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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
714
Another,
and
I
think
the
latest
production
of
note--no
pun
is
here
intended--brought
before
the
public
by
Messrs.
Maskelyne
and
Cooke
is
Fanfare,
the
cornet
player.
This
is
the
figure
of
a
gentleman
dressed
in
modern
costume,
holding
in
his
hand
a
cornet,
which
he
places
to
his
mouth
and
plays
in
the
most
professional
manner.
The
whole
performance
of
this
mechanical
marvel,
however
bewildering
it
may
appear
to
the
observer,
consists
of
nothing
more
or
less
than
remarkable
clever
“lipping”
on
the
part
of
a
living
musician,
who
really
plays
the
instrument
in
the
lonely
solitude
of
the
regions
beneath
the
stage.
The
sound
emitted
from
a
brass
instrument
is
altered
in
tone
and
pitch,
according
to
the
length
and
breadth
of
the
tubes
through
which
the
wind
is
blown.
For
a
bass
tone
wide
and
long
tubes
must
be
used,
while
for
a
treble
tone
much
shorter
and
narrower
tubes
must
be
employed.
The
principles
of
construction
are
exactly
similar
in
the
cornet
as
in
the
euphonium
and
saxehorn,
the
difference
of
tone
being
produced
merely
by
the
different
dimensions
of
the
tubes.
The
direction
of
the
tubes--that
is,
whether
they
be
twisted
or
straight,
or
in
different
folds--makes
very
slight,
if
any,
difference
in
the
tone
of
the
instrument.
A
cornet
could
be
so
constructed
as
to
admit
a
much
longer
and
straighter
tube
immediately
in
front
of
the
piston
tubes,
and
still
have
the
tone
of
an
ordinary
cornet.
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