ORCHESTRAL MUSICAL INSTRUMENTS. 



80 1 



which, however, hardly compensates for defectiveness in phrasing 

 and other drawbacks. 



Up to about 184U the keyed or " Kent bugle " held the place 

 now occupied by the cornet, although in being only since 1807. 

 That now obsolete instrument was the familiar duty or field 

 bugle, to which keys had been added so as to allow the pro- 

 duction of intermediate tones in addition to the harmonics indi- 

 cated. 



Halliday, an Irish gentleman, who invented that instrument, 

 discovered by accident that, by boring holes in an old field bugle, 

 extra tones could be produced. EUard, a musical instrument 

 maker of Dublin, made him a model after some experiments, and 

 the latter having added further improvements, it was submitted 

 to the Duke of Kent, who introduced it into his band, whereupoa 

 it took the name of the " Kent bugle." 



When the allied armies entered Paris after Waterloo, the 

 Grand Duke Constantine of Russia heard the bugle for the first 

 time. Through Distin— father of the modern family of that name 

 —then soloist in the Coldstream Guards band, he secured a copy, 

 and on returning to Russia had it adopted in all the imperial 

 bands. It had a short existence, however, for within a few years 

 the cornopean — as the cornet was at first named — succeeded it. 

 This was not merely an incidental 

 step beyond the Kent bugle, for it 

 resulted in the production of a 

 complete family of brass instru- 

 ments within a few years, name- 

 ly sax-horns, besides influencing 

 the French horn, trombone, and 

 trumpet, and art generally. It 

 appeared first in Russia, but its 

 invention was claimed by the 

 elder Sax, and by a Mr. Adams, 

 an American. The latter had no 

 patent and never proved his right 

 to the claim advanced, while the 

 representations of Sax stand equal- 

 ly discredited. The real author is 

 yet unknown. The chief features 

 of originality in the cornopean or cornet over the keyed bugle 

 consist in the use of three pistons, which, on being pressed singly, 

 or in combination, shut off, or add, certain lengths of tubing, so 

 as to raise or lower the pitch, these valves being perforated to 

 assist that end. 



Antoine Sax, of Paris — the greatest inventor of the age in that 

 field — in addition to his feats in relation to the saxophone, took 



VOL. XL. — 54 



Fio. 10.— Soprano Cornet. 



Fig. 11. — Cornet, showing Kotart Valve 

 System. 



