Tenor cornett

For example, see: Canzon in echo duodecimi toni à 10 by Giovanni Gabrieli and Ist nicht Ephraim mein teurer Sohn SWV 40 (from the Psalmen Davids of 1619) by Heinrich Schütz.

[citation needed] The timbre or sound quality of the tenor cornett is somewhat horn-like with an agreeable woodwind character.

[citation needed] Michael Praetorius was not enthusiastic about the sound of the tenor cornett; he describes it as "bullocky and horn-like" in his Syntagma Musicum of 1619.

The tenor cornett has a powerful forte, yet its piano is soft enough to render it a suitable substitute for the C bass in a recorder consort.

Cornettists Douglas Kirk and Nicholas Perry play tenor cornetts in the 1991 recording Giovanni Gabrieli: Canzonas, Sonatas & Motets by the Taverner Consort, Choir & Players, directed by Andrew Parrott.

In the works of Schütz, Schein, Scheidt, Praetorius, Gabrieli, Viadana and other composers from 16th and 17th century Venice, the tenor cornett appears to have been employed as the 3rd or 4th voice in instrumental and vocal music, usually playing alto or tenor ranged musical parts.

Orlande de Lassus employed the tenor cornett in various broken consort combinations of instruments in performances under his direction at the Munich court.

Trojano, a singer at the Munich court, lists the instrumentations of a number of works under the direction of Lassus in 1569.