[TPIN] Cornet Question- Historical

[David Stacey]

This is a related question.

Two summers ago on a trip to France I bought a beauty of a cornet at a "vide
grenier" sale in a little town. It was the thrill of my holiday, let me tell
ya....

It came with a short leadpipe and a very long shank that I'm told is for an
A tuning. It did not come with a shorter shank for b flat tuning, which I
deduce is missing. It's a Couesnon, from about 1900, I've been told.

Does anyone have a suggestion about whom I might send this to in order to
get a shorter shank made for it? 

Thanks,

David



-----Original Message-----
From: tpin-bounces+des11=humboldt.edu at tpin.okcu.edu
[mailto:tpin-bounces+des11=humboldt.edu at tpin.okcu.edu] On Behalf Of James
Klages
Sent: Saturday, February 02, 2008 1:47 PM
To: MikeSpengl at aol.com
Cc: tpin at tpin.okcu.edu
Subject: Re: [TPIN] Cornet Question- Historical

Cornet soloists commonly played with bands and orchestras. The accompanimet
parts for solos were printed in  in Keys favored by the band or the
orchestra - flats vrs sharps. The soloist could use the same instrument and
play n the same key for the instrument. A solo in F on the Cornet could be
pitched in Eb (concert) for the band or D for the orchestra -and still be in
F on the instrument. Just like playing Stars ands Stripes with the Band or
Orchestra today.  Look at the second Fantasy in the Arban book.
Jim Klages



On 2/2/08, MikeSpengl at aol.com <MikeSpengl at aol.com> wrote:
>
> My friend and big band colleague (a bone player) who is BIG on  historical
> instruments/recordings proudly showed off pix of an antique cornet
> he  recently
> acquired. Then turned to me and asked: "Why did they consider having
> a  cornet
> also pitched in A important back then?" I realized I just plain didn't
> know...
>
>   Looked through Ed Tarr's book, so I know his take on the  "cornet vs.
> trumpet" issue. And Berlioz features some A cornet parts. I got my  old
> Conn Bb/A
> as a way of 'shedding L'Histoire on the original instrument in
> its  original
> called-for pitch, but L'Histoire wasn't the cause of makers to
> ensure  that it
> could play in A.
>
>   So... his/my question remains: Why did folks back then  consider having
> the dual pitch of Bb/A to be important?
>
>   Thanks for any & all  replies....                  Mike Spengler
>
>
>
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-- 
Dr. James L. Klages
Professor of Trumpet
School of Music
University of Central Oklahoma
Edmond, OK 73034
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