Fiscorn powerful baritone voice has no counterpart, (save perhaps the piston-valved marching baritone), in the organology. The forward-projected sound makes a pair of fiscorns the most suitable two instruments to join the shrill Catalan shawms (tenoras and tibles) and flabiol pipe, together with trumpets and trombone in the outdoor town-square setting where the cobla bands play for sardana dancers. While the instrument is often played by trombonists, its conical nature is easily mastered by tuba or euphonium players. Several instrument manufacturers have attempted to solve the intonational discrepancies of the instrument in recent years, with a varied success. The instrument is
Tenor cornett about the sound of the tenor cornett; he describes it as "bullocky and horn-like" in his "Syntagma Musicum" of 1619. He suggests that a trombone is to be preferred and the alto and tenor voices of cornett and trombone ensembles was usually played on trombones. However, tenor cornetts seem to have been common enough and composers like Gabrieli, Lassus, Hassler and Schütz (the fourth cornetto part of the "Psalmen Davids" of 1619 requires a tenor cornett) frequently made use of this instrument. Christopher Monk speculates that Praetorius heard the instrument played rather badly on several occasions. The "In Dulci Jubilo