For an article by Robert Scotton on the same topic (in French), see here.
The question here is, “How do I find the alphorn mouthpiece that best suits me and my alphorn?” This is not a topic for beginners! At the beginning of the alphorn career, the mouthpiece feels unfamiliar, and there is a lack of reference to classify subjective impressions. For the first few years, you should therefore refrain from experimenting. Better to settle on an “average” mouthpiece from a reputable manufacturer and stick with it for now. Size 18mm should fit almost everyone (the common recommendation is between 17.5-18.5mm). However, it is worth looking into the matter with a competent teacher in each individual case – especially in the case of unusual lip shapes, jaw and tooth positions or if a brass instrument is played in addition to the alphorn.
After a few years, the question arises again. Maybe the mouthpiece you are used to has reached its expiration date or has been lost? Or you may want to optimize: a new mouthpiece should solve this or that problem. The focus is often on the desire for more height, endurance or volume; sometimes the mouthpiece is also intended to compensate for the personal aging process. Time to take a closer look at the basics of the mouthpiece.
In brass instruments, the lips are described as a generator and the alphorn as a resonator. In this model, the mouthpiece is the link that transmits the vibrations from the lips to the air column in the tube. In detail, things are a bit more complex: the cup of the mouthpiece acts acoustically as a Helmholtz resonator, with the air in the cup as an elastic spring. The resonator has several specific natural frequencies (the strongest of which is approximately in the g” range of the alphorn; audible when the open cup is struck on the hollow hand). The resonances accentuate the input impedance of the alphorn (response), shift the intonation and emphasize the overtones (rounder sound). Blowing resistance in the cup and feedback of the vibrations to the lips also facilitate playing in the higher registers. Ergonomically, the edge of the mouthpiece delimits the vibrating part of our lips, allowing more precise control of tension and pitch. Overall, the mouthpiece thus fulfills several important functions (here a technical paper on the state of the art).
Various mouthpiece parameters influence the result. In the following table a compilation according to technical literature (e.g. here):
| Parameter | Effect |
|---|---|
| Cup diameter(D) | Big D = easier and more voluminous in bass (too big: no height, intonation problems, flat tone, lack of flexibility); small D = easier in height. (too small: lack of volume and endurance). Big lips = bigger D. Sometimes called “width” or simply “size”. |
| Depth(T) | Big T = big sound in the depth, small T = sound in the height. |
| Cup shape | V-shaped = directional, clear and warm sound, supported in the treble; U-shaped = wide, bold sound. |
| Cup volume | Defined by D, T and shape. Big volume = full sound, but needs more power & open airflow (tongue / palate). |
| Edge width (R) | Wide R = positive for endurance, ideal for narrow lips; narrow R = positive for flexibility and virtuosity, ideal for fleshy lips. |
| Transition edge to cup | Boundary area is also called “bite”. Round / soft = positive for legato, response; angular / sharp = positive for staccato, more percussive. |
| Diameter bore (B) | Norm ca 4.5mm. Small B = high blowing resistance. Too little blowing resistance = unclean intonation, especially in the low register, and lack of treble. Too much blowing resistance = weak volume, airway closes. |
| Boiler to bore transition | Complex influence on sound quality and response. [Geheimnis der Mundstückbauer Teil I] |
| Core (cylindrical part, E) | Contributes to blowing resistance. |
| Back bore (conical part, S) | Course has influence on blowing resistance and sound quality. [Geheimnis der Mundstückbauer Teil II] |
| Material | Mulberry, olive, rosewood, fruit trees = soft sound. Ebony = hard sound. Metal = very brilliant. |
| Mass | More mass = tone centered |
| Total length (G) | Determines, depending on how far the mouthpiece is inserted into the barrel (L), the acoustic length and tuning of the alphorn (must fit the instrument) |
| Cone (α) | Must match the instrument. Swiss Standard = 3°. Exceptions Stocker (Morse taper), Bugada, Neumann… |
However, how large these effects are compared within the big picture is debatable. Fritz Frautschi, the doyen of the alphorn mouthpiece manufacturers, warns from giving it too much importance. The influence of the cup width is clear, the rest is rather marginal. This also applies to the type of wood used, which most of his customers choose based on aesthetic criteria – perhaps with the exception of ebony. Certain aspects playing a role in brass could not be transferred directly to the alphorn. For example, Frautschi considers the effect of the inner edge (legato vs staccato) to be of little relevance in the context of the alphorn, because the alphorn generally responds more softly and this character is also desired. For this reason, he also gives preference to the V-shape, whose sound he describes as softer and clearer – compared to the “cheeky” (cheeky) sound of the U-shape. In most parameters, however, it boils down to a little compromise: a touch more power in the high range against marginally less sound in the low range. Objectively “better” and “less good”, on the other hand, are decided at a few critical points: the transition between the cup and the core and the shape of the back bore.
Regarding production quality, most manufacturers today work with CNC machines, which mill with an accuracy of 1/1000 millimeter. Frautschi – after 30 years of experience with CNC – emphasizes, however, that after grinding and painting, the accuracy is more like a few 1/100 millimeters. Experienced horn players may perceive such deviations as irritating, especially at the edge of the mouthpiece. Perfect mouthpiece clones do not exist.
Which path now leads to the optimal mouthpiece? For brass players, there are specialized mouthpiece coaches. For example, Marco Weber from blaswerk haag in Weinfelden offers this service at a flat rate of 150 CHF. The blaswerk claims to have performed 1000 mouthpiece analyses in 25 years and keeps over 1000 mouthpieces in stock (albeit no alphorn mouthpieces). Weber’s approach is problem-solving oriented: tell me what you want to improve and I’ll tweak the appropriate parameter. If you want to go higher, try a smaller mouthpiece or a narrower bore. If you lack the stamina, try a wider edge. For a fuller sound, try a larger volume. And so on. Weber is aware that he is doing a balancing act between coach and salesman. Almost always, the problems are not with the mouthpiece, but with the blowing technique. In the end, there is no such thing as a “chicken-and-egg” solution: the quick improvement here is paid for with cutbacks there. After all, 80% of his clients purchase a mouthpiece after coaching that they believe is the better compromise.
Comparable offers with access to the entire market from one source do not exist for alphorn players. At several manufacturers (e.g. Frautschi, Bernatone, Aebi, Bachmann, helvetic) you can try out different models and sizes. If you want to test mouthpieces of several manufacturers, you will find them at the alphorn stores, for example resunar. I suspect that such mouthpiece shopping can be successful if you think carefully beforehand about what you are trying to achieve with the change, what parameter you want to tweak, and what the trade-offs are with this new compromise.
Central remains a realistic expectation: no mouthpiece will solve any fundamental blowing problem. In the best case, you achieve a small improvement in a certain area. You just can’t buy a solid embouchure.
Many thanks to Fritz Frautschi, Sami Lörtscher and Marco Weber for their broad support with this article. Your opinion? The comments below are open! [Update to original version: cup diameter instead of previously “width” (note Fritz Frautschi); total length added as parameter (note Gérald Pot)].
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