The instrument blends extremely well with male voices, particularly those of countertenors. 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. 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 à 20 cum Tubis" setting by Praetorius from his "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. The 1619 "Polyhymnia" and, indeed, other collections by Praetorius, contain works with parts plausibly intended for tenor cornetts.