This is the third and final in a series of articles on selecting a headjoint. The first article explored preliminaries and included general advice about preparation for the hunt, an overview of the headjoint market, and an overview of influences on headjoint design. The second article explored in detail the various attributes of sound that can be affected by different headjoints, such as projection, loudness, intonation, color, and responsiveness. This article explores the effects of different materials, such as gold, silver, platinum, and wood, and the effects of alterations in the design of parts such as crown and stopper assemblies and risers; it concludes with a brief discussion of how to learn more and what to do next...

Materials Used in Making Headjoints

Headjoints were originally constructed entirely of like materials; for example, they were all wood, all silver, or all gold. But as makers and players tried new combinations, they found that they could achieve desirable differences in tonal quality and color by using different materials for various parts of the headjoint. Today, more varieties of materials are being used to make headjoints than ever before. Headjoints can be found with varying combinations of silver, gold, platinum, metal alloys, and different hard woods.

Makers first began using different materials such as gold or platinum at the striking edge of the riser, or chimney. Compared with an all-silver riser, a gold riser offers a generally warmer, darker sound, and a platinum riser offers generally cleaner articulation and greater projection. Many makers now offer a variety of combinations, such as all-gold lip plates on tubes of other metals, wooden lip plates on metal tubes, wooden tubes and lip plates with various metal risers, and even (as in the case of some Mancke headjoints) a metal tube with wooden lip plate and metal riser. Tobias Mancke sheds light on the use of various materials:

Based on the … characteristics of a silver headjoint, adding other materials brings the following average changes and/or enrichments:

Gold − warmth, comfortable resistance, depth, complexity.

Platinum − more precise and faster articulation, projection, wideness. Best used in combination with gold.

Wood − warm intimacy, darker sound.

All these characteristics, however, are highly influenced by the way of manufacturing. It is very important to keep and honor the specific sound of the material in a way that the player can use them to his own specific demand. Further it is influenced of course by the way of playing and the combination [with] the body of the flute. For example, a platinum riser gives the headjoint more wideness, safe and comfortable articulation and good projection. A wooden lip plate on a metal headjoint mixes the quick response and projection of the metal with the warm and intimate depth of the wood. The use of a gold or platinum crown and cork plate enriches the presence, volume and projection as well as improves playing comfort. ¹

However, as Sandy Drelinger is careful to point out, while a riser or lip plate of a different material does impart certain discernable characteristics, the presence of a gold lip plate or riser on a tube of another material does not produce the total sound of an all-gold headjoint. The basic characteristic timbre is determined by the material of the tube. ² In addition, traditional silver heads vary in wall thickness from the thinnest of .014 mm, to the most common of .016 mm, and finally the thickest of .018 mm. Thicker tubing darkens the tone color and increases the resistance of the flute. ³

Innovations and Modifications in Design

Risers. As mentioned above, risers are often made of different materials, such as gold and platinum, which give additional characteristics and advantages to the sounds and response of the flute. The traditional riser is a full ring of the same material that fits inside the lip plate. Kanichi Nagahara has created an economical option intended to combine the sound and response advantages of a whole lip plate and riser made of more expensive metals with the financial advantage of a lip plate and riser made of less expensive metals. He explains what he calls the “extended riser”:

The extended riser was created to give flutists an economical option that did not require a whole lip plate made of a higher cost material. With the extended riser a flutist can have similar effects to that of an all-gold or an all-platinum riser. The front section of the riser (which is where the blowing edge is) is extended over the lip plate so that the air reed blows under and over the riser material. This allows for better control of the sound. Also, having a more dense material once again adds more density on headjoint. I created the front wall of the lip plate (the blowing edge) thicker than the surrounding walls so that the [densest] area is where the air hits directly. Because the material is heavier, or harder, it vibrates quicker and makes the metals around it vibrate quicker too, creating better resonance. I believe that the riser should be of stronger density and the rest of the flute towards the foot joint of lesser density so that the sound waves can be transported throughout the instrument and then the flute can vibrate evenly with the same force because the material won't slow down the vibrations. ⁵

Crowns and Stopper Assemblies. Makers have been experimenting with different materials for crowns and stopper assemblies. Many headjoint makers offer traditional crowns of heavier materials such as gold and platinum. Some specialty shops even offer jeweled crowns. The cork plate and screw can also be made of different materials. Mancke observes that there has been increasing "demand [for] gold screws and platinum risers. People are willing to pay more to get a better sound." ⁶

Some makers have even invented new types of stoppers and crowns. Examples include the Nagahara Locking Crown, the Bigio stoppers and crowns, the Dyna® Flute System by Michael de Bruin, and the Performance Flute Plug by Bob Ogren. Each has specific effects on the sound and response.⁷

Both Kanichi Nagahara and Robert Bigio have found dramatic changes to the resonance and response of headjoints with their crowns. Nagahara discusses the locking crown as follows:

The locking crown was created mainly after a request from Sir James Galway to make a crown that would not come loose. With that idea I created a two piece crown consisting of a base and a top section. On the base we placed additional weight making the entire headjoint more dense. The additional density makes the headjoint vibrate quicker. Although I have no scientific proof of the effects of the locking crown, we have done several experiments with different flutists and the general consent is that it provides better focused projection, an ease in articulation (cleaner/clearer), great soft attacks in the 3rd octave, and more core or depth in the sound. My belief is that the extra weight makes the headjoint density thicker and the sound waves respond quicker making the headjoint vibrate and respond faster which in turn makes the flute resonate and sound quicker -no delay.⁸

Standard crowns made of the heavier metals of gold, platinum, and other materials also enhance resonance. Mass, however, is not the only factor enhancing resonance. Michael de Bruin spent thousands of dollars trying to find out why his Dyna® Flute System, which is not heavier than a traditional stopper and crown, enhances the sound. He observed a significant increase in the strength of the middle and lower harmonics, although he did not discover the reason for this. He speculates that it has something to do with the regulation of the vibration from plate to crown.⁹ As for Bob Ogren's use of two O-rings on a Delrin plastic cork, he says, "The change in the sound it made… was like turning a light bulb on. The difference was fairly dramatic…It still sounds like a flute. It's just got more power, and clarity and response."¹⁰

Ergonomics. There are also headjoints that attempt to address the ergonomic challenges of the flute in general for people who can no longer hold the flute transversely due to physical limitations or use injuries. For example, Sandy Drelinger and Maarten Visser each make an innovative headjoint design which allows the flute to be played vertically. ¹²

Where to Go From Here

As you can see, hunting for headjoints can be exciting, interesting, and …daunting. This series of articles has only scratched the surface of where the hunt for a new headjoint will take you. A process that begins with good information and resources will lead to more satisfaction with your ultimate headjoint selection. The marketing of headjoints has become so intense and aggressive that it is vitally important to find out for yourself what the claims being made actually mean to you and your style of playing. Take the time and opportunity to try as many different makes as possible, and keep track of what you have tried and what does or does not appeal to you. Also, it is invaluable to enlist the help of someone whose ear you trust to give you consistent feedback throughout the process.

A thorough knowledge of headjoints can help you understand what you like and why. Understanding the industry will also help you see past the marketing hype. Knowing your needs as a player can guide your selection process towards makers whose headjoint characteristics fulfill those needs. If you play strictly chamber music you will probably decide that your needs differ from those of a flutist in a large orchestra. Determining the characteristics that best align with your preferences will focus your efforts and enable you to ask more useful questions. Observing market trends and the demands of professional players can also help as you search for the best and most reliable products.

If you are interested in pursuing more information on headjoints, the following steps may be useful:

1) Go directly to the source. Flute and headjoint makers love to share information about what they know best. Visit the exhibitor booths at annual large conventions such as those sponsored by the National Flute Association and the British Flute Society. Even smaller flute fairs sponsored by regional flute clubs will generally have dealers and some makers exhibiting a wide array of flutes and related products and, most importantly, providing good information. Take the opportunity at these conventions and fairs to speak with as many makers as possible and to try as many headjoints as you can. You can also find headjoint makers from ads in flute-related publications (print and online) such as this one, Flute Focus, plus others such as the Flutists Quarterly, Flute Talk, Pan−The Flute Magazine, as well as newsletters from many regional flute clubs.

2) Talk to other experts in the field. Resellers and repair people often have insight into the broader market without being tied to a particular brand.

3) Read. The sources in the bibliography of this article, as well as the sources listed within those, are good places to find information.

4) Search the Internet. Nearly all flute makers and flute organizations, as well as many other knowledgeable professionals in the field, have very extensive and informative websites. There is a wealth of information at the click of a mouse. Be careful to verify the source of the information and stick to well-known makers and well-respected professionals.

5) Join a forum dedicated to the discussion of flute making such as the Flutemakers group at www.flutemakers.org.

After arming yourself with this knowledge, how do you go about the actual process of trying new headjoints? For more information on this process you can refer to many makers' websites, which have great sections on how to test new headjoints.¹³ I have observed that flutists at first tend to make a new headjoint sound the way they already play before allowing the characteristics of the headjoint to come through. Flutist and music educator Roland Stycos suggests that you should "trust your ear rather than choosing a particular metal or manufacturer… Because the new headjoint may be more resistant than the previous one…be patient and allow several days … [to] learn to conform to the specific characteristics of the headjoint."¹⁴ From his extensive experience in working with flutists through the years, Nagahara has this advice to give:

Don't be afraid to take a risk when choosing a new headjoint and do not choose a headjoint which you find easy to play right away. This means that you have nothing to work towards. Although at the beginning a gold or platinum headjoint might seem heavier to play (compared to the silver), if you stick with it and practice with it, you will improve as a player as it makes you exercise your breath and embouchure control.

Also, give a headjoint some time before you decide against it because initially nothing will feel 100% comfortable, but once you take time to get used to it, you will have a better idea and you might find that the gold/platinum headjoint will open up paths for greater musicality and artistic expression. ¹⁵

I have found that most makers are truly interested in matching player and headjoint appropriately and will do their best to find the most suitable headjoint. Makers generally will not insist that the most expensive headjoint is the best option for you if it truly isn't. The best advertisement is, after all, a satisfied customer.

It should be recognized that at some point, after the technical aspects have been analyzed and the choices based on objective needs have been narrowed down, a significant aspect of choosing a headjoint is still subjective. As a result, the 'perfect' headjoint that is all things to all people can probably never be made. The website of flute maker Trevor James sums this up: "What can be said for certainty is that everybody's face, jaw, lips and breathing are individual to themselves. The only way to see which headjoint is suitable is to try them". ¹⁶ Sarah Merrow adds that you get the most if you are willing to trust your own ears, as Stycos is is quoted as saying above. ¹⁷ This advice was echoed by every maker and industry expert who contributed to this article.

After all of this groundwork, the fundamental importance of the player's own preparation cannot be overlooked. Flute maker Alton McCanless ponders, "Why, with all the infinitesimal parameters definable in headjoints … can [there] be a heavy layer of crud in [the embouchure hole] and the owner still sounds just as terrific as when the hole is clean?"¹⁸ This comment from McCanless highlights the importance of the player's capability. Peter Swinkels underscores what is perhaps ultimately most essential in this hunt. After you have armed yourself with the best knowledge, he states, "in the end, or most importantly the beginning, there is no replacement for good ears and embouchure. It rarely works to find a headjoint that will do something you cannot. The headjoint can help compensate and make things better but cannot make something happen that isn't there to begin with."¹⁹

Even after finding the 'perfect' headjoint, we may all benefit from keeping in mind these insightful words from the French master Marcel Moyse: "I do not ask you where you bought your instrument, I ask you, where can I buy your lips?" ²⁰

Footnotes:

1 Mancke, interview.

2 Drelinger, website.

3 Roland Stycos, "Shopping for a New Headjoint," Flute Talk 24, no. 4 (December 2004), 15.

5 Nagahara, interview.

6 Mancke, interview.

7 For further information on these crown and stopper assemblies see http://www.nagaharaflutes.com/headjoints/crown.html, http://www.bigio.com/stoppersandcrowns.html, http://dynaflutessystem.com, http://dynaflutesystem.com/

8 Nagahara, interview.

9 Michael de Bruin, interview by author, NFA Convention, New York, NY, August 13, 2009.

10 Richard Mial, "Love of Music Leads to Lifetime of Instrument Repair", California Chronicle (August 10, 2009) http://www.californiachronicle.com/articles/yb/133952327 (accessed August 24, 2009).

12 Descriptions of these vertical playing headjoints can be found at www.drelinger.com and www.flutelab.com.

13 Makers such as www.trevorjames.com and www.drelinger.com/suggest.htm have extensive question and answer sections which suggest a non-biased approach to testing headjoints.

14 Stycos, 15.

15 Nagahara, interview.

16 Trevor James, website.

17 Merrow, interview.

18 Alton McCanless, email to Flute List mailing list (December 10, 1996), This e-mail address is being protected from spambots. You need JavaScript enabled to view it (accessed May 10, 2009).

19 Swinkels, interview.

20 Susan S. Fries, My Teacher: Remembering Marcel Moyse (Bloomington, IN: AuthorHouse, 2007), 68.

WORKS CITED

Cooper, Albert. The Flute. 2nd ed. London: Albert Cooper, 1984 (p. 29).

Drelinger Headjoint Co. "The Headjoint Specialist: Most Commonly Asked Questions." http://www.drelinger.com/qanda1.htm#6 (accessed April 12, 2009).

Fries, Susan S. My Teacher: Remembering Marcel Moyse. Bloomington, IN: AuthorHouse, 2007 (p. 68).

James, Trevor. "General Flute Information: Headjoints." Trevor James Flutes. http://www.trevorjames.com/PDFs/PDF_Flute%20Headjoints.pdf (accessed April 10, 2009).

Merrow, Sarah. "Headjoints: Mystery vs. Mastery." The Flutist Quarterly 33, no. 1 (Fall 2007): 63-64.

Mial, Richard. "Love of Music Leads to Lifetime of Instrument Repair." California Chronicle (August 10, 2009). http://www.californiachronicle.com/articles/yb/133952327 accessed August 24, 2009.

Nagahara, Kanichi, inventor. "US Patent 5844156 – Headjoint for a Flute." Patent Storm. US Patent issued December 1, 1998. http://www.patentstorm.us/patents/5844156/description.html (accessed April 11, 2009).

Phelan, J. James. The Complete Guide to the Flute and Piccolo. 2nd ed. Shirley, MA: Burkart-Phelan Inc., n.d. (pp. 105, 118).

Stycos, Roland. "Shopping for a New Headjoint." Flute Talk 24, no. 4 (December 2004): 15.

Verne Q. Powell Flutes. "Powell: The Flute." 2007 Product Brochure. www.vqpdealers.com. (accessed April 10, 2009).

Melanie Sever Jordan is a freelance musician, private flute teacher and has performed professionally with the United States Marine Corps Bands. She is a graduate student at the University of Minnesota, Duluth, having received a BA degree in Music and History from St. Olaf College in Northfield, Minnesota. Sever Jordan is an active member of the AFM, Local 18, the National Flute Association (NFA), the Upper Midwest Flute Association (UMFA), The National Association for Music Education (MENC/MMEA,) and the Minnesota Band Director’s Association (MBDA). www.melaniesever.com

 

 

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