Why On Earth Does My French Horn Section Sound Like That?
USNB French Horn Section
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This article is based on a clinic given at the 1997 Midwest Band and Orchestra Clinic by the United States Navy Band Horn Section. Each section member contributed equally to the content of the clinic, and our goal was to present information to band directors on helping their horn section play together better. The original clinic was primarily musical examples played by the quartet, with short discussions preceding each example. In this article, I will try to capture the essence of the discussion and musical examples in words.

In thinking about what makes four or more young French horn players sound good playing together, a number of issues must be considered. Foremost among these is the pitch and accuracy of each individual in relation to the pitch and accuracy of everyone else. One must also consider the balance of four related but oftentimes unique parts, and how each player blends into the larger section "sound" in terms of his or her individual sound concepts. A third issue to consider is leadership. Good leadership from an experienced player can be a huge asset for a conductor, freeing up valuable rehearsal time by allowing students to conduct sectionals and help the other section members prepare their parts before rehearsals.

I will address how to look at new scores with an eye toward knowing what your French horn section is capable of playing and how to evaluate and fix extreme register problems. I will also discuss mutes, ensemble placement, and the more peculiar aspects of the instrument.

In assessing the needs of young French horn players, one must first come to understand the peculiarities of the instrument itself and how it differs from other brass instruments. The French horn is an instrument built for its sound, not for overall efficiency. It is a long instrument (16 feet) in comparison to its compact size, and has the smallest initial bore size of all the brass instruments. This disparity creates more resistance, or back pressure, that must be overcome by the student. The large bell size also adds resistance and weight to the instrument.

Rotary valves are another unique aspect of the instrument. Rotary valves are generally more sluggish than piston valves, using indirect action as opposed to the direct action of piston valves. They also create 90-degree turns in the air stream, which again, increases resistance. To further confuse the issue, a double horn has two "sides," an F side and a Bb side, each with its own set of fingerings. For this reason, it often takes students longer to learn fingerings on the horn than it does on other brass instruments.

Learn more about rotary valve maintenance and how to string a rotary valve.

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