The embouchure setup for a French horn player is not as simple as one may have originally thought. There are a lot of holes in this technique that have not been adequately addressed, or tested in the most recent of times, that have been misleading players for nearly the past century. It is important to take into consideration the maxillofacial anatomy of different genders and ethnicities to truly find out if the standard approach, two thirds upper lip and one third lower lip in the mouthpiece, is an appropriate approach for all. Method books such as those from Wendell Rider, Frøydis Ree Werke, Harry Berv, and especially Philip Farkas have been proven to miss the mark when talking about the French horn embouchure. The same materials have been regurgitated from method book to method book stating that this is the only viable approach to playing the horn successfully. While some of those books have stated that certain features such as dental anatomy do play a role in embouchure setup, it has never been a fully digested idea that the diversity in overall facial anatomy would deter one from playing the standard way. 

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It is almost forgotten that this technique developed over two hundred and fifty years ago and that the people playing horn then are not all the same people playing horn now. The Caucasian-Male physiology originally helped garner a technique that worked for hundreds of years; however, this is now not the only physiology to take into consideration when playing the horn. Farkas had shown later in the 1960s successful male embouchure setups, but neglected further analysis into the inequities of the technique, even among Caucasian-men. The inequities in method-book content, as well as access to such, has caused a deterrent in playing this instrument, especially as people of different genders and ethnicities enter the field.

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The primary point to consider for future endeavors is the lack of research done in this field regarding different maxillofacial anatomy, and how this affects one’s success in the music industry. With no guidance on other embouchure options rather than the standard approach, students often find themselves struggling with different technical weaknesses that hold back their success on the instrument. Horn technique, whether it be articulation, endurance, range, trills, intonation, or shifting are all dependent on the fundamental foundation of the embouchure. When this is correct, technique and success fall into place. When this is incorrect, it becomes a frustrating series of events. Just because the standard approach is said to be the “correct” approach, does not mean that it is for everyone.

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 The necessities of facial musculature and effects that dental structures have on an embouchure setup have been outlined and overviewed. Those sections depicted the differences in facial anatomy such as vermilion heights, and the naturally occurring proportions and genetic predispositions that need to be considered when approaching an embouchure setup. The size differences in anatomy contribute greatly to one's weaknesses, they might be experiencing which led to the preliminary results of possibly successful embouchure setups for different groups of people. These two data sets have determined that the standard embouchure setup could be a successful option for all groups of people; however, Caucasian Males and Caucasian Non-Males additionally benefit from an embouchure setup of 50% upper lip in the mouthpiece and 50% lower lip in the mouthpiece. Non-Men, both Caucasian and Non-Caucasian, have found the one-third upper lip in the mouthpiece and two-thirds lower lip in the mouthpiece to be a successful fit as well. This proves that race and gender both become a large factor in determining an embouchure fit based on anatomical differences. Non-Caucasian Males need more extensive research as their results were not as forthcoming as the rest of the participants. 

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This research has been labeled as preliminary, as more extensive research needs to be concluded before official results can be determined. There is a current plan in progress to redo this study on a larger scale, incorporating the help of anthropologists, horn professors, and including potential travel for in person testing. Necessary data will still include demographics, geographic locations, facial measurements, and horn related questions, but will also expand to playing tests, embouchure change trials, anthropometric photography, as well as age, mouthpiece, dental, and congenital considerations. Post further research, there is the hope that this information will warrant the publication of a new method book that includes and focuses on more embouchure options for students to choose from that will be more tailored to their personal physical anatomy. While these resources are extremely helpful for students, it would be extremely beneficial for educators, including band directors who may not be as familiar with horn embouchure. 

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The conclusions drawn above and the horn players mentioned within the context of this paper have contributed greatly to the past, present, and future of the horn community. The analyses of their content are not reported here to discredit them in any way, but rather to learn from the standards of the past and to build upon the original ideas for the future. The hope is for more accessible and relatable method-book content that will prevent future strenuous embouchure changes and allow for success in much earlier stages for horn students. This is only the start of what could be a life changing contribution to the horn community.