I chose to research the French horn because it is the first instrument I played in an ensemble. I played it in fourth and fifth grade, and I was the only French horn in my school’s band. It was not my first instrument; I started with piano when I was six years old. I felt special being in late elementary and early middle school being the sole French hornist, however, I was a small child and the instrument was huge compared to me. Being the only one playing the French horn felt like a big responsibility, even though I often played the same parts as the trumpets and trombones, and I never had solos. The band director often played the horn along with me during concerts so I didn’t feel lonely. He even gave me his old case, which was covered with cheetah-print fabric on one side and stickers on the other. I ended up quitting band in the beginning of sixth grade, as I had just started a chorus outside of school and was also taking piano and voice lessons. Even though I enjoyed playing the French horn, it was no longer a priority in my life. The French horn is also known to be the most difficult instrument, so after two years of practicing, I never ended up being able to play it more than adequately. Regardless of my interest in playing, the French horn is a fascinating and complex instrument.
Many sources state that early ancestors of the French horn were used for hunting in Europe. The modern-day horn dates back to ancient signaling horns made from hollowed-out animal horns. Its sound was loud and rough and only capable of playing a tone or two, therefore it was not the best musical instrument. It was used for announcements, from declaring the beginning of a meal to warn people of military advances or violence. The Hebrew shofar is an example of this, which is a horn sounded on Rosh Hashanah and Yom Kippur to signal the Jewish New Year. It has not been developed into a modern instrument to preserve tradition. In the Middle Ages, Europeans used the natural horn. It was made out of brass, and was capable of playing multiple notes. However, it was difficult for players to change the notes, so it was rarely used for performance purposes.
French horns first were used as musical instruments in operas in the 16th century. Over the next century, the horn evolved, and the bell end became larger and flared. The horn was monotone until 1753 when German musician Hampel invented a developed version that could play different pitches. He was the first person to realize that the sound produced changes when a hand is placed in the bell end. This action changed the entire tone of the French horn and allowed the pitch to be raised or lowered up to a few semitones, which filled in additional missing notes of the scale. The instrument had crooks, which were the built-in lengths of tubing; the only thing changing the pitch was the speed of the player’s lips buzzing. In order to change the key of the instrument, the player would have to manually switch the crooks. The modern French horn appeared in the 19th century, with valves instead of crooks. Valves added extra lengths of tube to the instrument when keys were pressed, therefore allowing for a wider and more accessible range of pitches. The hand in the bell also changed the overall tone of the instrument, making it a more attractive sound. Conjointly, Hampel switched from playing the horn with the bell pointing upwards to the bell pointing downwards in order for it to be easier to place the hand inside.
Much like French fries and French toast, it is unclear why it is called the French horn, as there is little evidence tracing the instrument specifically or solely back to France. Most countries that do not have English as their primary language describe the instrument without French; even in France it is only called “cor”, which translates to “horn”. French musicians were the first to introduce the hunting horn to the musical world, although Germans were the ones who created the modern instrument, therefore it is more of a German horn. Thus, many professional players refer to the French horn as just the horn, potentially as a shorthand or in order to lessen any confusion. The modern horn is also often called the double horn, as it contains two sets of pipes and therefore two sets of harmonic series.
In order to get a sound out of the French horn, the player does not blow air into the mouthpiece, rather, they buzz into it. Putting their hand into the bell end changes the sound of the instrument, and different notes can be played by pressing a combination of valves. Vibrations travel through the curled brass tube and sound is amplified in the bell end. The longer the air travels, the lower the note sounds. The pitch also depends on the vibration speed of the player’s lips. Buzzing faster or slower can allow the air in the tube to resonate at different harmonics, which changes the pitch. Closing the bell end makes the note being played closer to the next mode up. This causes the air column to jump to the next resonance. Each valve lowers the pitch: the first valve lowers it a whole step, the second lowers it a half step, and the third lowers it a step and a half. When a valve is open, the air flows through the pipe without disruption. When the valve is closed, the air travels through an additional length of pipe, lowering the pitch. Pressing down multiple valves simultaneously allows for additional notes. Additionally, putting a hand into the bell makes it easier to play higher notes, because the standing wave is reflected more. It also reduces the amplitude of higher frequency notes, which in turn affects the timbre, the quality of the sound. The shape of the player’s hand is important to be able to play in tune. The hand in the bell should be cupped, and be placed just after the major curve of the bell flare. If the hand goes too far, the sound will be off.
In the above diagram, notice the sound variation when using a hand versus not using a hand in the bell.
A common joke in the musical world is: “How do you make a trombone sound like a French horn?”, to which the answer is “Put your hand in the bell and play all the wrong notes.” In all seriousness, the French horn has a larger range than both the trumpet and trombone: it can be played up to the 16th harmonic, while trumpets and trombones can only be played up to 9 resonances.
Trumpets often have a too-bright tone to be played along with other instruments, but since French horns are softer, they are good accompaniments. The way the trumpet is played is the same as the French horn: the combination of pressed valves and lip buzzing speed correspond to the pitch. The tubes of the trumpet are coiled in an oblong shape, but are round in horns. This does not have a strong effect on the sound produced by the instrument; the horn has a lower sound because it is bigger.
French horns are commonly seen in bands of all sizes, from small ensembles to marching bands to symphony orchestras. It is also popular in music heard in movies. It can be described as the “middle” of the band or an anchor, as it adds a key component of the overall sound. It is also used as a solo instrument. It is difficult to learn and master, although it is an indispensable instrument nonetheless.