A comprehensive dictionary of organ stops - Allen Organ Studio of ...

DICTIONARY OF ORGAN STOPS. 3
(2) In Germany the Nachthom has occasionally been made of open
pipes, resembling in tone a horny Hohlflote, or a Waldflote of the Walker
type.
(3)
organ).
It was not unknown as a reed. St. Lambert, Miinster (former
Cordedain—4 ft.
A metal Flauto Traverso. St. Thomas, Strassburg.
Cormorne—Cromorne. See Clarinet.
Corna Musa—See Musette.
Come Parforce—See Waldhorn.
Corne Sylvestre—See Waldhorn.
Cornet—(1) A Mixture stop, usually of V or IV ranks.
When composed of V ranks it comprised Stopped Diapason, 8 ft.
Principal, 4 ft.; Twelfth, 2§ ft.; Fifteenth, 2 ft.; and Tierce, if ft. When
of IV and III ranks respectively, the Stopped Diapason and Principal
were successively omitted. Occasionally the Cornet was based on 16 ft.
pitch, e.g., at the Music Hall, Boston ( Walcker) ; St. John, Schaffhausen.
In England the compass usually extended to mid. C, but in Germany it
was frequently carried to tenor C or bottom C. It was much used for solo
work. At Cologne Cathedral and some other German churches, there
survives a traditional, and not altogether ineffective custom, of using the
Cornet as a solo stop to accompany the priest's voice.
Cornet Voluntaries were at one time of great popularity. They
consisted of " runs and twirls for the right hand " (Hopkins). The best
known are those of Stanley, Blewitt, Dupuis, Russell.
The pipes of the Cornet were of enormous scale and voiced flutey;
they extended throughout their compass without breaking. The stop was
often mounted on a small soundboard of its own above the other pipes, or
was provided with very long feet in order (i) to economize space and
facilitate tuning; (ii) to avoid sympathy and render the tone more
prominent. This variety was known as Mounted Cornet. Very
peculiar effects were often to be obtained from the Cornet. Mr. Casson
once informed the author that he had heard one, without any unison rank,
bearing some resemblance to a modern Orchestral Oboe. The objection-
able feature of the stop was the prominent Tierce rank uncovered by any
rank of higher pitch. It is a pity that the Cornet, or rather, that type of
stop, has fallen into disuse. In good examples sometimes to be heard in
Germany the ranks combine well with each other, and, when used in
combination, the ensemble, instead of suggesting screaming fifths and
thirds, is extraordinarily bell-like in cohesion of tone. Abroad, as a
1;