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Arban’s complete celebrated method for the cornet or E♭ alto, B♭ tenor, baritone, euphonium and B♭ bass in treble clef Subtitle newly revised and edited by Edwin Franko Goldman
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A mute cornett (French: cornet muet, German: stiller Zink, Italian: cornetto muto) is a straight cornett with a narrower bore and integrated mouthpiece carved into the end of the instrument's body. [13] The instrument tapers in thickness, until at the top it is about 1.3 centimetres (0.51 in) wide. [13]
The Gaussian function is the archetypal example of a bell shaped function. A bell-shaped function or simply 'bell curve' is a mathematical function having a characteristic "bell"-shaped curve. These functions are typically continuous or smooth, asymptotically approach zero for large negative/positive x, and have a single, unimodal maximum at ...
The third volume, published in 1915 as Clarke's Characteristic Studies for Cornet, contains a "Treatise on Tongueing" about single, double, and triple tongue technique, 24 characteristic studies inspired by violin methods and progressing alternatingly through the major and minor keys chromatically ascending, and 15 solos. It is considered a ...
The cornet (/ ˈ k ɔːr n ɪ t /, [1] US: / k ɔːr ˈ n ɛ t /) 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 ♭. There is also a soprano cornet in E ♭ and cornets in A and C.
The bore of a baroque recorder has a "reversed" taper, being wider at the head and narrower at the foot of the instrument. [3] Most contemporary recorders also have such a conical bore as they are made very similar to baroque recorders. However, multiple renaissance, medieval and also modern recorders have a cylindrical bore.
The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the cornet's sound is halfway between a trumpet and a flugelhorn. [6] The flugelhorn is as agile as the cornet but more difficult to control in the high register (from approximately written G 5), where in general it locks onto notes less easily.