For example, see: Canzon in echo duodecimi toni à 10 by Giovanni Gabrieli and Ist nicht Ephraim mein teurer Sohn SWV 40 (from the great Psalmen Davids of 1619) by Heinrich Schütz, both of these works feature low cornetto lines written in the C tenor clef.
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The In Dulci Jubilo à 20 cum Tubis setting by Praetorius from his vast Polyhymnia Caduceatrix & Panegyrica of 1619, seems to require a tenor cornett on the third line of Choro I, the part is scored for a viola (alto) and a cornett playing together.
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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.
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Roland Wilson and his group Musica Fiata employ tenor cornetts in their recordings of the Psalmen Davids of Heinrich Schütz and the Music for San Rocco recording of music by Giovanni Gabrieli and his contemporaries.
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Orlando di Lassus employed the tenor cornett in various Broken consort combinations of instruments in performances under his direction at the Munich court.
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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.
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