This thesis explores the subject of playing either a high or low horn in a symphony orchestra, looking at the roles, repertoire, and pedagogical methods connected with each. The purpose of the study is to shed light on the phenomenon of horn players categorizing themselves as either high or low horn players and to examine the debate between a balanced approach and specialization in horn playing. The study focuses on excerpts that are frequently used in auditions around the world and offers a thorough analysis of repertoire examples that are necessary for both high and low horn playing. A number of common exercises and studies are included in the examination of historical and modern teaching methods and approaches used in conservatories. Interviews with Björn Olsson and Benedikt Scholtes, two professional horn players and teachers, yield their perspectives on the subject, providing insightful information. The thesis acknowledges the individuality of each horn student and seeks to answer the question of whether categorizing oneself as a high or low horn player and concentrating solely on one register is wise or whether a balanced approach is preferable. In the current competitive orchestral employment landscape, the author discusses the potential advantages and disadvantages of such specialization. The study emphasizes the significance of versatility in horn playing and the need for a larger repertoire beyond the typical audition pieces. This thesis offers insightful information and viewpoints for horn players who are faced with questions and decisions regarding high and low horn playing by examining traditional high and low horn repertoire in addition to pertinent studies and exercises.