Editing Cornet (section)

==Ensembles with cornets==
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===Brass band===
[[British brass band]]s consist only of brass instruments and a [[Percussion instrument|percussion]] section. The cornet is the leading melodic instrument in this ensemble; trumpets are never used. The ensemble consists of about thirty musicians, including nine B{{music|flat}} cornets and one E{{music|flat}} cornet ([[soprano cornet]]). In the UK, companies such as [[Besson (music company)|Besson]] and [[Boosey & Hawkes]] specialized in instruments for brass bands. In America, 19th-century manufacturers such as Graves and Company, Hall and Quinby, E. G. Wright, and the [[Boston Musical Instrument Company|Boston Musical Instrument Manufactury]] made instruments for this ensemble.

===Concert band===
The cornet features in the British-style [[concert band]], and early American [[concert band]] pieces, particularly those written or transcribed before 1960, often feature distinct, separate parts for trumpets and cornets. Cornet parts are rarely included in later American pieces, however, and they are replaced in modern American bands by the trumpet. This slight difference in instrumentation derives from the British concert band's heritage in [[military band]]s, where the highest brass instrument is always the cornet. There are usually four to six B{{music|flat}} cornets present in a British concert band, but no E{{music|flat}} instrument, as this role is taken by the [[E-flat clarinet|E{{music|flat}} clarinet]].

===Fanfareorkest===
Fanfareorkesten ("[[fanfare orchestra]]s"), found in only the Netherlands, Belgium, northern France, and Lithuania, use the complete [[saxhorn]] family of instruments. The standard instrumentation includes both the cornet and the trumpet; however, in recent decades, the cornet has largely been replaced by the trumpet.

===Jazz ensemble===
In old-style [[jazz band]]s, the cornet was preferred to the trumpet, but from the swing era onwards, it has been largely replaced by the louder, more piercing trumpet. Likewise, the cornet has been largely phased out of [[big band]]s by a growing taste for louder and more aggressive instruments, especially since the advent of [[bebop]] in the post-[[World War II]] era.

Jazz pioneer [[Buddy Bolden]] played the cornet, and [[Louis Armstrong]] started off on the instrument, but his switch to the trumpet is often credited with the beginning of the trumpet's dominance in jazz.<ref>{{cite web |last1=West |first1=Michael J. |title=The Cornet: Secrets of the Little Big Horn |url=https://jazztimes.com/features/cornet-horn-trumpet/ |website=JazzTimes.com |access-date=17 August 2018 |date=3 November 2017}}</ref> Cornetists such as [[Bubber Miley]] and [[Rex Stewart]] contributed substantially to the [[Duke Ellington Orchestra]]'s early sound. Other influential jazz cornetists include [[Freddie Keppard]], [[King Oliver]], [[Bix Beiderbecke]], [[Ruby Braff]], [[Bobby Hackett]], and [[Nat Adderley]]. Notable performances on cornet by players generally associated with the trumpet include [[Freddie Hubbard]]'s on ''[[Empyrean Isles]]'', by [[Herbie Hancock]], and [[Don Cherry (trumpeter)|Don Cherry]]'s on ''[[The Shape of Jazz to Come]]'', by [[Ornette Coleman]]. The band [[Tuba Skinny]] is led by cornetist Shaye Cohn.

===Symphony orchestra===
Soon after its invention, the cornet was introduced into the [[orchestra|symphony orchestra]], supplementing the trumpets. The use of valves meant they could play a full [[chromatic scale]] in contrast with trumpets, which were still restricted to the [[harmonic series (music)|harmonic series]]. In addition, their tone was found to unify the horn and trumpet sections. [[Hector Berlioz]] was the first significant composer to use them in these ways, and his orchestral works often use pairs of both trumpets and cornets, the latter playing more of the melodic lines. In his ''[[Symphonie fantastique]]'' (1830), he added a [[counter-melody]] for a solo cornet in the second movement ({{Lang|fr|Un Bal}}).

Cornets continued to be used, particularly in French compositions, well after the valve trumpet was common. They blended well with other instruments and were held to be better suited to certain types of melody. [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]] used them effectively this way in his ''[[Capriccio Italien]]'' (1880).<ref name="Piston">{{cite book | last=Piston | first=Walter | title=Orchestration | url=https://archive.org/details/orchestration0000pist | url-access=registration | publisher=Norton | publication-place=New York | year=1955 | isbn=0-393-09740-4 | oclc=300471 | pages=[https://archive.org/details/orchestration0000pist/page/264 264–266]}}</ref>

From the early 20th century, the cornet and trumpet combination was still favored by some composers, including [[Edward Elgar]] and [[Igor Stravinsky]], but tended to be used for occasions when the composer wanted the specific mellower and more agile sound. The sounds of the cornet and trumpet have grown closer together over time, and the former is now rarely used as an ensemble instrument:<ref name="Piston"/> in the first version of his ballet ''[[Petrushka (ballet)|Petrushka]]'' (1911), Stravinsky gives a celebrated solo to the cornet; in the 1946 revision, he removed cornets from the orchestration and instead assigned the solo to the trumpet.