instruments of the french horn family

INSTRUMENTS OF THE FRENCH HORN FAMILY

Single Horn

Double Horn

Descant Horn

Triple Horn

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Vienna Horn

Marching Horn

Mellophone

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INSTRUMENTS OF THE FRENCH HORN FAMILY

Single Horn

• Pitched either in F or Bb (this should be obvious when purchasing the horn)

• In either case, the player will read music for Horn in F.

• The single horn will sound a perfect 5th below concert pitch.

• This horn is a common starter horn due to its light weight, especially for smaller students.

• The single F horn will have a smoother sounding low register, but the high register will have many tuning, accuracy and general tone issues.

• Tuning notes for the single F horn are written middle C and below the staff B, Bb, A, and Ab.

• The single Bb horn has a quicker response and an easier, more in-tune and better sounding high register.

• Tuning notes for the single Bb horn are written 1st space F, 2nd line E and Eb and below the staff D and Db.

• As these instruments are typically starter instruments. The student will need to move to a double horn during the later middle school/early high school years.

Double Horn

• Pitched in both F and Bb ! For most American double horns, the top set of slides is the F

side while the bottom set of slides is the Bb side. ! To use the Bb side, depress the thumb trigger.

• The player will read music for Horn in F.

• The descant horn will sound a perfect 5th below concert pitch.

• Tuning notes for the double horn include tuning notes for both sides: ! Tuning notes for the F side are written middle C and below the

staff B, Bb, A and Ab. ! Tuning notes for the Bb side are written 1st space F, 2nd line E

and Eb and below the staff D and Db.

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• The double horn is the typical instrument of choice from middle school to the professional level. The combination of the secure high range of the Bb side and the smooth low range of the F side meets most of the needs of the horn player well.

Descant Horn

• Pitched in Bb and either high F or high Eb. ! Like the double horn, the top set of slides is the Bb side while

the bottom set of slides is either the high F or high Eb side. ! Like the double horn, depress the trigger to use the high F or

high Eb side.


• The descant horn will sound a perfect 5th below concert pitch.

• Tuning notes for the descant horn include tuning notes for each of the sides:

! Tuning notes for the Bb side are written 1st space F, 2nd line E and Eb and below the staff D and Db.

! Tuning for the high F side are written 3rd space C, 3rd line B and Bb and 2nd line A and Ab.

! Tuning notes for the high Eb side are written 3rd line Bb, 2nd space A and Ab and 2nd line G and Gb.

• The descant horn is used to assist a professional horn player who is required to play in the high register.

! The high F or high Eb side provides a more secure high register than the Bb side.

• The descant horn is made for professional assistance, not to compensate for technical deficiencies in younger players. As such, this horn should not be used at the secondary level.

Triple Horn

• Pitched in F, Bb and either high F or high Eb. ! Just as the double horn, the top set of slides is the F side, the

middle set is the Bb side, and the bottom set is either high F or high Eb.

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! Like the double horn, depress either the top trigger for the Bb side or the bottom trigger for the high F or high Eb side.


• The triple horn will sound a perfect 5th below concert pitch.

• Tuning notes for the triple horn include tuning notes for each of the three sides:

! Tuning notes for the F side are written middle C and below the staff B, Bb, A and Ab.

! Tuning notes for the Bb side are written 1st space F, 2nd line E and Eb and below the staff D and Db.

! Tuning notes for the high F side are written 3rd space C, 3rd line B and Bb and 2nd line A and Ab.

! Tuning notes for the high Eb side are written 3rd line Bb, 2nd space A and Ab and 2nd line G and Gb.

• The triple horn is essentially a double horn with a descant side. Due to specific compensations in horn construction, each of the sides will not sound as resonant as on double horns with the particular sides.

• The triple horn provides a more secure high register on the high F or high Eb side while maintaining the flexibility of range in the other two sides.

• The triple horn, like the descant horn, is made to assist professional players, not to compensate for technical deficiencies in younger players. As such, this horn should not be used at the secondary level.

Vienna Horn

• The Vienna horn comes with a crook mechanism. As such, the player can play in all twelve chromatic keys, using particular crooks according to particular composer directions or particular keys.

! The most common crook is the F crook, so the horn is most often pitched in F.

• The player will read music written for horn in any key. The player must read the music for the particular horn key printed.

! The most common crook is the F crook, so the player will usually read music for Horn in F.

• As this horn can play in any key via the crook mechanism, its sounding pitch will vary according to the crook used.

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! The rule for finding the transposition is, “C’s a C, sounds the key.” This means that a printed C in any octave will produce the key of the crook without any valves depressed.

! For example, a Vienna horn with an A crook would sound a 2nd space A if the printed note was 3rd space C. As such, the transposition for the A crook would be down a minor 3rd from concert pitch.

! The most common crook is the F crook, so the Vienna horn will sound a perfect 5th lower than concert pitch.

• Tuning notes for the Vienna horn will vary according to the crook used.

! The most common crook is the F crook. Tuning notes for the Vienna horn with an F crook are written middle C and below the staff B, Bb, A and Ab.

• While the Vienna horn still uses teardrop keys (like on all other horns), the horn uses the pump valve system. This system is essentially a double-piston valve system, where the pistons are activated with long rods attached to the teardrop keys.

! This system allows for the characteristic smooth legatos and slurs heard on the Vienna horn.

• The Vienna horn is only used in Vienna, Austria, most famously in the Vienna Philharmonic Orchestra.

• The Vienna horn will not be used at the secondary level.

Marching Horn

• Pitched in Bb


• The marching horn will sound a perfect 5th below concert pitch.

• Tuning notes for the marching horn are written 1st space F, 2nd line E and Eb and below the staff D and Db.

! The marching horn was not necessarily designed to play in tune. Tuning will be a constant issue with this instrument.

• The marching horn is one of the two marching band versions of French horns. This instrument is used in marching band because the bell faces toward the front rather than behind (as a normal French horn would).

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• The fact that the marching horn is pitched in Bb makes it easier and more accurate to play.

Mellophone

• Pitched in high F or high Eb

• The player will read music for Horn in F or for Horn in Eb.

• The mellophone will sound a perfect 5th below concert pitch if pitched in high F or a major 6th below concert pitch if pitched in high Eb.

• Most marching bands will use mellophones pitch in high F.

• Tuning notes the mellophone depend on its pitch. ! Tuning notes for a high F and high Eb mellophone are written

3rd space C, 3rd line B and Bb and 2nd line A and Ab. ! For the high F mellophone, these notes are concert F, E, Eb, D

and Db. ! For the high Eb mellophone, these notes are concert Eb, D, Db,

C and B. ! Like the marching horn, the mellophone was not necessarily

designed to play in tune. Tuning will be a constant issue with this instrument.

• The mellophone is the second of the two marching band versions of French horns. This instrument is used in marching band because the bell faces toward the front rather than behind (as a normal French horn would).

• The fact that the mellophone is pitched in F gives the player a more secure high register.

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RECOMMENDED FRENCH HORN BRANDS

Beginner: Brand: Conn Model: 6D Pricing: MSRP $3299.00 @ wwbw.com Description:

• Brass, more compact and lighter than the Conn 8D

• Durable • Have a tendency to play below pitch center • Very acceptable for beginners

Professional: Brand: Conn Model: 8D Pricing: MSRP $4349.00 - $4559.00 @ wwbw.com Description:

• Nickel silver large bore horn-typically darker sound with less defined grooves for the notes

• Requires more air control and more strength to play • Heavier than other brands • Not recommended for small beginning students or older students that

have bad pitch distinction • Very durable • Watch 3rd space C# and 4th line D on this horn.

! 3rd space C# will be terribly flat, and so the 3rd valve on the Bb side should barely be pulled out (because G# below and above

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it will be fine with this valve in, and C# is a pretty common note).

! 4th line D is often sharper than the other T12 valve combinations on the horn – sometimes T3 actually puts this horn’s 4th line D in tune.

Brand: Yamaha Model: YHR-667VL Pricing: MSRP $7636.99 @ wwbw.com Description:

• Considered a professional horn • Free blowing • Open wrap • Excellent response and pitch adjustability • Valves and slides are fussy and need to be maintained daily with valve

oil. • Designed to be played in the US and in Europe. • Play above A=440Hz; this is why the slides are so long • Very thin metal, not durable

Brand: Yamaha Model: YHR-668NII Pricing: MSRP $4469.99 @ wwbw.com Description:

• A little heavier than the Yamaha 667 • Thin and not durable metal • Have quick response

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Brand: Holton Model: H179 Farkas Series Pricing: MSRP $4349.00 Description:

• Nickel silver with bad finish • Valves are mediocre because they are poorly

designed. They do not stop bending when the valve is open. • Smaller wrap and therefore lighter • No pitch bends in the harmonics • Less durable than Conns, but more durable than Yamahas • Plays above pitch center • Acceptable for beginners, and definitely better than a single horn

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FRENCH HORN MOUTHPIECES

• There are several parts to the French horn mouthpiece:

o Rim – the contact point for the lips. This can come in various contours and grips. ! Flatter rim = better flexibility, rounder rim = better endurance ! Grip/bite – inside edge of rim. Round = better for thin lips, sharp = better

for think lips to ‘grip’ the mouthpiece

o Cup diameter – the measurement of the diameter of the inside of the rim. ! Sizes are generally between 16.5 and 18.5mm ! The size determines how much of the lips can “fit” into the cup. ! Smaller = better for thinner lips, Larger = better for thick lips

o Cup shape/depth

! Two sizes of cups – bowl-shaped and funnel-shaped.

• Bowl-shaped cups produce a warmer, rounder sound

• Funnel-shaped cups produce a more direct, ringing sound

! Shallow cups have faster response, better high range flexibility, and more focused sound.

! Deeper cups have slower response, better low range flexibility, and a broader sound.

o Bore/backbore

! The bore is the hole at the end of the cup

• Size of the bore determines how free-flowing or resistant the mouthpiece is. Smaller = more resistance, Larger = less resistance

• Resistance helps with breath control, high range, and accuracy up to a point.

! The backbore is the gradual taper to the bore.

• A narrow, straight contour makes for less pitch flexibility and more resistant loud playing, but has a more focused tone.

• A rounded contour makes for more pitch flexibility and has less resistance at loud dynamics and a darker, broader tone

o Plating – the metal the mouthpiece is made of. ! The mouthpiece usually comes in nickel, silver, or gold, but there is not

much of a technical difference. ! If a player has a metal allergy, rims can be made out of plastic such as

Delrin or Lexan.

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RECOMMENDED FRENCH HORN MOUTHPIECES

Generally, beginners will have thinner, smaller lips, so smaller rims, smaller inner cup diameters, moderate cup shape and depth, moderate bore size and a moderate backbore contour will allow them sufficient ease of playing and flexibility. Brand: Yamaha Model: 30C4 Pricing: MSRP $34.99 @ wwbw.com Description:

• Easy response

• Good balance between endurance and flexibility (moderate rim contour)

• About halfway point between dark and bright tone qualities

Brand: Schilke Model: 30 Silver Pricing: MSRP $56.00 @ wwbw.com Description:

• Easy response

• Produces darker tone sooner • Good balance between endurance and

flexibility (moderate rim contour)

Brand: Stork Model: C8 Pricing: MSRP $60.99 @ wwbw.com Description:

• Easy response • More direct sound (straighter cup shape)

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• Good flexibility (flatter rim) Brand: Holton Model: MDC (Medium-Deep Cup) Pricing: MSRP $59.00 @ wwbw.com Description:

• Easy response across the entire range

• More direct sound (straighter cup shape) • Small diameter for smaller lips

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PARTS OF THE FRENCH HORN MOUTHPIECE

Cup Diameter

Rim

Cup

Bore (inside) Backbore (inside)

Grip/bite

Shank (outside)

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Rotor Spindle/Bearing Oil

MSRP $3.98 @ samash.com

• This is the oil to be dripped on the tops and bottoms of the rotor casings, as it is a heavier oil.

• This is oil is to be applied about every two weeks, or every week for heavy playing.

FRENCH HORN MAINTENANCE KIT LIST –

RECOMMEND ITEMS

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Rotor Oil

MSRP $3.29 @ interstatemusic.com

• This is the oil to be dripped inside the slides, as it is a lighter oil.

• This oil is to be applied about every two weeks, or every week for heavy playing.

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Selmer Tuning Slide & Cork Grease

MSRP $3.99 @jwpepper.com

• The Selmer cork grease is a liquid and lasts much longer than most tuning slide greases.

• Caution should be used when using this because it is very sticky

• Must be stored in a plastic Ziploc bag as it may explode.

• If it hits something in the case or if exposed to heat, it will damage other maintenance kit items.

• To apply, squeeze a tiny bit of the grease up and down onto the slide. Then, insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease with a cloth from the slide if necessary.

French Horn Snake

MSRP $4.99 @ interstatemusic.com

• A snake is used to clean the inner and outer slides at least every six months

• Be sure to not use metal snakes, as they will scratch the plating of the horn.

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Yamaha Brass Mouthpiece Brush

MSRP $2.99 @ wwbw.com

• Used to clean the inside of the mouthpiece • Insert from the shank and twist to clean out the

mouthpiece • Does not go all the way through the mouthpiece • Could scratch the inside of the cup of the

mouthpiece if not used correctly

French Horn BERP


• The BERP allows students to air, position, and vibrate while simulating playing position. It is a good tool for ear training as the student advances.

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8x10 Plexiglass

Binswangerglass.com

• Road man will not supply these • Prices vary depending on where mirrors are

purchased. • Mirrors purchased through Binswanger can

be purchased in bulk and cut to a desired size. They will also be made of plexiglass.

• Purchasing mirrors at a home improvement store is also an option; however, mirrors will have to be individually cut by a band parent or yourself.

• No matter where mirrors are purchased, it is vital that they are made of plexiglass and not glass. Students will not hurt themselves on the corners of the mirrors; nor will the mirrors shatter when dropped.

• To receive a better price, attempt to find other band directors who would be willing to place an order as well. Assuring the company that you will place annual orders may also result in a discount.

• Self-portrait mirrors from art supply stores are acceptable.

• Car clip-on mirrors are not recommended because they are too small and the hinges break easily.

• Makeup mirrors are not recommended because they are too small and oddly shaped.

• It would be best if there was a box for the mirrors in each separate class location. Students can then easily obtain a mirror out of the box before class and return the mirror after class.

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FRENCH HORN MAINTENANCE KIT –

OPTIONAL RECOMMENDED ITEMS

One of the following can be used depending on socio-economic environment, availability, or

preference when selecting a suitable metronome.

Qwik Time QT-5 Metronome


• This metronome does not have a subdivision function.

• Credit card-sized • A-440 tuning tone • Low-battery indicator

Korg MA-1 Metronome


• Beat-Counting display makes it easier to practice rhythm and phrasing.

• Tap Tempo function makes it easier to quickly set the desired tempo.

• Beat display offers from 1 to 9 beats, plus 8 rhythm types to practice any style of music.

• Can tune any instrument using the 12-step (C4 – B4) chromatic reference pitch

• Adjustable calibration setting (410 – 480 Hz)

• Earphone jack with adjustable volume • Memory backup function and auto

power-off function • Up to approximately 290 hours of

continuous operation

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Korg TM-50 Digital Tuner/ Metronome


• Offers both a tuner and metronome, which function simultaneously or independently

• Contains 13 types of rhythms that cover 0-7 beats per measure as well as doublets, triplets, triplets with center beats omitted, quadruplets, and quadruplets with center beats omitted

• Tempo is easily adjustable in a range of 40—208BPM.

• Earphone jack with adjustable volume

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One of the following music stands can be chosen depending on socio-economic environment,

availability, or preference.

Hamilton Folding Music Stand


• Collapsible and easy to transport

Selmer Music Stand with Bag


• Collapsible and easy to transport

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French Horn String

MSRP $3.99

• This string is only for French horns without metal linkages for the valves.

• The method for tying this string can be found online or in The Art of French Horn Playing.

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Polishing Cloth

MSRP $7.95

• This cloth must be made for silver or gold plating, depending on the appropriate plating of the horn.

• This cloth wipes off any acid from fingerprint residue in addition to keeping a generally polished look to the horn.

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Hetman 7 or 8 – Premium Slide Grease Standard


• The Hetman Slide Grease is a cream and lasts much longer than most tuning slide greases.

• Caution should be used when using this because it is very sticky

• To apply, remove a small amount of cream from container and smear onto slide. Then, making a ring with the thumb and forefinger, work the slide grease onto the slide to create enough friction to properly lubricate the cork.

• Insert slide back into the instrument using a back and forth motion until lubricated. Remove any excess grease with a cloth from the slide if necessary.

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FRENCH HORN MAINTENANCE Mouthpiece Maintenance

• Over time, grime and other dirty objects build up in the mouthpiece.

• To clean the mouthpiece: 1. Take a mouthpiece brush and run it through the mouthpiece under warm

water in the sink. ! The brush will not go all the way through, so insert the brush

through both ends to fully clean each end. ! Soap is not necessary, but it does not hurt the mouthpiece to use it.

The same goes for mouthwash. If these are used, simply rinse the mouthpiece thoroughly afterwards and let it air dry so that the alcohol evaporates.

• This process should be done every week to two weeks.

Slide Maintenance

• The insides of the slides and various tubes build up grime, various dirt particles, and germs, so the slides must be snaked at least once a month.

• To snake a horn: 1. Take out the appropriate slide, pressing down the appropriate valve while

taking it out, and place the slide on a towel or soft surface. 2. Run water through the unattached slide, preferably in the opposite

direction of air flow. ! In the case of the main tuning slide and the lead pipe, also run

water through the lead pipe – starting on the end with the tuning slide, not the end with the mouthpiece receiver.

3. Take the snake and run it through the slide which was taken out, preferably in the opposite direction of air flow.

4. Repeat the above step on the immovable part of the slide attached to the rotor. Be careful to not jam the snake against the rotor.

5. Repeat the above two steps with all slides, including the main tuning slide, the F tuning slide and the Bb tuning slide.

6. Apply slide grease as necessary according to the below steps.

• There are numerous slides on the French horn. Each of these must be well-lubricated with slide grease. Refer to the “Maintenance Kit” handout for pictures of slide greases.

• To apply the grease: 1. Take out the slide to be greased, pressing down the appropriate valve. 2. With a paper towel, wipe off the slide to clean the grease and any grime on

the slide. 3. If the grease is a liquid, squeeze the bottle and apply a line of grease down

two sides of the slide. If the grease is more of a cream, use the index finger to apply the grease along most of the length of the slide.

! Do not apply too much grease, as the slides can become too lubricated and fall out.

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4. Re-insert the slide and slide it fully in and out a few times. Insert only one side of the slide in and rotate the slide while moving it in and out. Press down the appropriate valve the entire time during this process.

5. Push the slide all the way in and use a paper towel to wipe off any extra grease located where the immovable and movable parts of the slide meet.

6. Repeat this process for all slides as needed – even fake tuning slides.

• This process should be done every month or so.

Valve Maintenance

• With a Holton French horn, you will have to constantly apply oil to the valves.

• Oil all the moving parts. Oil is like most wonderful things…you cannot have too much!

• Put oil on the springs, under the valve cap, and inside the slides to keep the oil from mixing with slide grease and slowing down the valve. Then move the slide in and out while pressing on the corresponding valve. Make sure that your students routinely depress the keys when emptying their slides.

• There are two types of rotary oil – rotor oil and rotor spindle/bearing oil. Rotor oil looks like normal valve oil, whereas spindle oil has a “needle-looking” thing. Rotor oil goes in the slides to lubricate the outside of the rotor casing. Spindle/bearing oil goes under the valve caps, such that the raised portion is covered in a small dome of oil. It also goes on the underside, inside of a crevice between the middle vertical screw and the bumpers. The spindle/bearing oil lubricates the interior mechanism of the rotor. It is wise to not mix these up, as the two oils have different thicknesses (and rotors do not like it when they have the wrong oil).

• On some horns, there are strings connecting the components of the rotary valves. These strings will break on occasion, and they can be an ordeal to tie – especially if the student or director is inexperienced. Consult this diagram for a string-tying guide:

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FRENCH HORN METHOD BOOKS

Essential Elements 2000 MSRP $10.23 @ wwbw.com

Best in Class MSRP $5.45

@ wwbw.com

Standard of Excellence MSRP $6.95

@ wwbw.com

Pottag-Hovey Method for French Horn


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FRENCH HORN SUPPLEMENTAL BOOKS

Kopprasch: 60 Selected Studies by G. Kopprasch

MSRP $11.95 @ sheetmusicplus.com

Contains etudes that may be used for TMEA All-State

French horn music

Technical Studies Lyrical Studies

H. Kling: 40 Characteristic Etudes for French Horn by H.

Kling MSRP $10.95

@ sheetmusicplus.com


French horn technical audition music

Grand Theoretical and Practical Method for the Valve

Horn by Josef Schantl MSRP $15.00

@ poperepair.com

Scales and arpeggios in every key

Interval exercises in various

keys

Parès Scales by Gabriel Parès MSRP $6.50

@ wwbw.com

Scales and arpeggios in various keys

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335 Selected Melodious, Progressive, and Technical Studies for French Horn by Max P. Pottag and Albert J.

Andraud MSRP $30.00

@ sheetmusicplus.com


French horn music

Technical Studies Lyrical Studies

2 Volumes

Melodious Etudes for Trombone by Joannes Rochut


Used for lyrical playing and phrasing

Great for bass clef instruction

Deux cents Études Nouvelles Mélodiques et Progressives

pour Cor by Maxime-Alphonse

MSRP $26.60 - $37.35 @ sheetmusicplus.com

Includes lyrical and technical

studies

Beginner to Virtuoso Level Studies

6 Volumes of varying

difficulty

The Breathing Book by David Nesmith

MSRP $19.99 @ mountainpeakmusic.com

Rigorous book for diagnosing and fixing breathing issues

Flow Studies by Nancy Sullivan

MSRP $19.99 @ mountainpeakmusic.com

Studies emphasizing breath control

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The Art of French Horn Playing by Philip Farkas


The essential French horn

technique book

The French horn “Bible”

Covers 99% of all horn techniques

Directs proper embouchure

development

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FRENCH HORN CASES, IDENTIFICATION OF

PARTS AND REMOVING IT FROM ITS CASE

General Information about All Brass Cases

• Most cases have distinguishing marks somewhere on the case. Identify these marks, and their relationship to the top and bottom of the case. Most cases have the handles placed on the bottom section of each case. Check to make sure.

• Place all French horn cases on the floor in front of the student. • Be sure the student understands where and which direction each part of the

instrument belongs in the case. Give detailed information on removing the parts from the case. Make sure the student waits for each instruction before performing the task. Be sure the parts of the instrument are returned to the case in the reverse order they were removed.

• The French horn should be removed first, followed by the mouthpiece. When putting the instrument back, the order is reversed – mouthpiece first, followed by the French horn.

• All instruments must be assembled in a specific order. Follow this procedure explicitly every time.

• Never leave a closed case unlatched. Most latches open from the bottom up, but this is not always the case. Sometimes buttons slide from side to side, etc. Check each opening mechanism carefully before presenting the information to your students.

• Cases should be protected at all times. Try to find a safe space in the classroom setup for each student’s case. If using an ensemble room for the class, the cases may be opened in the hall. The empty case will remain closed and latched in the hall during class.

• When instruments are in their cases, do not allow students to sit on their cases AT

ANY TIME because the lead pipe and/or bell will get bent.

Specific Information about Removing the French Horn from Its Case

• Open the case fully before removing the French horn. Some cases may not open such

that both sides are on the floor. For these cases, one side will stay up and possibly fall

on the horn while removing it from the case.

• When possible, remove the French horn by gripping the main pipe running between

all the valves and slides. This is the sturdiest part of the instrument. Do not grip the

horn by the bell, as the bell contains some of the thinner layers of metal on the

instrument.

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FRENCH HORN SLIDES

Main Tuning Slide – The main tuning slide is the first slide on the horn. It is located on the back side of the horn. This slide affects the pitch of both sides of the horn (F and B-flat).

F Tuning Slide – Double horns will have an additional slide on the back of the horn, the F Tuning Slide that only affects the F side of the horn (without the trigger). The main tuning slide should be set first before setting this slide. On a Kruspe wrap horn (more open wrap) the main tuning slide and F tuning slide will face in opposite directions. On a Geyer wrap horn (tighter wrap = brighter sound) these slides will face the same direction. (see pictures below) Examples of Kruspe wrap horns: Conn 8D, Yamaha 668, Yamaha 668II, Conn 6D, Holton 179 Example of a Geyer wrap horn: Yamaha 667

“Fake” Tuning Slide – Many horns will have a fake tuning slide located on the front side of the horn, near the mouthpiece. This slide is used to empty water that collects in the horn – not for tuning purposes. This is the only slide on the horn that should be pushed in almost all the way.

B-flat Tuning Slide – Some horns will also have a B-flat tuning slide which only affects the pitch of the B-flat side of the horn (with the trigger). This is a short slide that is located on the front of the horn, in line with the valve slides. It should be pulled about ¼ of an inch and then left alone. Adjustments to the B-flat side of the horn should be done with the main tuning slide.

Valve Slides – Each valve has its own tuning slide. The F side valve slides are located in front, and the B-flat valve slides are the smaller ones located behind. The valve slides should be set approximately equidistant with each other. The F side slides should be pulled about ¼-3/8 of an inch. The B-flat side slides should be pushed in slightly more than the F side slides because it is a shorter horn. The 1st and 2nd valve slides can be pulled out very slightly more to help compensate for the sharp 1-2 valve combination, and the 3rd valve can be pushed in very slightly more to help compensate for the flat 2-3 valve combination, especially on the Conn 8Ds. The Bb side 3rd valve needs to be barely out on the Conn 8D horns (as noted in the “Setting Slides” handout) because of 3rd space C#, which is very flat.

KRUSPE

F Tuning Slide

GEYER

F Tuning Slide

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YAMAHA 667

The trigger valve casing is located on the far end of

the horn. This is true of all Geyer horns.

CONN 8D

Main Tuning Slide

Fake Tuning Slide

F Tuning Slide

YAMAHA 668

Main Tuning Slide

F Tuning Slide

Fake Tuning Slide

Fake Tuning Slide

Main Tuning Slide

YAMAHA 668II

F Tuning Slide

CONN 6D

Main Tuning Slide

F Tuning Slide

Bb Tuning Slide

HOLTON H179

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PARTS OF THE FRENCH HORN

Pinky Hook

3rd Valve 1st Valve

2nd Valve Leadpipe

Mouthpiece

Fake Tuning Slide

Main Tuning Slide

Bb Tuning Slide

F Tuning Slide

F Side 1st Valve Slide

Bb Side 1st Valve Slide F Side 3rd Valve Slide

Bb Side 3rd Valve Slide

F Side 2nd Valve Slide

Bb Side 2nd Valve Slide

(underneath)

Bell

Rotor Caps

Trigger

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FRENCH HORN INSTRUMENT/BODY RATIO AND HAND POSITION

Instrument/Body Ratio

• Assuming that the student is either standing or sitting with correct posture, instruct them to pick up the body of the French horn with both hands and simply lift it by using their arms. Move the instrument up and down, side to side, higher than usual and lower than usual. As students are doing this, have them notice how it affects the balance of the body. Eventually, the body should feel as balanced with or without the instrument in hand.

• Make sure students bring instruments to them… and not them to the instruments. When done incorrectly, their body collapses and their air is obstructed.

• Shoulders should be straight across when facing the director and it should feel the same way when doing breathing exercises (do not twist or shift the upper body out of the breathing position)

• The French horn should not be slanted in a manner in which moves the students’ head from its natural position.

• Angles of mouthpieces should be slightly lower than level.

• Although single F horns are lighter and easier for students to control in the beginning stages of playing, it is suggested that beginning French horn students are started on double horns. Of course, this decision may be dictated by what instruments are available in your inventory.

Hand Position 1. The most natural shape of everyone’s hands forms a flat “C”. 2. All hands will fall in from the wrist. The body of the hand must never fall behind the

wrist. 3. There should be no bends or wrinkles in either arm when holding the French horn. 4. The inside of the arm must never touch the outside of the chest cavity when holding

the French horn correctly. No body part touches another body part! 5. Elbows must hang naturally so the natural slope of the shoulders will not be

hampered. 6. Place both the left and the right hand in their correct “beginner” position. The left

hand is placed on the valves and will lie in the “flat-C” position. No tension should be felt in this hand, as the fingers move “with” the valves.

7. The right hand will be cupped on the outer ridge of the bottom of the bell. Both hands hold and balance the French horn in the beginning. The horn does not rest on the leg. The right hand is not placed inside the bell until the teacher determines that the student can balance the horn in this manner. An added bonus to holding the French horn by the bottom of the bell will result in the student being able to hear—and expect to hear—a more resonant sound when the hand is finally in its correct/more advanced position inside the bell.

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8. Though not a part of the hand, the elbows must never feel as though they are pulling the instrument toward the student’s face. Instruct students to keep their elbows soft while playing the French horn.

9. The palms of both hands should feel soft. 10. The teacher must watch young students closely to monitor that their shoulders stay

balanced and feel naturally soft at all times.

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FRENCH HORN FACE/EMBOUCHURE

• Each student should use their own “safe/unbreakable” mirror—both in the classroom and at home.

• Using the mirror, have each student notice how natural their face looks. They will have to later remember and memorize how it looks and feels.

• The head must be balanced on the shoulders in a comfortable position—not too far forward and not too far backward.

• The eyes should be soft and natural, and the “sight line” should be exactly level. The distance between eyebrows should not change as air goes in and out of the body.

• Look for natural creases in the face, and allow any that are naturally present to exist while playing. No other creases are allowed.

• The corners should move in toward the canine/eye teeth. The corners should never look or feel pulled back.

• The corners can move down from the natural position as the student progresses but they can never move up.

• The texture of both the upper and lower lip should be very soft and relaxed.

• There should be natural space between the inside of the lips and the gums and teeth. This space should not change or feel different when the lips vibrate inside the cup of the mouthpiece. Please remember the demonstration given in today’s presentation.

• The back teeth are slightly apart and should feel the same as when the student is reading, watching television, etc. The teeth should not be pressed into each other when doing these other activities.

• Brass instrument embouchures are formed with a natural overbite. A student with an underbite should be steered away from brass instrument.

• The thickness of a student’s lips should correspond to the size of the cup of the mouthpiece for the chosen instrument. Students with a very full top or bottom lip should be steered towards low brass instruments rather than French horn.

• The bottom of the front of the tongue should lie in the soft tissue area which is located in the front of the mouth just behind the ridge of the bottom gum.

• Remember that when playing the French horn, cheeks will only “puff out” if the air is not freely going into the instrument.

• Assuming that the above has been achieved, the embouchure will be formed with special attention to the following:

1. The mouthpiece must be placed in the middle of the mouth—up and down as well as side to side. Two-thirds upper lip and one-third bottom lip is also a good rule of thumb if some have trouble with placing the mouthpiece in the middle of the mouth.

2. The corners are in their natural position and should be set against the canine/eye teeth.

3. The lips must be allowed to freely vibrate in response to the airstream rather than made to “buzz” in front of the airstream.

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4. The lips must feel natural so that air can freely move past them—they must not be pulled back against the teeth or blown away from the teeth and gums.

5. The students should remember that the mouthpiece “gathers” the air—not the lips.

6. There must never be more energy placed against the upper lip than the lower lip; hence when playing the French horn, the student will slightly turn their head to the left so the leadpipe appears to angle slightly downwards from the embouchure. There is a simple trick for setting the mouthpiece angle:

a. Take the mouthpiece, attached to the leadpipe, and set it against the teeth.

b. Allow the rim to sit so that it hits both upper and lower teeth naturally.

c. Wherever this angle is, this is the “default” playing angle for that student (as this is how air will naturally proceed from their mouth in the middle register).

7. Students must be taught to play “down into the French horn” with the bell to the side of the body as it was meant to be played—instead of at the mouthpiece with the bell of the horn into the stomach.

8. Regarding playing “off the leg,” or with the bell raised up from the leg: this technique is useful for students as they grow taller, as these students may have to otherwise contort their backs or compromise lung capacity to play on the leg. Rather than playing with the bell on the thigh, the right hand bears some of the weight of the horn while playing off the leg. Special attention to upper lip/lower lip pressure is needed when doing this adjustment, as the student may be tempted to put extra pressure on the upper lip at first.

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FRENCH HORN ARTICULATION

• The tongue moves in the same manner when articulating a brass instrument as it does when you speak. The tongue moves up and down—not back and forth—both when speaking and when articulation on an instrument.

• The purpose of the tongue is to release the air, which causes the lips to vibrate and creates the sound. The tongue’s release of the air simply defines the beginning/start of the vibration/sound.

• Articulation is used to define the vibrations necessary to create musical rhythm, style and movement-- to contrast the use of slurring (which also creates similar musical entities).

• The students should think that the tongue “articulates” the sound created by the airstream. If the student is taught to create the sound correctly, articulation will be an easy transition.

a. Sound occurs when the air moves past the naturally vibrating lips.

b. Articulate the sound that is already present. c. Teach students to articulate at the moment the sound begins.

• Without the instrument or mouthpiece, use the following procedure: 1. Say the word “DOG”.

2. Sing the syllable “DAH”. 3. Once these are mastered, have the student use the mouthpiece and

instrument and reproduce the “DAH” syllable in their brain to create an articulated sound.

4. The tongue should feel the same when saying, singing and playing the mouthpiece and instrument.

5. The tongue should touch the enamel of the upper teeth directly below the gum line—in the same spot with the same strength every time.

6. Use the syllable “DAH” because it creates smoother and more easily controlled air as opposed to the “TAH” syllable.

7. After each “articulation”, the tongue must immediately fall down into its natural position.

8. The tongue will be naturally soft at all times, but can touch the teeth with different strengths.

9. The tongue will be in its “down position” 98% of the time when articulating correctly.

10. The French horn requires a warmer and “darker” airstream than the trumpet.

• Have the student start their sound with the air.

• Using the information about the basics of articulation, have the student articulate as fast as they can with no limitations of numbers, worries about evenness of articulation, etc. Simply get them used to articulating!

• Have the student then use the “ta-day” syllable to practice using the tongue in an organized manner.

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• Have the student then articulate “on command.” The student will start their sound, and articulate when you snap your fingers to practice gaining more control of the tongue.

• Once the student understands pulse and the foot pat, have the student articulate exactly when the toe of the foot touches the floor.

• Have the student articulate with the down and up position of the foot. Proceed to written rhythms as they begin to read music.

• Always practice this entire routine. The student must always go through the entire process, so he will not lose the ability to move his tongue at various speeds and in unstructured manners.

• Advanced technique for low register (around 2nd space C in bass clef): move the tongue lower, toward the bottom of the top teeth. If the articulation is generally unclear in the lower/pedal register, this technique does wonders to “clean up” the articulation.

• Advanced technique for muted playing: articulate way firmer. The articulation needs to be far more defined to compensate for the straight mute placed in the bell – and not quite as firm an articulation for stopped horn playing.

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FRENCH HORN FLEXIBILITY AND RANGE

EXTENSTION

• Brass playing is based upon flexibility.

• There are two types of flexibility: flexibility within the instrument and flexibility within the note.

• Students eventually need to be flexible through each of the harmonic series in order to move up and down within the range of the instrument.

• Once the student can reproduce at will a given pitch, the teacher must decide whether flexibility up or down is needed first.

• Flexibility is controlled by air direction and the isometrics created by the corners and canine/eye teeth. The head must always stay in its natural, balanced position at all times. The angle of the instrument must not change at any time…exception being possibly in the extreme low register (below 2nd space C) and the high register (above G on top of the treble clef staff). Many professional horn players around the world recommend angle changes in these registers if there are sound production problems. This is a technique to use with very advanced high school players, but not with middle school/junior high students.

• Students must learn to angle the air in the cup of the mouthpiece without changing the position of the lips and/or the relationship of the upper and lower teeth. Flexibility is also enhanced by vowel sounds used in various registers. These sounds can be “ah” for the middle register….”ee” for the upper register….and “oh” for the lower register. Have students practice saying these vowel sounds with vocalization on appropriate lower, middle and higher sounds.

! “Ee” starts around 3rd space C. ! “Ah” is used from middle C to 3rd space C. ! “Oh” starts in the range from around middle C to below the staff A. ! “Ooh” can be used in the low register (2nd space C in the bass clef).

The “ooh” vowel shape corrects sharp pitch tendencies, tight tone quality, and inability to produce notes in this register.

! “Howaii” – that is, “Hoh” + “wah” + “ee” – takes students through each vowel sound. It is also very similar to “Hawaii”, making it easy to remember.

• Bring to the students’ attention that the shape of the tongue changes dramatically from vowel sound to vowel sound. All students should be aware that vowel sounds are the middles of words that they speak every day. Practice saying words that use the required vowel sounds. (i.e. bow, ball, beep) As students move between vowel sounds, remind them to keep their throats relaxed. As they ascend, there may be a tendency to close the throat while saying “ee.” This is counterproductive to playing high; therefore, students should be blowing with a relaxed body. The oral cavity and the lips are the only things that should change.

• Range is developed through flexibility. It is more important to create a resonant sound while practicing flexibility than to create wider intervals. The student can

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enhance their range by making more resonant sounds in the middle register before trying to extend higher or lower.

• Make sure students understand the texture of the lips has nothing to do with range. For example, students should never be told to “tighten” their lips in order to play in the higher register. The shape of the lips remains the same throughout all registers; therefore, students should not smile in the high register.

• All basic fundamentals for teaching brass instruments hold true for the French horn. Remember the harmonics on the French horn are much closer than on the trumpet. Flexibility is actually easier to achieve on the French horn, but accuracy is more difficult. Do not be too demanding in the very beginning in regards to accuracy.

! Start asking beginning students what note they think they are playing. This will be more easily accomplished after having them sing some basic/simple passages. There must be an awareness of where the students are playing on the harmonic series of the horn.

! A big problem with younger students is being unable to tell that they are on the incorrect harmonic while playing. Again, this is to build awareness and not necessarily to demand accuracy.

• As students descend, there is a common tendency to run out of air because they are not used to blowing all the way through the instrument. This will start happening around 4th line F in the bass clef. Students must blow large amounts of slow, hot air. Sometimes they try blowing a lot of air…but it comes out too fast because they are blowing too hard.

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-14

+2

-32

+4

-14 -49

+2 +41

-32 -12

FRENCH HORN GENERAL

TUNING TENDENCIES

The Harmonic Series

• The harmonic series is the set of notes that can be played on one finger

combination.

• Here is the harmonic series for open (no valves pressed):

• On the French horn, there is one harmonic series for each valve combination on

both the F and Bb sides to make a total of 12 different harmonic series.

• Each harmonic series has similar pitch tendencies as the ones listed on this

diagram. Transpose the series up or down depending on the valve combination:

o T0: Up a perfect fourth (starts on F below the bass clef)

o T2: Up a major third (starts on E below the bass clef)

o T1: Up a minor third (starts on Eb below the bass clef)

o T12: Up a major second (starts on D below the bass clef)

o T23: Up a minor second (starts on Db below the bass clef)

o 2: Down a minor second (starts on B below the bass clef)

o 1: Down a major second (starts on Bb below the bass clef)

o 12: Down a minor third (starts on A below the bass clef)

o 23: Down a major third (starts on Ab below the bass clef)

o 13: Down a perfect fourth (starts on G below the bass clef)

o 123: Down a tritone (starts on Gb below the bass clef)

• To remedy pitch problems as listed on the diagram:

o Adjust the vowel shape

o Adjust the right hand

o Use a different fingering

• In addition to the above general harmonic tendencies of the horn, the following

notes have additional tuning issues associated with them. A number refers to a

particular valve. A “0” refers to open or no valves depressed.

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Sharp Notes

• Very sharp

• Use open “ooh” vowel

• Very sharp

• Use open “ooh” vowel

• Slightly sharp

• More open “oh” vowel

• Moderately sharp

• More open “oh” vowel

• Can use T3 to flatten pitch


• More open “ah” vowel



• Can use 3 to flatten pitch



• Can use 3 to flatten pitch

• Slightly sharp

• Use open “ah” vowel

• Slightly sharp


• Slightly sharp



• Very sharp on Conn 8D

• Slightly sharp

• Use open “ee” vowel

• Ignore this for Conn 8D






• Can use T2, but may be too flat






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Flat Notes

General Tendencies

• As shown above, the valve combinations 12, 23, 13, 123, T12, and T23 all

generally produce sharp notes on the horn.

• For some notes with these fingerings, alternate fingerings can be used to alleviate

pitch problems. With others of these fingerings, a combination of vowel

placement and right hand tuning must be used to compensate for these fingerings.

• Moderately flat

• Use taller “ah” vowel

• Very flat on Conn 8D

• Push in T3 valve slide almost all

the way in because of this note

• Moderately to very flat if

T2 is used

• Use taller “ee” vowel

• Moderately to very flat if

T0 is used

• Use taller “ee” vowel

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FRENCH HORN TUNING AND SETTING FRENCH HORN SLIDES

1. You must know what kind of horn the student is playing because the number of

tuning slides varies. 2. Do not tune just one note. The placement for each note can vary. Tuning just one

note will not give you an accurate slide setting. 3. Slide settings do matter, but not as much as playing fundamentals. If a student is

vibrating the wrong note on the mouthpiece, the sound can be incorrect in a number of different ways.

Common Mistakes Regarding French Horn Tuning

• Inaccurate or inconsistent hand placement

• Inaccurate or inconsistent slide placement

• Pulling the wrong slide

• Pulling a slide for the wrong reason

• Wrong ratio of tuning slides to one another Will the correct slide please stand up…?

• There are three kinds of tuning slides on horn: ! F side ! Bb side ! Combination or main slide

• The top stack of valve slides is the F side; the bottom stack is the Bb side. Single-sided horns only have one stack.

• The water slide on the front and closest to the player is an imposter; this slide should be pushed almost all the way in all the time.

• All tuning slides should be pulled about the same amount and be in equal ratio with each other.

HOLTON FARKAS H179

• The main slide is on the top but in the back (while on the lap).

• The Bb tuning slide is sideways in the front.

• The F tuning slide is the bottom slide on the back.

• The front vertical slide is a fake tuning slide. This slide is used for emptying water and does not affect tuning.

• All valve slides should be pulled about ¼ of an inch. CONN 8D

• The fake/wannabe water slide is on the front (from the student’s point of view).

• The main slide is on the top in the back.

• The F slide is on the bottom in the back.

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• The 3rd valve slide on Bb side should be pulled out a tiny amount – enough so it does not become stuck, but not enough to affect tuning. 3rd space C#’s are noticeably flat on this horn, and the other T23 and T3 valve combinations will be fine despite this adjustment.

YAMAHA 667

• The Bb and F slides are side by side on the back.

• All valve slides should be pulled about ¼ of an inch. Other Brands

• Take out the slide in question. Play a note without the trigger. If you hear a note rather than a mystery sound, the F side does not use that tuning slide. Play a note with the trigger. If you hear a note rather than a mystery sound, the Bb side does not use that tuning slide.

Setting French Horn Slides

• It is important to set French horn slides early. Setting horn slides helps to establish pitch center. Do not “tune” the slides – just set the slides. At first, beginners will not have a correct pitch center, so tuning the slides is useless. Additionally, there is an extensive tuning process for tuning each slide.

• At first, all slides should be pulled out ¼ inch (even the fake/wannabe water slide). French horns are made to be in tune with the slides out, and this will keep the slides from becoming stuck.

• As students become more advanced, slides can be individually tuned.

• The 1st, 2nd and 3rd valve tuning slides should be pulled out equidistantly on the F side of the horn.

The C Major Scale: Tuning the Horn from Middle C to 5th line F Tuning the F Side (no trigger)

• Have the student play the first five notes from first ledger line below the staff C to second line G. Eye ball the entire part of the scale. This generally tunes the F side of the horn. Set the tuner to first line E and second line G. All concert F’s should be in tune on the F side.

• To tune the 1st, 2nd and 3rd valve slides on the F side, descend chromatically from middle C. Below the staff B and Bb should be in tune (via the 1st and 2nd valves on the F side, respectively), and below the staff Ab can somewhat tune the 3rd valve after tuning the 2nd valve with below the staff B.

Tuning the Bb side (trigger)

• Have the student play second line G to third space C. This generally tunes the Bb (trigger) side of the horn. You are really looking at the 3rd space C. (If C and G are in tune but A and B are out of tune, adjust the second valve slide.)

• To tune the 1st, 2nd and 3rd valve slides on the Bb side, descend chromatically from 1st space F (which should be in tune). 1st line E and Eb should in tune (via the 1st and 2nd valves on the Bb side, respectively). Use below the staff Db to tune the 3rd valve after tuning the 2nd valve, although the note should stand slightly out of tune.

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Have the student play 3rd space C to 5th line F. Eye ball the entire part of the scale. You are really looking at the C and the F. (If the D and E are out of tune, adjust the bottom first or second valve slide.) Like the octave below, this is supposed to be the “in-tune” harmonic; however, students may have trouble playing with proper vowel shapes in this register.

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FRENCH HORN – ADVANCED TECHNIQUES

FOR FRENCH HORN

• There are numerous techniques beyond range, flexibility, articulation, and other

fundamentals that are vital to playing literature for more mature horn players, such as a

fair amount of works for high school band.

Right Hand Technique

• After the beginner year, the right hand player must be placed into the bell for proper tone

quality and tuning.

• To create the create the correct right hand shape:

1. Take the right hand and hold it out like shaking a person’s hand.

2. Bring all the fingers together so they are touching each other then let the thumb

rest on top of the index finger.

3. Keeping a relaxed hand, put this right hand into the bell so that the knuckles are

touching the far side of the bell and line up to where the bell begins to flare.

a. Depending on the teacher’s preference, the index finger can be anywhere

from a “12 o’ clock” to a “10 o’ clock” position in the bell.

4. The hand should be straight, while the wrist, elbow and shoulder should be

relaxed and free of tension.

a. The wrist can be bent or straight depending on the needs of the student.

• The hand must not be cupped while in the bell, as this will produce a muffled sound.

• Individual students will need to adjust how far in the hand must be and how much to

turn their hand according to body size, tuning, and tone quality.

o A noticeably sharp, bright sound means that the hand is too far out.

o A noticeably flat, muffled sound means that the hand is too far in.

o A muffled sound may also mean that the hand is too cupped.

Transposition

• Transposition is the process involved while playing a horn part written for a horn not in

the key of F (ex. Horn in C, Dvorak Symphony No. 9, mvt.1, Horns 3 and 4).

o The general rule is: C’s a C, sounds the key. This means that a written C on any

part will sound the key of the instrument playing that part.

! Ex. A written C for clarinet in A sounds an A on the piano and other non-

transposing instruments.

o Remember, the transposition is from the printed “Horn in _” key to Horn in F.

o A little trick to find the transposition interval is to find the closest interval

between Horn in F and the printed horn key. This is the interval and direction for

the transposition.

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! Ex. The music has printed “Horn in A.” The interval between Horn in F

and Horn in A is an ascending major third, so one would play a major

third up from the printed notes.

o The most common keys or transpositions are Horn in E and Horn in Eb.

! To transpose Horn in E, play a half-step lower than printed.

" Ex. A written 3rd line B-natural would be played as a Bb/A#.

! To transpose Horn in Eb, play a whole-step lower than written.

" Ex. A written 5th line F would be played as a(n) Eb/D#.

! As exercises, have students transpose short segments of a familiar slow

piece at first. The familiarity will allow them to use their ear to help

determine if their transposition is correct.

! Then, lengthen the selection of pieces and include faster pieces. After this,

include pieces in various meters and with accidentals.

! A common mistake when transposing is forgetting accidentals and key

signatures. These must be accounted for when transposing a part.

! Do not allow students to write in transposed note names. This skill is

sight-transposing, and this crutch may hinder students’ progress in

learning to properly transpose.

! This is a skill that requires dedication, persistence, and drill. A little daily

practice…even 2 minutes…will improve the skill.

Muted Horn

• Muted horn is called for by a variety of directions, but always involved putting a straight

mute into the bell of the horn.

o There is no hand alternative to this technique, so a string or other mechanism for

holding the mute by hanging at the wrist is vital for quick mute changes.

• Musical directions for muted horn:

o “Mute” vs. “Open”

! English pieces/contemporary pieces

! “Mute” denotes a section to be played with the mute in.

! “Open” denotes a section to be played with the mute out.

o Mit Dampfer vs. ohne Dampfer

! German composers

! Mit Dampfer means “with dampener” or with the mute in.

! Ohne Dampfer means “without dampener” or with the mute out.

o Con sordino vs. senza sordino

! Con sordino denotes to play with the mute in.

! Senza sordino denotes to play with the mute out.

! As very common directions, these can be abbreviated to con sord. and

senza sord.

o For all of these directions, they each denote a section of music to played

accordingly, like tempo or style directions.

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• To play effectively, the player must put more air into their sound and horn, regardless of

the dynamic. At all dynamics above piano, there must be a slight buzz to the sound.

Stopped Horn

• Stopped horn, called for via various directions in the part, is accomplished in one of two

ways:

1. Muting the horn with a stop mute

! This is simple: stick the stop mute in the bell of the horn like a straight

mute, ensuring that the hole is completely sealed. The seal is open if there

is an airy sound or leak.

! This is easier to produce the desired sound, especially in the lower

register.

! It takes some time to move the mute in and out of the horn, so a string

should be tied to the mute.

! If the mute change is too fast in the music, the player must hand mute the

horn.

2. Muting the horn by fully closing the bell bore with the hand

! To hand-mute the horn, simply collapse the wrist of the right hand to seal

the opposite wall as the fingers. Rotate or adjust the fingers or wrist to

completely seal the horn.

! Again, an airy, muffled or diffuse (lacking in support) sound reveals an

incomplete seal in the hand.

! This is the technique favored by professionals, and it does not require an

additional mute.

! This is the best stopped horn technique for quick mute changes.

• In both cases, the player must blow a noticeably larger amount of air – like playing a

normal forte or fortissimo – such that the player produces a buzzy or brassy sound.

o This is more difficult as one descends the range of the horn – it is difficult just

below the staff, and quite difficult near low C (2nd space C in bass clef).

• In both cases, the section to be stopped must be transposed like Horn in E – played a half-

step lower than written, on the F side.

o For a few notes, this transposition will not produce the correct note or play close

to “in-tune.” On these notes (which are different on each horn), experiment to find

a fingering which will play the note “in-tune.”

o Remember, play a half-step lower on the F side, even above 2nd line G.

• Music directions for stopped horn:

o (+) = stopped, (o) = open

! This is a common direction in newer music and simple to remember.

! In this system, there are usually +’s over each note to be stopped, and a

single “o” to end the stopped horn direction.

o Gestopft vs. Offen

! Gestopft denotes stopped

! Offen denotes open

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! For these directions, the word will be printed above the beginning of the

section to be stopped or opened.

! Until the next gestopft or offen direction, the music is played according to

the last direction given.

! This is the common system used by German composers, such as Wagner

and Mahler.

o Bouché cuivré vs. Ouvert

! Bouché cuivré denotes stopped horn.

• It may sometimes be denoted as just cuivré (closed) or, mistakenly,

as bouché (brassy). If the music only notes bouché, check previous

recordings to see if the direction is for stopped horn or just a loud,

brassy sound.

! Ouvert or a similar-looking word denotes open.

! This system works the same as the German system for stopped horn

directions.

Reading Bass Clef

• All French horn players should be proficient in reading both treble and bass clef,

particularly 2nd and 4th horn players.

• Older pieces (generally those written before 1880-1900) that are not edited to modern

notation will have bass clef horn parts written an octave lower than played.

o If it appears absurdly low in the bass clef, the part is probably meant to be

transposed up.

o The transposition is to play the part an octave higher than written.

! For example: A C two lines below the bass clef would be played as a 2nd

space C in the bass clef.

• To practice this bass clef transposition skill, simply assign horn players to transpose tuba

parts at first; then, give them real examples of 4th horn parts from any Classical or

Romantic Era symphony to transpose.

• Like other transpositions, consistent practice will teach this skill in a matter of weeks.

Other Techniques

• Lip Trills

o This is a rapid alteration between two adjacent notes on the harmonic series.

o This is called for on the harmonics no further than a whole-step apart.

o Essentially, it is a fast series of lip slurs.

o The key to the technique is an ease of air flow between the two alternating notes:

the constant air makes the trill, along with a slight motion of the back of the

tongue.

! Once a rapid speed is desired, a slight oscillation of the jaw will aid the

clarity of the lip trill.

! Remember, the lip trill is an alternation between two notes a whole step

apart. The lips should not noticeably move between the two notes.

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! The lip trill, like transposition, requires consistent and diligent practice.

Additionally, it requires technical facility and good flexibility to achieve.

o The lip trill is called for by the normal trill directions, and it is distinguished from

the half-step trill by the key of the piece. If the trill is a half-step trill, it is a valve

trill. If it is a whole-step trill, it is a lip trill.

o Consult professional recordings of any Mozart horn concerto to hear a good lip

trill.

• Echo/shadow horn

o Primarily a French direction, this is the technique of nearly fully closing the hand

in the bell and transposing up a half-step.

o The desired sound is muffled and distant.

o Typically denoted by sons d’echo

o For example: Horn I in The Sorcerer’s Apprentice by Paul Dukas

• Hand tuning

o This involves the fine tuning of pitch using the right hand.

! Younger students do not have consistent pitch, so this technique is only

applicable to students with stable pitch – whether in-tune or not.

o To sharpen the pitch:

! The hand can be pulled out of the bell.

! The wrist can be bent away from the player.

! The arm can be moved away from the player.

o To flatten the pitch:

! The hand can be pushed into the bell.

! The wrist can be bent toward the player.

! The arm can be moved toward the player.

o This phenomenon occurs because moving the hand adjusts the “length” of the

French horn.

! Closing the hand produces a longer surface for sound to travel, thus

lengthening the horn and lowering the pitch.

! Opening the hand produces a shorter surface for sound to travel, thus

shortening the horn and raising the pitch.

o These adjustments are no larger than about a quarter tone either direction, so the

hand is useful only for small adjustments of pitch.

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FRENCH HORN –

EMPTYING THE FRENCH HORN

• Emptying the horn can be an ordeal, especially if the water is somewhere between slides;

however, proper techniques and skill with emptying the horn using the appropriate slides

will purge 90% of the water.

o It is actually 95-99% condensation and 1-5% spit that produces the gurgling

sounds; therefore, “spit” covering the floor under the horn section is mostly water,

not disgusting saliva.

• Whenever emptying the horn, the basic technique (aside from using a dedicated spit

valve, which some instruments may not have) is taking a particular slide off of the horn

and turning the horn such that the water falls out.

o To make more water come out, always turn the horn so that the water moves

vertically. This means that the slide to be emptied must point perpendicular to the

ground.

• In the case of the main tuning slide (the one attached to the leadpipe) and the F tuning

slide, simply take the slide off and dump the water.

• For all other slides, including the Bb tuning slide (if the horn has a Bb tuning slide), the

corresponding valve(s) must be depressed to properly empty the horn.

o Consult the diagram on the next page for valves and corresponding slides.

o Failure to properly depress the valves while emptying water does negatively

affect the sealing on the rotors, and will slowly make the rotors move slower.

• Tricks for finding water:

o Hold down each valve and blow air through the horn. Remember to blow through

the valves on the Bb side as well. Any audible gurgle means there is water in that

particular slide.

o A gurgle without any valves depressed means that the water could be in:

! the main tuning slide

! the “fake” tuning slide/water slide

! the F tuning slide

! the area after all of the valves and before the bell

" To empty this section, fully turn the horn clockwise – then point

the bell semi-vertically such that water can fall to the ground.

o To catch any “pesky” water:

1. Turn the horn so that the valves are pointed vertically up and the keys are

on the lower side.

2. Wiggle all the keys for a few seconds, including the trigger.

3. After this, depress the trigger and the 3rd valve.

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“Fake” Tuning Slide/Water Slide

4. Tilt the horn 180° so that the keys are up and the slides are vertical, with

the holes pointed down.

5. Take out the Bb side 3rd valve.

6. Watch as water magically falls out of the horn.

French Horn Diagram

1st Valve slide

Bb side underneath

2nd Valve slide

(Bb side underneath)

3rd Valve slide

(Bb side underneath)

Bb Tuning Slide

Main Tuning Slide

1st Valve Key 2nd Valve Key

3rd Valve Key

F Tuning Slide

Trigger for Bb Side

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% 33 ϖ0

1

∑ ϖ ∑

Move from the center of one note to the center of the next note.Use the printed finger combination throughout each numbered exercise.Blow with an even airstream and with minimal facial movement.

ϖ ∑ ϖ ∑

% ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑

% ϖ ϖ ϖ ∑ ϖ ϖ ϖ ∑

% ϖ2

2

∑ ϖ∀ ∑ ϖ ∑ ϖ∀ ∑

% ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ∀ ϖ ∑ ϖ∀ ϖ ∑

% ϖ ϖ∀ ϖ ∑ ϖ∀ ϖ ϖ∀ ∑

% ϖα1

3

∑ ϖ ∑ ϖα ∑ ϖ ∑

% ϖα ϖ ∑ ϖα ϖ ∑ ϖ ϖα ∑ ϖ ϖα ∑

% ϖα ϖ ϖα ∑ ϖ ϖα ϖ ∑

FRENCH HORN SET 1

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% ϖ12

4

∑ ϖ∀ ∑ ϖ ∑ ϖ∀ ∑

% ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ∀ ϖ ∑ ϖ∀ ϖ ∑

% ϖ ϖ∀ ϖ ∑ ϖ∀ ϖ ϖ∀ ∑

% ϖα23

5

∑ ϖ ∑ ϖα ∑ ϖ ∑



% ϖ13

6

∑ ϖ ∑ ϖ ∑ ϖ ∑

% ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑

% ϖ ϖ ϖ ∑ ϖ ϖ ϖ ∑www.johnbenzer.com

% ϖ∀123

7

∑ ϖ∀ ∑ ϖα ∑ ϖα ∑

% ϖ∀ ϖ∀ ∑ϖ∀ ϖ∀ ∑ ϖα ϖα ∑ ϖα ϖα ∑

% ϖ∀ ϖ∀ ϖ∀∑ ϖα ϖα ϖα ∑

% ϖT0

8

∑ ϖ ∑ ϖ ∑ ϖ ∑

% ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑ ϖ ϖ ∑

% ϖ ϖ ϖ ∑ ϖ ϖ ϖ ∑

% ϖT2

9

∑ ϖ∀ ∑ ϖ ∑ ϖ∀ ∑

% ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ∀ ϖ ∑

% ϖ ϖ∀ ϖ ∑ ϖ∀ ϖ ϖ∀ ∑www.johnbenzer.com

% ϖαT1

10

∑ ϖ ∑ ϖα ∑ ϖ ∑



% ϖT12

11

∑ ϖ∀ ∑ ϖ ∑ ϖ∀ ∑

% ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ ϖ∀ ∑ ϖ∀ ϖ ∑

% ϖ ϖ∀ ϖ ∑ ϖ∀ ϖ ϖ∀ ∑

% ϖαT23

12

∑ ϖ ∑ ϖα ∑ ϖ ∑


% ϖα ϖ ϖα ∑ ϖ ϖα ϖ ∑www.johnbenzer.com

% 33 ˙ ˙0

1

∑ ˙ ˙ ∑

Move from the center of one note to the center of the next note.Use the printed finger combination throughout each numbered exercise.Blow with an even airstream and with minimal facial movement.

˙ ˙ ∑ ˙ ˙ ∑

% ˙ ˙ ˙ ” ˙ ˙ ˙ ”

% ˙ ˙∀2

2

∑ ˙ ˙∀ ∑ ˙∀ ˙ ∑ ˙∀ ˙ ∑

% ˙ ˙∀ ˙ ” ˙∀ ˙ ˙∀ ”

% ˙α ˙1

3

∑ ˙α ˙ ∑ ˙ ˙α ∑ ˙ ˙α ∑

% ˙α ˙ ˙α ” ˙ ˙α ˙ ”

% ˙ ˙∀12

4

∑ ˙ ˙∀ ∑ ˙∀ ˙ ∑ ˙∀ ˙ ∑

% ˙ ˙∀ ˙ ” ˙∀ ˙ ˙∀ ”

FRENCH HORN SET 2

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% ˙α ˙23

5

∑ ˙α ˙ ∑ ˙ ˙α ∑ ˙ ˙α ∑

% ˙α ˙ ˙α ” ˙ ˙α ˙ ”

% ˙ ˙13

6

∑ ˙ ˙ ∑ ˙ ˙ ∑ ˙ ˙ ∑

% ˙ ˙ ˙ ” ˙ ˙ ˙ ”

% ˙∀ ˙∀123

7

∑˙∀ ˙∀ ∑ ˙α ˙α ∑ ˙α ˙α ∑

% ˙∀ ˙∀ ˙∀” ˙α ˙α ˙α ”

% ˙ ˙T0

8

∑ ˙ ˙ ∑ ˙ ˙ ∑ ˙ ˙ ∑

% ˙ ˙ ˙ ” ˙ ˙ ˙ ”

% ˙ ˙∀T2

9

∑ ˙ ˙∀ ∑ ˙∀ ˙ ∑ ˙∀ ˙ ∑www.johnbenzer.com

% ˙ ˙∀ ˙ ” ˙∀ ˙ ˙∀ ”

% ˙α ˙T1

10

∑ ˙α ˙ ∑ ˙ ˙α ∑ ˙ ˙α ∑

% ˙α ˙ ˙α ” ˙ ˙α ˙ ”

% ˙ ˙∀T12

11

∑ ˙ ˙∀ ∑ ˙∀ ˙ ∑ ˙∀ ˙ ∑

% ˙ ˙∀ ˙ ” ˙∀ ˙ ˙∀ ”

% ˙α ˙T23

12

∑ ˙α ˙ ∑ ˙ ˙α ∑ ˙ ˙α ∑

% ˙α ˙ ˙α ” ˙ ˙α ˙ ”

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% 33 œ œ œ œ0

1

∑Move from the center of one note to the center of the next note.

Use the printed finger combination throughout each numbered exercise.Blow with an even airstream and with minimal facial movement.

œ œ œ œ ∑

% œ œ∀ œ œ2

2

∑ œ∀ œ œ œ ∑

% œα œ œ œ1

3

∑ œ œα œ œ ∑

% œ œ∀ œ œ12

4

∑ œ∀ œ œ œ ∑

% œα œ œ œ23

5


% œ œ œ œ13

6

∑ œ œ œ œ ∑

FRENCH HORN SET 3

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% œ∀ œ∀ œ œ123

7

∑ œα œα œ œ ∑

% œ œ œ œT0

8

∑ œ œ œ œ ∑

% œ œ∀ œ œT2

9

∑ œ∀ œ œ œ ∑

% œα œ œ œT1

10


% œ œ∀ œ œT12

11

∑ œ∀ œ œ œ ∑

% œα œ œ œT23

12


FRENCH HORN SET 3

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