This is the first in a series of three articles devoted to exploring the world of headjoints with a goal of arming you with knowledge to overcome (or at least reduce) the stress and confusion of finding a new headjoint. This article discusses preliminaries and includes general advice about preparation for the hunt, an overview of the headjoint market, and an overview of influences on headjoint design. The second article will explore in detail the various qualities of sound that can be affected by different headjoints, such as projection, loudness, tuning, color, and responsiveness. The final article will discuss 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 will conclude with a brief discussion of how to learn more and what to do next....

Headjoint Purgatory

"I've been in headjoint purgatory before, and it is not any easier this time around," laments Los Angeles flutist Charles Andrews ¹. Andrews’ quandary exemplifies a common dilemma, whose solution is frustratingly elusive: while looking for his ideal sound from a variety of headjoints, he wistfully remembers what in 20/20 hindsight may have been the perfect headjoint he let go years before. Whether you have searched for a new headjoint at some point or are currently in the midst of searching for one, you have most likely encountered your own dilemma. At some point in this search, which inevitably comes to most serious amateur and professional players, there is a time when you feel overwhelmed and confused. Perhaps you even realize that some information from well-meaning advisors is not accurate.

Andrews continues, "My ideal flute sound would be the sound of a flawless early Louis Lot, made much bigger, more projected, but with the sweet, dense, complex quality the best Lots…can have." ² Wow − not much to ask, is it! This description is loaded with the sometimes conflicting needs and desires of today's flutists − the need for more projection, the desire to feel louder, and the need and desire to create a variety of colors. Flute industry insider Sarah Merrow of Syrinx Flute Repair near Boston illuminates the complexity of searching for a headjoint. "It's not simply a question of what feels good or sounds good; there are lots of factors to consider − color, projection, flexibility of tone, stability of tone, homogeneity of tone, volume, resistance − all to be evaluated, along with the ease or difficulty of playing, compatibility with one's style of playing, professional requirements, and other physical needs."³ There is no magic formula to guide the process for choosing the best headjoint; however, there are elements of the process which can be controlled. Knowledge is one of them.

Artistic desires aside, it is vital to invest the time to become as informed as possible when considering the purchase of a new headjoint, because headjoints are expensive. Ranging from US$1,500 for all silver to over US$7,500 for those containing gold and/or platinum, professional headjoints are a significant, and generally appreciating, investment.

From the artistic standpoint, the headjoint helps give an individual ‘voice’ to the flutist's sound. The right headjoint match for the performer's needs and preferences can contribute to a unique artistic identity that allows the performer to communicate fully with the audience, to blend flawlessly with his/her colleagues, and to be free to produce desired tone colors. It aids in allowing the music to flow unrestricted and without distraction.

Peter Swinkels (Adams European Flute Centre), Sarah Merrow (Syrinx Flute Repair), Melanie Sever Jordan, and Tobias Mancke (Mancke Flutes) at the 2009 NFA Convention in New York City

The Headjoint Market

The market has seen an explosion of choice in specialized headjoints over the last twenty-five years. Since Albert Cooper's improvements in the 1960s to the traditional Boehm headjoint design introduced in 1847, there has not been significant variation in the measurements. The most significant changes to embouchure hole design date back even further than Cooper’s improvements; Cooper wrote in 1984 that embouchure hole design had not really changed since the Louis Lot flutes of the late nineteenth century.  ⁴ However, even slight variations to the headjoint can make big differences. These slight variations are wherein lie the infinitesimal differences between each and every headjoint.

Though patents exist for some new methods, Merrow points out that several Boston makers base their designs on those by Cooper. The current industry standards for risers (discussed in more detail in future articles) originated from Cooper or Cooper-influenced design. His gauges were also on the market for the price of the tool and were never patented. From discussions with Trevor Wye, Merrow also learned that Cooper was generous with his expertise, willing to share his ideas and techniques with those who sought him out. Flute makers Haynes and Powell, where many of the new Boston makers started their careers, based their work in the early twentieth century on the old French flutes until makers everywhere were adapting to the changes introduced by Cooper. ⁵

Although flute makers generally acknowledge the significance of the headjoint, Merrow suggests that when a maker claims that the majority of the sound comes from the headjoint, that person likely makes only headjoints. ⁶ It should be noted that headjoints are a very lucrative business, and since the acceptance of Cooper’s changes, the headjoint market has become big business. Whereas a small-scale flute maker can produce only a few flutes annually, a maker focused exclusively on headjoints can produce dozens, if not hundreds. Cooper stated in a 1988 interview with Alexander Eppler, "…over the last ten years (1978-1988) I've only made headjoints. The headjoint market is so good, unbelievable!"  ⁷ Even as early as 1984, Cooper observed that the majority of London flutists were not using their flutes’ original headjoints. ⁸

Many people are very passionate about – and very loyal to – a particular headjoint maker. "The relationship between the object and the art produced is very intimate," says Merrow. She points out that there is "something very evocative and desirable about the maker making something that passes into the hand of the artist…the connection between your music and their art determines how you place value on it."

Today, the process of manufacturing a headjoint can range from fully machined, to partially machined and hand-finished, to entirely hand-made. The question arises for each of us whether we place more value on a handmade headjoint made by one individual or on one that has been partially or wholly machined.  ⁹ Is this a real or perceived difference in value and does it make a difference whether it is real or perceived? Only after understanding how the method of making the headjoint affects how the flute plays will you be able to make an informed decision. Whether you are initially drawn to the characteristic flute sound of a large-scale maker or to the work of a smaller individual maker, it is helpful to know what qualities (tone, color, etc.) appeal to you and how differences in headjoints can produce these qualities. With this knowledge you can identify all the makers that may fulfill the same parameters. Knowing your own preferences and the basis for these preferences can aid the process of selection and ultimately increase your satisfaction with a headjoint.

The flutes made by some of the largest flute makers, such as Powell, Brannen Brothers, and Muramatsu, typically have a certain set of characteristics that are generally considered to define that maker's sound. The efforts of the headjoint makers in the larger companies are intentionally focused on maintaining a certain brand sound. For example, in its marketing literature, Powell capitalizes on what it calls “The Powell Sound,” which is “characterized by color, clarity, depth and projection." ¹⁰ Elizabeth Watson, headjoint maker at Brannen Brothers, gives perspective to the exacting nature of the business when she points out that "as a headjoint maker you're not fighting to be different; you’re fighting to be consistent."  ¹¹ In her experience, Merrow has observed that makers "…need to compromise between what they want to make, what they love about their 'best work’, and what actually sells in the current marketplace."  ¹² Consistency within that balance of compromise gives each maker its own identity.

A specialized headjoint maker has somewhat more flexibility because they do not have to maintain a certain ‘brand sound’ or build very large numbers of heads. Tobias Mancke of Mancke Flutes, a rapidly emerging German headjoint maker, asserts that the specialized maker is therefore able to work more closely with players to customize headjoints and thus can potentially react more quickly to the changing demands of the market. ¹³ The small makers will point out the advantages of working directly with them, as flute maker Dana Sheridan elaborates:

One person making headjoints as opposed to a larger company offering heads brings the same perspective and goal with each head. All aspects of the work are accomplished by the same person and therefore have a consistency that may not be offered by a large company. A player must be drawn to a particular maker’s work. If that maker is willing and able to work with the player to iron out small problems to get the best possible results in all aspects, then the player is best served. ¹⁴

Thus, while small makers, like large makers, strive for their own individual consistency, they can be more flexible and are consequently more able to make changes to conform precisely to a player’s particular needs and desires.

Influences on Headjoint Design

Sheridan points out that the one universal aspect of flutes is that the bodies are made to accept a head that is 150mm from the bottom edge of the tube to the center of the hole.  ¹⁵ This allows players to choose from virtually any head that otherwise fulfills the necessary criteria. ¹⁶ This single aspect, more than any other, seems to be the factor that has enabled the headjoint market to exist as it does.

Sheridan has a unique perspective on the industry. Generally recognized by other flute makers as one of the foremost experts in the field, he started with the major Boston flute makers in the early 1970s before establishing his own company in the early 1980s (a success to this day); his career has thus spanned the period that has seen the greatest evolution in the modern headjoint market. He observes:

From the eighties till now, the general trend in flute sound has been going darker… Particular players have become much more discerning, because of the variety of heads being offered. They have much more choice and, therefore, can continue to try other brands until they have found the perfect match for themselves. Players who truly know what they are looking for can eliminate heads quickly that don’t meet their needs. ¹⁷

Tobias Mancke comments:

Over the years it turned out that flute players want a more personal sound from their flutes [than] what the standard heads of their flutes give them. So we developed a wide variety of sound changing combinations of materials such as precious metals, different kinds of woods, crowns and cuts. In this way we are able to offer lots of combinations to deliver the widest variety of complex sound, articulation and colors. Players are looking for a complex, unique and personal sound. A comfortable and safe playing feeling consists of not only the color of the sound, but also articulation, projection, fine balanced resistance for personal taste and feel. ¹⁸

Mancke stresses the importance of working closely with professional players from all over the world to keep aware of the prevailing trends and demands. "The global flute world is always following certain players and teachers. Our close contact to them gives us the opportunity to react on certain trends and demands." ¹⁹ There are many examples of collaborations between major makers and high-profile professional players, such as Nagahara with Sir James Galway and Powell with Ransom Wilson and Paul Edmund-Davies, as well as collaborations between major makers and innovative smaller headjoint makers, such as Brannen Brothers with Cooper and Lafin. ²⁰

Headjoints and flutes made of gold or platinum have recently become quite popular. Although image surely plays a role in the market – you cannot deny there is a certain cachet to owning and playing a gold flute – it is not the only driving force behind the popularity. Makers generally agree that gold and platinum provide heavier resistance and the potential for darker tone colors and larger sound from the flute. The desire of both orchestral flutists and soloists to be able to produce a bigger sound with greater projection to achieve an appropriate balance with today’s larger orchestras is also driving changes in headjoint (and flute body) style. Kanichi Nagahara of Nagahara Flutes comments:

[I] believe that there is a great difference which can be heard and felt when playing on gold and platinum versus silver. Although I have no numbers or equations to prove the effects of gold and platinum in sound production, I have my experience of 30 years of hearing different flutists, and experimenting with different materials that led me to this conclusion. The gold and platinum materials have louder and richer resonance than silver (especially platinum being the most dense of them).

I believe makers went along with the evolution of the popular culture of classical flutists who have come to want a louder sound. Greater projection is required to play the more challenging concertos with 60+ piece orchestras. The flute is now competing for sound attention in larger ensembles. It is no longer the case that baroque music with smaller chamber ensembles is most common. As seen in America in most cases, bigger is better, so that reflects in the new-found needs of flutists as well. Once upon a time it was wooden flutes that were popular until silver took over. Now is the era of gold and platinum. ²¹

The body and the head of the flute are interdependent. Depending on the materials of both, an appropriate headjoint can improve the quality of the sound, but the wrong kind of headjoint can reduce the quality of the sound. As Nagahara explains, "the material of a headjoint can improve resonance and sound projection. For example, take a silver flute with a silver headjoint; if you were to place a gold headjoint with platinum riser on this instrument, the body of the flute would resonate completely different...many might even say it sounds and feels like a completely different instrument. When you place a stronger material headjoint on a weaker material body, the body will resonate more and vibrate greater because the sound chamber (headjoint) is infusing the body with more sound." ²²

However, Peter Swinkels, founder of Adams European Flute Centre in Holland, one of the largest resellers of high-end flutes and headjoints in the world, points out that the wrong headjoint can impair the quality of the sound; for example, sometimes the headjoint can be too resistant for the body, causing the flute to lose its brilliance. He further explains that some flutes, such as those with a bigger bore, a heavier wall, and larger tone holes, require a particular kind of headjoint to make them work best. ²³

Some players specialize in performance areas such as chamber music or contemporary music and have needs for instruments that blend, project, and respond differently than flutes appropriate for orchestral music. And of course, many players perform in multiple settings; for example, a flutist might be in an orchestra, perform as a soloist, and be a member of a chamber group specializing in period music. These players may choose to have a separate headjoint for each of these needs. Most players, however, are looking for that one headjoint that will allow them the flexibility to meet all of their demands.

Another potential pressure on the market comes from the increasing age of a large segment of active professional flutists. Merrow points out that fifteen years ago many of her clients were young professional players who were looking for extraordinary sound, however it could be produced. This same group now has changing priorities. For example, some are looking for a flute that gets the job done just as well but doesn't require as much effort to play. The need and desire for headjoints that make this possible will have an effect on what the makers choose to market to this growing demographic of players. ²⁴

In this article I have introduced you to some of the fundamental considerations that you will need to take into account when searching for a new headjoint. The next article will delve more deeply into that elusive concept of the “sound” a flute or a kind of flute can have, exploring the components of the “sound” and the effects different headjoints can have on these components…

The links for the businesses in the article are as follows:

Syrinx Flute Repair, Sarah Merrow: http://syrinxflute.com/

Mancke Flutes, Tobias Mancke: http://www.mancke.com

Sheridan Flute Company Dana Sheridan: http://www.danasheridan.de/

Adams European Flute Centre, Peter Swinkels http://www.adams-music.com/nl/flutecentre/

Nagahara Flutes, Kanichi Nagahara http://www.nagaharaflutes.com/

Brannen Brothers Flutemakers, Inc: http://www.brannenflutes.com/

Drelinger Headjoint Company, Sandy Drelinger: http://www.drelinger.com/

References:

1. Charles Andrews, email to Flute List mailing list (April 4, 2009), This e-mail address is being protected from spambots. You need JavaScript enabled to view it (accessed April 4, 2009).

2. Ibid.

3. Sarah Merrow, email to author, April 19, 2009.

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

5. Sarah Merrow, telephone interview by author, April 23, 2009.

6. Ibid.

7. Alexander Eppler, "An Interview with British Flutemaker Albert Cooper," August 10, 1988, Eppler Flute Company, http://www.epplerflutes.com/interview.html (accessed April 10, 2009).

8. Cooper, The Flute, 29.

9. Merrow, interview.

10. Verne Q. Powell Flutes, "Powell: The Flute," 2007 Product Brochure, www.vqpdealers.com, http://Downloads/Powell%20Brochure%20Fall %20202007.pdf (accessed April 10, 2009).

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

12. Merrow, email.

13. Tobias Mancke, email interview by author, April 19, 2009.

14. Dana Sheridan, email interview by author, April 19, 2009.

15. This is universal in nearly all major makes of flute with the exception of the Nagahara Full Concert model flute, a full explanation of which may be found at http://www.nagaharaflutes.com/flutes/fullconcert.html.

16. Sheridan, interview.

17. Ibid.

18. Mancke, interview.

19. Ibid.

20. For additional information see the websites of these makers: http://www.brannenflutes.com, http://www.nagaharaflutes.com, http://www.powellflutes.com.

21. Kanichi Nagahara, email interview by author, September 8, 2009.

22. Nagahara, interview.

23. Peter Swinkels, online interview by author, March 4, 2009.

24. Merrow, interview.

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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