126 !!Chapter 6
below the bass clef, and the highest note is B-flat, above middle C, which
is notated in the tenor clef. Professional trombonists can play higher (see
example 6-26).
Example 6-26 Bass trombone range.French Horn in F
The modern French horn is pitched in the key of F. (Some symphony play-
ers prefer to use the horn in B-flat.) As with the other brass instruments
just discussed, the French hornist changes the natural overtones of the
instrument by changing her embouchure. French horns have three valves,
which enable the player to achieve chromatic tones.
The majestic sound of French horns playing in unison or in fifths cuts
through an orchestra with an important and sometimes soothing sound.
The sound of the instrument is unique. The room seems to be filled with
the magnificent sound. Most orchestras have three or four French hornists.
French horn players use cup mutes and straight mutes; unlike trum-
peters, they cannot use a harmon mute. Players usually keep one hand
over the bell in order to achieve a muffled, distant sound; they also play
with an open bell. Do not write high parts for the French horn that last a
long period of time. It is difficult to perform, and the sound of the horns
will seem overused.
There are numerous solo French horn pieces written for orchestra and
chamber music. Jazz French horn soloists are rare, but French horns are
used in jazz orchestras. They blend with every section of the orchestra.
Arguably, they are best used for legato passages, although staccato and
sforzando passages are part of their signature sound. Arrangers must
allow the players space to rest because the instrument is difficult to play
and the performers’ lips can easily become fatigued.
Range:French horn parts are written primarily in the treble clef and
sound a perfect fifth below where it is written. If notes are written in a low
register, the bass clef may be used. The lowest written note is F, below the
bass clef, and the highest written note is D, the fourth line on the treble
clef. Some hornists can play higher (see example 6-27).
Many arrangers do not write a key signature and notate the acciden-
tals. This is the historical notation, although most contemporary arrangers
use key signatures.