[1] Cornet's surviving output is small and consists only of keyboard music: eight fantasias, two courantes (with variations), a toccata, a setting of Salve Regina, and one of Tantum Ergo.
The style varies from animated, bright music of the courantes, to elaborate polyphony in the fantasias and the mystical, religious feeling of the Salve Regina setting.
[2] The style shows the influence of English virginal music, with unexpected fast runs and characteristic figurations (in some fantasias ornaments are even notated using the English symbol: two oblique bars), with the exception of wide skips, broken octaves, and other virtuosic figures such as those found in Bull's and Farnaby's music.
In sharp contrast to his famed contemporary Sweelinck, who developed a pedantic, systematic approach to applying changes such as augmentation or diminution to the subject, Cornet prefers to only use the techniques where they seem appropriate, and avoids schematic treatment.
The former comprises five sections (Salve, Ad te clamamus, Eia ergo, O clemens, Pro fine).
The first three are fugues on the initial motifs of the corresponding lines, the fourth is a cantus firmus setting with the melody first stated in the soprano and then in the tenor, and the fifth combines the subject and its inversion.