See also:

• BASSET, or BASSETTE

BASSET See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

HORN (Fr. See also:

• COR

Cor de Basset, or Cor de Bassette; Ger. Bassethorn, Basshorn; Ital. Corno di Bassetto)  , a See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, not a " See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn," member of the See also:

• CLARINET
• CLARINET, or CLARIONET (Fr. clarinette; Ger. Clarinette, Klarinett; Ital. clarinetto, chiarinetto)

clarinet See also:

• FAMILY

family, of which it is the See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor . The See also:

• BASSET, or BASSETTE

basset horn consists of a nearly cylindrical See also:

• TUBE (Lat. tuba)

tube of wood (generally cocus or See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box-wood), having a cylindrical See also:

• BORE

bore and terminating in a See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell wider than that of the clarinet . For convenience in reaching the keys and holes, the See also:

• MODERN

modern instrument is usually See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent or curved either near the See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece or at the bell, which is turned upwards . The older See also:

• MODELS

models were bent in the See also:

• MIDDLE

middle at an obtuse See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle, and had at the bottom of the See also:

• LOWER

lower See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint, near the bell, a wooden See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block, inside which the bore was reflexed, and bent down upon itself.' The basset horn has the same fingering as the clarinet, and corresponds to the tenor of that instrument, being pitched a fifth below the clarinet in C . The See also:

• ALTO (Ital. for " high ")

alto clarinet in Eb is often substituted for the basset horn, especially in military bands, but the See also:

• INSTRUMENTS

instruments differ in three particulars:—(I) The basset horn has a metal bell instead of the See also:

• PEAR (Pyrus communis)

pear-shaped contracted bell of the alto clarinet . (2) The bore of the basset horn is wider than that of the alto clarinet in El', or of the tenor clarinet in F . (3) The tube of the basset horn is longer than that of the clarinet, and contains four additional See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long keys, worked by the thumb of the right See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, which in the clarinet is only used to steady the instrument . These keys give the basset horn an extended See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of two tones downwards to F 0=—74 - whereas the See also:

• ELY
• ELY, RICHARD THEODORE (1854— )

Ely 'clarinet only extends to G @—J and the F clarinet to An instrument of this type, stamped " H . Grenser, S . Wiesner, See also:

• DRESDEN

Dresden," is in the collection of the Rev . F . W .

Galpin, of See also:

• HATFIELD

Hatfield, Broad See also:

• OAK (O. Eng., (lc)

Oak . A _ (actual of the basset horn -, actual sounds sounds) . This brings the compass to a range of four octaves from (From photographs See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent by M . See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Mahillon.) Like the clarinet, the basset horn is a transposing Instrument, its See also:

• MUSIC

music being written a fifth higher than the actual sounds . The See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble clef is used in notation for all but the lowest See also:

• REGISTER

register . The technical capabilities of the basset horn are the same as for the clarinet, except that the extra See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low notes from A to F (actual sounds) can only be intoned slowly and staccato; the notes of the upper register being better represented in the clarinet are seldom used in orchestral music . The See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of the basset horn is extremely reedy and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, especially in the See also:

• MEDIUM

medium and low registers; the tone See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour is similar to that of the clarinet without its brilliancy; it is mellow and sensuous, but slightly sombre, and therefore well adapted for music of an elegiac funereal See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . The basset horn flourished mainly in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where at the end of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century it was the favourite See also:

• SOLO, OR SOLO WHIST

solo instrument of many celebrated instrumentalists, such as See also:

• CZERNY, KARL (1791–1857)

Czerny, See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David, Lotz, See also:

• SPRINGER (Fr. rein)
• SPRINGER, ANTON HEINRICH (1825–1891)

Springer, &c . Among the See also:

• GREAT

great masters, See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart seems' to have been foremost in his appreciation of this beautiful instrument . In his See also:

• REQUIEM

Requiem, the See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed family is represented by two basset horns having See also:

• INDEPENDENT

independent parts, and two bassoons . Mozart has also used the instrument with great effect in his See also:

• OPERA (Italian for " work ")

opera La Clemenza di Tito, where he has written a See also:

• FINE

fine See also:

• OBBLIGATO, or OBLIGATO

obbligato for it in the See also:

• ARIA (Ital. for " air ")

aria "Non piu di Flori "; in Zauberjlote; and in chamber music, viz. See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• ADAGIO (Ital. ad agio, at ease)

adagio for two basset horns and See also:

• BASSOON
• BASSOON (Fr. basson; Ger. Fagott; Ital. fagotto)

bassoon, and another for two clarinets and three basset horns (See also:

• SERIES (a Latin word from serere, to join)

Series so of Breitkopf & Hartel's See also:

• COMPLETE

complete edition) . See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven employed it in his See also:

• PROMETHEUS

Prometheus See also:

• OVERTURE (Fr. ouverture, opening)

overture .

Mendelssohn used it in military music, and in two concerted pieces for clarinet and basset horn with See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment, in F and D See also:

• MIN

min., opp . 113 and 114, dedicated to Heinrich and Carl Barmann . The archetypes of the basset horn are the same as those of the clarinet (q.v.) . The basset horn was the outcome of the See also:

• DESIRE

desire, prevailing during the 16th and 17th centuries, to obtain complete families of instruments to See also:

• PLAY

play in See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert . The invention of the basset horn in 1770 is attributed to a clarinet maker of See also:

• PASSAU

Passau, named Horn, whose name was given to the instrument; by a misnomer, the basset horn became known in See also:

• ITALY
• ITALY (Italia)

Italy as corno di bassetto, and in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France as See also:

• CAR (Late Lat. carra)

car de basset . In 1782, See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore Lotz of See also:

• PRESSBURG (Hung. Pozsony, Lat. Posonium)

Pressburg made some modifications in the instrument, which was further improved by two instrumentalists of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, Anton and Johann Stadler, and finally in 1812 by Iwan Mueller, a famous clarinettist, who invented the alto clarinet in Eb from the basset horn, by giving the latter a construction and fingering analogous to those of the clarinet in Bb, which he took as his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, instead of the clarinet in C . See J . G . H . Backofen, Anweisung zur Klarinette, nebst einer kurzen Abhandlung fiber das Basset-Horn, with See also:

• ILLUSTRATION

illustration, p . 37 (See also:

• LEIPZIG

Leipzig, Breitkopf & Hartel, 1803); Iwan Mueller, Anweisung zu der neuen Clarinette and der Clarinette-alto, nebst einigen Bemerkungen See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur Instrumentenmacher (Leipzig, Freidrich See also:

• HOFMEISTER, WILHELM FRIEDRICH BENEDICT (1824-1877)

Hofmeister, 1826, with illustrations; Gottfried See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber, " fiber Clarinette and Bassethorn," Cacilia, See also:

• BAND

Band xi. pp . 35-37 (See also:

• MAINZ (Fr. Mayence)

Mainz, 1834) ; Wilhelm See also:

• ALTENBURG

Altenburg, See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Clarinette, ihre Entstehung and Entwickelung bis zur Jetztzeit in akustischer, technischer u. musikalischer Beziehung (See also:

• HEILBRONN

Heilbronn, 1904), pp .

16-32; See also:

• GOOD, JOHN MASON (1764-1827)

good heliogravures of See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early basset horns in Descriptive See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue of the Musical Instruments at the Royal Military See also:

• EXHIBITION

Exhibition, See also:

• LONDON

London, 189o, compiled by Capt . C . R . See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day (1891), pl. v . (K .