,
