French Horn Fingering Chart (Double Horn)

How to read this chart

The horn's valves are played with the left hand: valve 1 under the index finger, 2 under the middle, 3 under the ring finger. The lever marked T on the left of the diagram is the thumb valve. Filled and dropped means pressed; pale and raised means up.

Thumb up puts the horn on its F side; thumb down switches to the shorter B♭ side. Each note's diagram shows the side this chart recommends, and the alternate underneath gives the same note on the other side.

F side and B♭ side

A double horn is two horns sharing one bell and mouthpipe. The F horn is longer, with a warm sound, but high up its partials crowd together and notes are easy to miss. The B♭ horn is a fourth shorter, so in the upper register its partials are farther apart and notes are easier to hit.

This chart uses the F side up to written G4 and the B♭ side from G♯4 up, the switch point many band methods teach. Teachers differ — some stay on F higher, some switch earlier — so if your teacher's chart switches somewhere else, follow it; the alternate on each note shows you the other side.

Playing a single F horn? Use the F-side fingering for every note: it is the alternate wherever the chart shows the thumb down.

Written vs concert pitch on horn

Horn parts are written in F: every note sounds a perfect fifth lower than written. Written C sounds concert F, so when the band tunes to concert B♭ you play a written F. The chart shows both pitches, and the play button sounds the concert pitch.

Full double horn fingering chart — all notes

Written F♯3 to C6, chromatically. Read the T on each diagram to see which side of the horn the note is on; the alternate below the chart gives the other side.

The same chart, written out

Every fingering in words — handy for copying into lesson notes, and it reads aloud properly on a screen reader.

The right hand changes the pitch

The right hand sits in the bell, and how much of the bell it covers moves the pitch and the tone. Covering more darkens the sound and lowers the pitch; opening the hand brightens it and raises it. That is why the explanations below suggest hand adjustments for sharp and flat partials, and why a note that is out of tune with correct fingers is often a hand-position problem.

Alternate french horn fingerings

Alternates aren’t “better” fingerings — each one earns its place in a specific musical situation. Select any of these notes in the chart above and switch variants to compare them.

• F♯3 (F♯3) — B♭ side (thumb): valves 1-2-3: Thumb (B♭ side) + valves 1 + 2 + 3. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• G3 (G3) — B♭ side (thumb): valves 1-3: Thumb (B♭ side) + valves 1 + 3. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• A♭3 (A♭3) — B♭ side (thumb): valves 2-3: Thumb (B♭ side) + valves 2 + 3. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• A3 (A3) — B♭ side (thumb): valves 1-2: Thumb (B♭ side) + valves 1 + 2. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• B♭3 (B♭3) — B♭ side (thumb): valves 1: Thumb (B♭ side) + valves 1. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• B3 (B3) — B♭ side (thumb): valves 2: Thumb (B♭ side) + valves 2. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• C4 (C4) — B♭ side (thumb): open: Thumb (B♭ side), open. The same note on the B♭ horn (3rd partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• C♯4 (C♯4) — B♭ side (thumb): valves 2-3: Thumb (B♭ side) + valves 2 + 3. The same note on the B♭ horn (4th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• D4 (D4) — B♭ side (thumb): valves 1-2: Thumb (B♭ side) + valves 1 + 2. The same note on the B♭ horn (4th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• E♭4 (E♭4) — B♭ side (thumb): valves 1: Thumb (B♭ side) + valves 1. The same note on the B♭ horn (4th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• E4 (E4) — B♭ side (thumb): valves 2: Thumb (B♭ side) + valves 2. The same note on the B♭ horn (4th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• F4 (F4) — B♭ side (thumb): open: Thumb (B♭ side), open. The same note on the B♭ horn (4th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• F♯4 (F♯4) — B♭ side (thumb): valves 1-2: Thumb (B♭ side) + valves 1 + 2. The same note on the B♭ horn (5th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• G4 (G4) — B♭ side (thumb): valves 1: Thumb (B♭ side) + valves 1. The same note on the B♭ horn (5th partial). Safer to hit in fast or loud passages; check the tuning against the F side.
• A♭4 (A♭4) — F side: valves 2-3: F side + valves 2 + 3. The same note on the F horn (8th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• A4 (A4) — F side: valves 1-2: F side + valves 1 + 2. The same note on the F horn (8th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• B♭4 (B♭4) — F side: valves 1: F side + valves 1. The same note on the F horn (8th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• B4 (B4) — F side: valves 2: F side + valves 2. The same note on the F horn (8th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• C5 (C5) — F side: open: F side, open. The same note on the F horn (8th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• C♯5 (C♯5) — F side: valves 2: F side + valves 2. The same note on the F horn (9th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• D5 (D5) — F side: open: F side, open. The same note on the F horn (9th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• E♭5 (E♭5) — F side: valves 2: F side + valves 2. The same note on the F horn (10th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• E5 (E5) — F side: open: F side, open. The same note on the F horn (10th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• F5 (F5) — F side: valves 1: F side + valves 1. The same note on the F horn (12th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• F♯5 (F♯5) — F side: valves 2: F side + valves 2. The same note on the F horn (12th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• G5 (G5) — F side: open: F side, open. The same note on the F horn (12th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• A♭5 (A♭5) — F side: valves 1-2: F side + valves 1 + 2. The same note on the F horn (15th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• A5 (A5) — F side: valves 1: F side + valves 1. The same note on the F horn (15th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• B♭5 (B♭5) — F side: valves 2: F side + valves 2. The same note on the F horn (15th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• B5 (B5) — F side: open: F side, open. The same note on the F horn (15th partial). Often the better sound in this range; use it when the passage around it stays on the F side.
• C6 (C6) — F side: open: F side, open. The same note on the F horn (16th partial). Often the better sound in this range; use it when the passage around it stays on the F side.

Common french horn fingering mistakes

• Forgetting the thumb. Switching sides mid-phrase is the most common wrong note on double horn. Mark the thumb changes in your music until they are automatic.
• Aiming at the wrong partial. On the horn, partials sit close together, so a correct fingering can still crack onto a neighbor. Hear the pitch before you play it.
• A closed-up right hand. Too much hand in the bell makes the sound muffled and flat. Keep the hand cupped, fingers together, covering roughly half the bell opening.

Frequently asked questions