The slender conical barrel is curled into a circle, and the mouthpiece is funnel-shaped. The bell mouth is larger. French horns generally have three valve keys. The three valve keys can be combined and used to play all chromatic scales in the range. French horn notation generally does not write the key signature at the head of the staff, but adds temporary sharps and flats to the notes of the score.

The French horn is a transposing instrument. When noting the music, the treble clef and the bass clef should be used according to the actual sound range of the music being played. When notating on the treble clef, raise the notation by a pure fifth; when notating on the bass clef, move down the notation by a pure fourth.

The actual pronunciation range of the French horn is B(1)-f(2) or g(2) (including all internal semitones), and the commonly used range of the band is F-c(2). The entire range of the French horn is roughly divided into four zones. The pronunciation of the numbers #F(1) to B(1) (notated notes) at the bottom of the bass range is unclear and difficult to play. The sounds above g(2) (notation sound) in the extremely high range are pronounced like "call signs", which are generally used only in solos. All sounds in the band's commonly used range C-g(2) (notated sounds) are pronounced accurately and evenly. Frequently used sounds in the bass range are suitable for playing with the intensity of mf-ff. In this range, the breath consumption is relatively large; in the middle and high pitch areas, especially the alto range, the strength is arbitrary and the breath loss is also small. When playing weakly, the breath loss is small. The breath lasts for a longer period of time.

The sound of the French horn is poetic, rich in expressiveness, full and powerful when played forcibly, and the treble area has a loud and brilliant temperament. The sound of the French horn also blends well with string instruments. There are also several commonly used special timbres on the French horn, which change with different playing techniques. The French horn has several special color playing methods, including adding a mute and inserting the right hand into the mouth of the horn to play "obstruents" and "obstructions".

A. Adding a mute

Playing with a mute added is recorded as "Con Sordino" (abbreviated as con sord), and with the mute removed it is recorded as "Senza Sord". When playing, it is very simple to place the mute in the mouth of the trumpet; it can be played and played at the same time, and it can be completed in an instant without interrupting the performance.

B. Obstruents

Both the obstruents (Sons Boudzés) and the obstruents are played by inserting the right hand into the mouth of the trumpet. The difference is that the obstruents are inserted shallowly. Some. During the performance, the process of inserting and complicating the hand is simpler than using a mute. The obstruent changes the timbre a lot: when played weakly, the sound is soft and distant, suitable for expressing various soft, lyrical melodies and soft long harmonies; when played hard, it emits a metallic sound.

C. Occlusion

Occlusion (Cuivré) This is to press your lips tightly against the mouthpiece, and at the same time insert your hand deeper into the mouth of the bell (compared with the obstruent method). , a method of playing with strong force. The pronunciation has obvious rustling metal vibration, the sound is exciting, and it is full of magical and otherworldly characteristics. It is very suitable for expressing historical pictures, religious, terrifying, gloomy and other musical atmospheres. Music pieces that use group stops are marked with the word "Cuivré" at the beginning. When normal performance is resumed, the words "Sons réels" (real tone) or Offen (open tone) are also used.