The horn is a brass instrument made of metal tubing that is coiled into a shape with a large, flared bell at the end. It has rotary valves, which are operated by the left hand to change the pitch. The term "French horn" refers to a type of horn with piston valves, which are rarely used today. The most common horn used by professional musicians is the double horn in F/B♭, a type of German horn. Other types, such as the descant and triple horn, are becoming more popular. A person who plays the horn is called a horn player or hornist.

The pitch of the horn is controlled by three main factors: the speed of air moving through the instrument (controlled by the player’s lungs and diaphragm), the size and tightness of the player’s lips around the mouthpiece (called the embouchure), and the use of valves. Modern horns use rotary valves, but older models may use piston valves, similar to those on a trumpet. The Vienna horn uses a special type of valve called a double-piston valve. The bell of the horn faces backward to produce a softer sound, unlike the brighter sound of a trumpet. A horn without valves is called a natural horn, and it changes pitch based on natural musical notes, like a bugle. Players can also adjust the pitch by placing their hand inside the bell, which changes the size of the opening. The key of a natural horn can be changed by using different crooks, which are short pieces of tubing that alter the instrument’s pitch.

The single horn, which is usually tuned to F or B♭, has three valves that control airflow. The double horn has a fourth valve, operated by the thumb, that allows the player to switch between two sets of tubing tuned to F or B♭. This expands the range of the horn and helps it blend with woodwind instruments like flutes and clarinets. Triple horns, which have five valves, are also made and are usually tuned to F, B♭, and a higher E♭ or F. Some double horns have five valves and a stopping valve, which makes it easier to use a technique called hand-stopping. Other common types include descant doubles, which have two tuning branches: one in B♭ and one in F.

A key part of playing the French horn is the mouthpiece. It is usually placed about two-thirds on the upper lip and one-third on the lower lip. Because players have different lip and tooth shapes, some may position the mouthpiece slightly off-center. While the side-to-side placement varies, the up-and-down position is generally two-thirds on the upper lip. When playing high notes, some players press the mouthpiece slightly harder against their lips. However, this can make the sound harsh and reduce stamina, as it limits blood flow to the lips and face muscles. Too much pressure can also cause tension, which players call "pushing." This leads to a poor sound and makes it harder to play for long periods.

Name

The name "French horn" was first used in the late 17th century. At that time, French makers were best at making hunting horns and were credited with creating the now-familiar, circular "hoop" shape of the instrument. Because of this, these instruments were often called by their French names, such as trompe de chasse or cor de chasse (meaning "trumpet of hunt" or "horn of hunt"). At that time, people did not clearly separate trumpets and horns.

German makers created crooks, which are parts that help change the pitch, to make such horns playable in different musical keys. This led musicians to use the terms "French" and "German" to describe the difference between the simple hunting horn and the newer horn with crooks. In England, this newer horn was also called the Italian name corno cromatico (chromatic horn).

More recently, the term "French horn" is often used informally. However, the word "French" has usually been avoided when referring to the European orchestral horn, especially since the German-style horn began to replace the French-style instrument in British orchestras around 1930. The International Horn Society has recommended since 1971 that the instrument be simply called "the horn."

The term "French horn" is also used to describe a specific type of horn, different from the German horn and Vienna horn. In this case, "French horn" refers to a narrow-bore instrument (10.8–11.0 mm) with three Périnet (piston) valves. It keeps the narrow bell-throat and mouthpipe crooks of the orchestral hand horn from the late 18th century. Most often, it has an "ascending" third valve, which is a whole-tone valve. When the valve is in the "up" position, the valve loop is engaged, but when the valve is pressed, the loop is cut out, raising the pitch by a whole tone.

History

The name "horn" shows its early use. Humans first used animal horns, like the shofar, a ram's horn important in Jewish religious rituals. Later, people began copying natural horns by making ones from metal.

Early metal horns were simple. They were made of brass tubes without valves, wrapped around a few times, and had a flared opening called a bell. These "hunting horns" (French: cors de chasse) were used during hunts, often while riding horses. Their sound was called a recheat. Players changed pitch only by adjusting their lips, as valves and hand placement in the bell were later inventions. Without valves, only notes from the harmonic series could be played. The French horn’s design, with a long length and narrow tube, allowed players to reach higher notes easily, making it possible to play melodies before valves were invented.

Early horns were commonly tuned to pitches like B♭ alto, A, A♭, G, F, E, E♭, D, C, and B♭ basso. Since only notes from the harmonic series of these pitches were available, players could not play in different musical keys. To fix this, musicians used crooks—sections of tubing that changed the instrument’s length and pitch when inserted.

In the mid-1700s, players began inserting their right hand into the bell to adjust the instrument’s length and tuning. This helped fine-tune the sound.

In 1818, German inventors Heinrich Stölzel and Friedrich Blümel patented the first valved horn, using rotary valves. In 1839, François Périnet introduced piston valves in France. Valves were used to solve problems with switching crooks during performances. However, valves were unreliable at first, and many musicians and conservatories preferred the natural horn, believing it was a better instrument. Some musicians today still use natural horns to perform older music in its original style.

Early valves were variations of piston and rotary systems used today. Blümel’s early valves may have been the first rotary valves, but the first confirmed rotary valve design was created in 1832 by Joseph Riedl in Vienna.

By the mid-1800s, the most common single F horn was the German horn, with three rotary valves and a slide crook. This type remained dominant in orchestras until the 1920s, when it was replaced by the double horn, introduced in 1897 by Fritz Kruspe of Erfurt. In Britain, the French horn, with two or three piston valves and crooks, was preferred until the 1930s. By the 1940s, the German horn became more common in the UK. Dennis Brain, a famous British horn player, continued to use his 1818 Raoux single horn until 1951, when he switched to a German horn model. His father, Aubrey Brain, supported the French horn style but said his son had given up the instrument.

By the 1990s, even French musicians began using the darker-toned German horn.

Character

The German horn has a sound and playing style that are very different from the French model, which is used by composers like Franck, Debussy, and Ravel. The French model is smaller and seen as more refined. The German horn produces a deep and full tone, while the French horn has a bright and clear sound.

Types

Horns can be divided into several types: single horn, double horn, compensating double horn, triple horn, and those with detachable bells.

Single horns use one set of tubes connected to the valves. This makes them simpler to use and lighter in weight. They are often in the keys of F or B♭. Many F horns have longer slides to help tune them to E♭, and most B♭ horns have a valve that allows them to play in the key of A. However, single horns require a choice between sound quality and accuracy. The F horn has a traditional horn sound, but it is harder to play accurately above a certain note. The B♭ horn is easier to play accurately but has a less rich sound in the lower range. To solve this, double horns were created. These combine the F and B♭ horns into one instrument with a single lead pipe and bell. Single horns are still used as student models because they are cheaper and lighter. Single B♭ horns are sometimes used in solo performances, and single F horns are used in orchestras as Vienna horns. Single F and B♭ alto horns are also used for baroque music and by jazz musicians.

Dennis Brain recorded famous versions of Mozart's Horn Concerti using a single B♭ horn made by Gebr. Alexander, which is now displayed at the Royal Academy of Music in London.

Even with valves, single F horns were hard to play in the highest range because the notes were too close together. This led to the use of higher-pitched B♭ horns. The choice between F and B♭ horns was debated in the late 1800s until Eduard Kruspe, a German instrument maker, created the first double horn in 1897.

Double horns combine an F horn and a B♭ horn into one instrument. A fourth valve (controlled by the thumb) lets the player switch between the deep, warm tones of the F horn and the brighter tones of the B♭ horn. These two sets of tones are called "sides" of the horn. The fourth valve changes the instrument's length, which affects its pitch and the slide lengths of the main valves.

In the United States, two common double horn designs are named after German makers: Kruspe and Geyer/Knopf. The Kruspe model places the B♭ change valve near the thumb, while the Geyer model places it near the little finger. These designs affect how air flows through the instrument. Kruspe horns often have larger bells and are made of nickel silver, while Geyer horns are usually made of yellow brass. Both styles have their own advantages and are used in orchestras depending on their sound and playability.

In Europe, popular double horns are made by Alexander Brothers in Germany and Paxman in the UK. In Germany and nearby countries, the Alexander 103 model is widely used. These horns mix features of both Kruspe and Geyer designs. Paxman offers different bell sizes, while Alexander uses a traditional medium bell. In the U.S., the Conn 8D, a mass-produced Kruspe-style horn, was popular in cities like New York and Los Angeles. However, orchestras have moved away from it since the 1990s. Geyer-style horns are used in cities like San Francisco and Chicago. The CF Schmidt double horn, with a unique piston valve, is sometimes used in sections with Geyer/Knopf horns.

A full double horn has two complete sets of slides (one for B♭ and one for F). A compensating double horn has shorter slides for the F side, which can be extended to match the B♭ slides. This makes compensating horns lighter than full double horns.

In the second half of the 20th century, a triple horn was developed by adding a third "side" to the double horn. This third side is a high F or E♭ horn, activated by a second thumb valve. The triple horn was not widely accepted at first because it was heavier, more expensive, and harder to play. The combination of three horns also caused sound issues. However, improvements in manufacturing have made triple horns more popular. They are now used in many professional orchestras but are rarely found in lower-quality models. Triple horns can also be made with full or compensating designs.

Horns are not large, but their shape makes them hard to transport in tight spaces, like on airplanes. To help with this, some horns have detachable bells, which allow for smaller, easier-to-carry cases.

Related horns

The variety of horns in history includes the natural horn, Vienna horn, mellophone, marching horn, and Wagner tuba. Each has unique features and uses.

The natural horn is the earliest form of the modern horn. It evolved from hunting horns and uses air speed, the opening of the lips, and the right hand inside the bell to control pitch. Today, it is mainly used as a historical instrument. It can only play notes from one set of harmonics at a time because its tubing length is fixed. Skilled players can change pitch slightly by covering the bell with their hand, though this affects the tone. Players can also use crooks—special parts that change the instrument’s key.

The French horn, when used for a specific type, has a narrow tube (10.8 to 11.0 mm) and three Périnet piston valves. It keeps the narrow bell design from older horns and often has a third valve that raises the pitch by a whole tone. Some older models had fewer valves or could be adjusted to play like a natural horn.

The Vienna horn is used mainly in Vienna, Austria. Instead of rotary or piston valves, it uses a pumpenvalve, a type of double-piston inside sliding parts. It is smaller and lighter than modern horns and often uses an F crook. It has a warmer, softer sound and allows smooth pitch changes (glissando). However, it requires precise valve control to avoid out-of-tune notes.

A mellophone refers to two different instruments. The first is a circular-shaped horn with piston valves, often in the key of F. It can switch keys using crooks or a dedicated valve. Production of this type declined in the 20th century.

The second mellophone is used in brass and marching bands. It resembles a flugelhorn, has piston valves, and a forward-facing bell. It is preferred in marching bands for stability, louder sound, and lighter weight. It uses a V-cup mouthpiece, making it brighter than a regular horn. Some use adapters to fit horn mouthpieces, but the feel and technique differ from playing a horn.

The marching horn is similar to the mellophone but is pitched in B♭, like a valve trombone. It also comes in F alto and uses a horn mouthpiece. It is used in marching bands for forward-facing sound projection. Some bands prefer mellophones for better balance with other brass instruments.

The Wagner tuba is a rare brass instrument with a large bell and narrow tube. Though it looks like a tuba, it plays more like a horn due to its narrow bore. It was created for Richard Wagner’s operas and is used by composers like Bruckner and Strauss. It uses a horn mouthpiece.

Repertoire

The way horns are used in music depends on the type of group playing them. Orchestras and concert bands often use horns for their unique sound, while marching bands have different needs. Horns are also used in many other types of music, such as chamber music and jazz.

Horns are most commonly found in orchestras and concert bands. Composers use their special sound to create certain effects. For example, Leopold Mozart used horns to represent hunting in his Jagdsinfonie. Telemann and other composers like Handel and Bach wrote many pieces for the horn. When hand-stopping was developed, allowing horns to play all notes, composers began to write more serious music for the instrument. Gustav Mahler used the horn's deep, distant sound in his symphonies, especially in Symphony No. 7.

Many composers have written famous pieces for the horn. These include Poulenc's Elegie and Saint-Saëns's Morceau de Concert and Romance. Wolfgang Amadeus Mozart, who knew a famous horn player named Joseph Leutgeb, wrote many works for the instrument, including concertos. His A Musical Joke shows the challenges of playing the horn at the time, such as choosing the wrong crook by accident.

The invention of the valve horn allowed composers to write more complex music. Romantic composers like Bruckner, Mahler, and Richard Strauss used the horn's expanded range. Strauss's Till Eulenspiegel's Merry Pranks includes a famous horn solo. Schumann wrote a three-movement piece called Konzertstück for four horns and orchestra. Brahms loved the horn and used it in his symphonies. Today, his music is usually played on modern valve horns, even though he sometimes used natural horns.

In the 18th century, composers like Telemann, Haydn, Mozart, and Carl Stamitz wrote concertos for the horn. Bach's Brandenburg Concerto No. 1 and Vivaldi's concertos also feature the horn. Beethoven composed a Sonata for Horn and Piano for Giovanni Punto, a skilled horn player.

In the early 19th century, Carl Maria von Weber used the horn in his operas and wrote a difficult piece called Concertino in E Minor, which included early use of multiphonics. Rossini used the horn to represent hunting in Rendez-vous de chasse. These works were written for natural horns.

The valve horn allowed new musical possibilities. Schumann wrote two pieces for horn and piano in 1849. Other composers from this time include Mercadante, Franz Strauss, and Richard Strauss, who wrote his First Concerto. Saint-Saëns wrote Romances and a Morceau de Concert for the horn.

Horns are also used in chamber music. They are common in wind quintets and brass quintets and appear in other groupings, like Brahms's Horn Trio. Horns can also be played in ensembles called "horn choirs," which allow composers to use the instrument's wide range for more complex music.

Orchestral and concert band horns

A classical orchestra usually has at least two French horn players. In many cases, the first horn plays high notes, and the second horn plays low notes. Starting in the early 1800s, composers like Beethoven often used four French horns. In this setup, the first and second horns worked together as a pair (first horn high, second horn low), and the third and fourth horns formed another pair (third horn high, fourth horn low).

Modern music for French horns uses a similar arrangement. The first and third horns play high notes, while the second and fourth horns play low notes. This setup helps musicians play more easily because high and low notes can be balanced when played together. Pairing also makes it simpler for composers to write music, as the third and fourth horns can take over from the first and second horns or play different parts. For example, in a piece written in C minor, the first and second horns might use the main key (C), which covers most of the notes, while the third and fourth horns might use a related key (E♭) to fill in missing notes.

In the 2010s, many orchestras added an assistant to the French horn section. This assistant plays the same part as the first horn for certain sections. The assistant helps during loud passages, plays instead of the principal horn if a solo is approaching, or takes turns with the principal horn if the part is difficult to play for long periods. The assistant may also join a passage after resting, or enter in the middle of a passage, matching the principal horn’s sound, style, and interpretation to allow the principal horn to rest.

In jazz

The French horn was not often used in jazz music at first. (Note that in jazz, the word "horn" is sometimes used to mean any wind instrument.) However, some important musicians began to use the French horn in jazz music. One of these musicians was Gil Evans, a composer and arranger who included the French horn in groups starting in the 1940s. He first worked with Claude Thornhill's group and later with a famous cool jazz group led by trumpeter Miles Davis. He also used the French horn in many other musical projects, some of which included Davis and others that featured Don Ellis, a trumpet player who was part of Stan Kenton's jazz band. Don Ellis is known for his work with the French horn on songs like "Strawberry Soup" and other tracks on the album Tears of Joy. Other notable jazz musicians who played the French horn and improvised music include Julius Watkins, Willie Ruff, John Graas, David Amram, John Clark, Vincent Chancey, Giovanni Hoffer, Arkady Shilkloper, Adam Unsworth, and Tom Varner.

Bass clef old notation vs. new notation

The way notes are written in the bass clef for the horn has changed over time. Before about 1920, horn music using the bass clef often followed a system now called old notation. In this system, notes in the bass clef were written an octave lower than the actual pitch. By the early 1900s, when the valve horn became common, a new system gradually replaced the old one. In the new system, notes in the bass clef are written the same way as in the treble clef: notes are written an octave higher than the actual pitch.

Usually, sheet music does not show whether horn parts use old or new notation. However, horn players have created a general rule to help them determine which system is being used.

Notable horn players

• Hermann Baumann – won the ARD International Music Competition in 1964 and was a principal horn player in several orchestras, including the Stuttgart Radio Symphony Orchestra
• Radek Baborák – well-known Czech horn player who was principal horn in the Berlin Philharmonic Orchestra, won the ARD International Music Competition in 1994, won the Concertino Praga in 1988 and 1990, and received a Grammy Award in 1995
• Aubrey Brain – respected British horn player, father of Dennis Brain, and known for promoting the French style of the instrument
• Dennis Brain – former principal horn of the Royal Philharmonic Orchestra and the Philharmonia Orchestra, who recorded famous versions of Mozart’s horn concertos with Herbert von Karajan
• Alan Civil – former principal horn of the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and the BBC Symphony Orchestra
• John Cerminaro – former principal horn of the Seattle Symphony, New York Philharmonic, and Los Angeles Philharmonic
• Dale Clevenger – former principal horn of the Chicago Symphony Orchestra from 1966 to 2013
• Vincent DeRosa – former principal horn for several Hollywood studios and composers, including John Williams
• Stefan Dohr – current principal horn of the Berlin Philharmonic Orchestra
• Richard Dunbar – French horn player who performs in the free jazz music scene
• Philip Farkas – former principal horn of the Chicago Symphony Orchestra, creator of the Holton-Farkas horn, and author of books about horn and brass playing
• Douglas Hill – former principal horn of the Madison Symphony Orchestra, known as a teacher and composer
• Julie Landsman – former Principal Horn of the Metropolitan Opera and a respected teacher of horn playing
• Stefan de Leval Jezierski – longest-serving horn player in the Berlin Philharmonic Orchestra
• Philip Myers – former principal horn of the New York Philharmonic
• Jeff Nelsen – played with Canadian Brass from 2000 to 2004 and 2007 to 2010, and has taught at Indiana University Jacobs School of Music since 2006
• Giovanni Punto – famous horn player and pioneer of a technique called hand-stopping, after whom an annual award is named by the International Horn Society; also played violin and composed music
• David Pyatt – won the BBC Young Musician of the Year competition in 1988 and is currently principal horn of the London Philharmonic Orchestra
• Gunther Schuller – former principal horn of the Cincinnati Symphony Orchestra and Metropolitan Opera Orchestra, and performed with musician Miles Davis
• Lucien Thévet – principal horn of the Paris Conservatoire Orchestra and the Orchestre de l'Opéra National de Paris, known as a teacher and author of books about horn playing
• Barry Tuckwell – former principal horn of the London Symphony Orchestra and author of books about horn playing
• Radovan Vlatković – won the ARD International Music Competition in 1983, was principal horn and soloist of the Berlin Radio Symphony Orchestra, and teaches at the Mozarteum University of Salzburg
• Sarah Willis – first female brass player in the Berlin Philharmonic Orchestra, born in the United States, and works to promote the horn and classical music through television programs like Sarah's Music on Deutsche Welle

People who are better known for other accomplishments but also play the horn include actor Ewan McGregor, actor David Ogden Stiers, comedian and television host Jon Stewart, journalist Chuck Todd, musician John Entwistle from The Who, and rapper and record producer B.o.B.

Gallery

• A modern full double French horn
• A Vienna horn
• A hunting horn
• A French Omnitonic horn
• A natural horn displayed at the Victoria and Albert Museum
• A replica of a natural horn from the time of Mozart
• A hunting horn in E♭
• A natural horn
• An older French-made horn with piston valves in E♭
• A French-made horn with piston valves
• A French horn made by Alexander, previously owned by Dennis Brain
• A French horn in Berlin
• A French horn made of rose gold