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Important Information and Features To Be Considered Before Trying Headjoints
Part 1: Headjoint Buying Guide
Replacing a flute's headjoint is like giving it a new personality. For example, putting a gold headjoint on a silver flute makes it play similarly to an all gold instrument. It is generally acknowledged that many expensive flutes have
headjoints that do not allow them to be played at their best. Indeed, by
replacing the poor headjoint of an otherwise first-rate instrument, the
player can realize its full potential. Another important need for a new
headjoint is for the player who owns a moderately priced, mass-produced
flute in good mechanical condition. The greatest improvement in its
quality, with minimal investment can be the replacement of the headjoint.
It is often far less expensive and more desirable to replace the headjoint
of this class of instrument than to replace the entire flute with a costlier
one. It is important to know that headjoint making is a special expertise apart
from other areas of flute making. Unlike traditional makers whose expertise is
divided among the many aspects of flute making, my company is exclusively
devoted to the art and science of headjoint making.
I spend a great deal of time developing improved designs, as is
evidenced by the issuance of the Drelinger Optikut® headjoint patents. This
specialization is analogous to reed or mouthpiece making as an area of expertise,
distinctly different from basic wind instrument making. More and more, flutists
are recognizing this distinction and are buying the flute body from one maker
and the headjoint from another. At first glance, the headjoint looks like the
simplest part of the flute. In reality, it is acoustically the most complex.
The headjoint incorporates a universe of details that demand great sensitivity
on the part of the maker in order to match it with each individual player and
flute body. I believe that the best results can be achieved by working personally
with each flutist. My method of working is analogous to fitting eye glasses: you
need a variety of lenses to find the combination that works best. When I have
done my job, the headjoint responds like a musical lens, helping the flutist to
clearly and easily express every nuance. Remember, even those who are satisfied
with their present flute should simply try a different headjoint. It may very
well give the best results ever.
Every flutist is unique. Each of us has a one-of-a-kind embouchure. To
illustrate this point here are some photographs from Roger S. Stevens' book
Artistic Flute (Highland/Etling Publishing Co., CA). Not seen is the inside of
the mouth where differences also demonstrate individuality. Based on the fact
that everyone plays differently, it stands to reason that a headjoint is a very
personal choice. Finding the right headjoint can be very time consuming, but
absolutely necessary, if you are to play at your best.
In order to understand what is needed, I work with each person on an individual
basis, pointing out both the strengths and weaknesses of their original headjoint.
Next, I make every effort to provide a new headjoint which corrects these
weaknesses while maintaining the original's desirable characteristics. My work
involves hearing through my customers' ears and sensitizing myself to what they
perceive. When they try headjoints, I watch, as well as listen, to see if there
is muscle tension around the area of the embouchure. When a headjoint is
properly matched to the player, it seems to meld perfectly with the chin and
lips, creating an almost relaxed appearance of the surrounding muscles.
Remember, in order to play musically, a headjoint must feel good as well as be
capable of producing beautiful sound.
Part 2: Suggestions Before Trying Headjoints
Think about this general advice before trying new headjoints:
Make a wish list of all the qualities you would like to have in
a new, improved headjoint. Also include the qualities
you most like about your present headjoint.
Don't practice on your old
headjoint for any length of time before starting out to try new
headjoints.
Bring along your old headjoint as a reference for
comparison.
Always play the headjoints being evaluated on your own flute body.
Bring along another pair
of ears, preferably a person whose musical judgement you respect. Have this
person listen up close and at a distance when comparing headjoints. If the
headjoint is correctly made and matched to the player, it will more than likely
sound as good from far away as it does close.
To make your comparison, choose a
short musical selection that comprises all of the elements that put a headjoint
to the test. Play this selection on your headjoint first, then try it on each
headjoint to be compared. It is interesting to note that often there is a greater perceived difference
between headjoints to the player than to the listener. This is especially true
of silver compared to gold headjoints. Please note that each headjoint to be
tried should have its lip plate cleaned with alcohol.
It is important that a new
headjoint produces all registers evenly and easily, especially in the low
register. If, after a few minutes of trying, you still have trouble focusing the
tone, that headjoint is probably not for you. It is similar to buying a new pair
of shoes: if they do not feel good in a few minutes, they will, more than
likely, not "wear-in." Ask yourself how comfortable the headjoint feels against
your chin, lips, and facial muscles. A well matched headjoint should meld with
you without introducing any stress.
Test how rapidly and clearly you
can articulate, especially in the low register.
Test to see how loudly you can
play in the low register and how softly you can play in the third octave. Then,
try the reverse.
Test for middle register break-up. Play as loudly and cleanly as you
can to hear at what level of intensity the sound cracks. Listen also for
stuffiness on certain notes in this same register.
Test note to note and octave to
octave for tuning and timbre consistency. A suitable headjoint can make it
easier to lip up or down for pitch regulation. Additionally, a properly made
headjoint can help a flute play more in tune with itself and other
instruments.
Listen for embouchure hiss and compare how this extraneous sound varies from
headjoint to headjoint. All headjoints to some extent have this noise; however,
some project it less than others.
Try the headjoint in a dead to
neutral acoustical environment. Remember, recital halls, when filled with
listeners, lose much of their live reverberant quality.
All headjoints, to some extent,
are one of a kind. When you have found the headjoint you want, that should be
the one that you take. If it's only a sample or is already sold, you should try
the substitute all over again before paying for it. It may very well be what you
want, yet because it's an entirely new entity, it requires careful
re-evaluation. Remember, a maker's quality is only as good as the particular
headjoint delivered to you. To assure the unique individuality of every Drelinger
headjoint, each is engraved with own individual serial
number to confirm its identity.
Part 3: Most Commonly Asked Questions
1. - What help can you offer
someone like me who does not have any idea what l am
looking for in a headjoint? The art and science of
headjoint making includes making sure that each flutist gets
the best headjoint for his or her requirements. One of the
most important services I perform is when I am presented with
a flute player who has no specific demands at all. When this
occurs, I simply encourage the person to develop a point of
view. It is as if am attempting to get them to cultivate a
gourmet taste for headjoints. And there is no fee or
obligation for working with me in a private tryout session.
2. - I am a flutist who is still
evolving my skills. If I purchase a headjoint now, will
it still serve me well later on? With one possible
exception, there really isn't a class of headjoint voicings
for beginning students. It is therefore almost a practical
necessity to find the best headjoint as early as possible.
Here are some reasons to justify such a purchase. Except for
the very young, the fundamental physiological make up of the
embouchure's total structure is, in many cases, unchanged from
relatively early development. While you may evolve significant
developmental changes, you still have the same unique physical
makeup as before. Very simply stated, one develops and grows
with the right headjoint. With the wrong headjoint the
opposite is true. In my long-term experience, when the right
headjoint is chosen, it provides a clear path for achieving
any level of accomplishment.
3. - At what point in my
child's development as a flutist should I consider
purchasing a custom headjoint? If your child has more than
a passing interest in the flute, the optimum headjoint can be
of tremendous benefit in both reducing many of the
frustrations of learning and in helping to produce a better
quality of playing early in the learning process. It is very
important that the formation of bad habits, especially in
embouchure development, be avoided through the use of the best
possible headjoint, along with high quality flute instruction.
Also important is a flute body with a good scale that covers
with minimal effort. Many of the professional players for whom
I have made headjoints tell me that if they had had a quality
headjoint and flute body as students, their development
probably would have been accelerated.
4. - I have an inexpensive,
plated flute, in good mechanical condition. Does it
make sense to replace the headjoint? Yes. If you properly
select the best headjoint available, it is more than likely it
will improve your flute (and playing) in a number of essential
areas. A headjoint like this can cost more than the entire
flute. However, it is well worth it. Here are some of the
reasons: a) By choosing the option of a new headjoint,
you are maximizing the potential of your present flute at
considerably less expense than it would take to get an entire
instrument of similar quality. b) At a later date, you
can upgrade by choosing a new flute body, without the
headjoint, from one of several top-quality flute makers. By
doing this, you will possess a first-rate instrument, matched
with your own favorite headjoint.
5. - What should you know if
you have a headjoint you like, but want to upgrade by
replacing the flute body? When a headjoint is chosen, the
choice is based primarily on how well the headjoint fits your
embouchure, as well as agreeing with other aspects of your
unique physical shape. The flute body also influences the
selection of a headjoint, but its role is secondary to the way
it matches you physically. Inversely, once you find a
headjoint that suits you, that headjoint should be the one you
use to select a new flute body. Owning a headjoint you like
and are totally familiar with is the key to appreciating the
subjective differences between the many excellent flute bodies
available today. Knowing this, you can see why it's extremely
difficult to make a headjoint and flute body selection
simultaneously.
Based partly on business considerations, some flute makers l
know want you to use their headjoints with their flute bodies.
If you insist on purchasing the flute body alone, some
manufacturers will gladly sell them without headjoints, while
others are a bit more resistant. The amount of high quality
flutes available is constantly growing. In a sense, it's a
buyer's market. Even so, you must do a good deal of trying to
find exactly what you want. There are available many new high
quality domestic and imported flutes, as well as a wealth of
used flutes offering extraordinary value. Aside from the many
categories of top-quality flutes that are instantly available,
there is a small group that varies in the fact that they are
built to order and are paid for in advance of delivery. While
these quality makers provide samples of their work for you to
try prior to ordering, there is no reason to assume that the
flute delivered will play exactly the same as the sample you
tried. If you are not willing to accept these variations, it's
probably better to purchase a flute that is available for
immediate delivery.
6. - What makes of flute
bodies are Drelinger headjoints used with? Here are
just a few of the names of flute bodies on which our customers
use Drelinger headjoints: Almeida, Arista, Brannen, Albert
Cooper, Haynes, Louis Lot, Jack Moore, Muramatsu, Powell,
Sankyo, and virtually all major Japanese and Elkhart makes.
7. - I have a headjoint that
I like very much and want to purchase a new flute body
to match it. Are flute bodies as subject to personal taste as
headjoints? Yes. When selecting a new flute body with your
own headjoint, you will probably notice that even the same
model bodies from the same manufacturer vary.
8. - What are the most
common precious metals of which quality headjoints are
made? How do they vary in sound? In my workshop, the most
popular precious metal tube headjoints produced are sterling
silver, 9 karat rose gold and Karritium®. All of these
precious metals are alloys, which means that they are combined
with other metals to make them structurally and acoustically
suitable for their intended use. It is important to understand
that gold is denser than silver, which is probably the most
significant factor in determining the nature of its sound. The
hardness of the headjoint tube contributes somewhat to its
tonal quality. However, its role is secondary compared to that
of density. The type of metal the head-joint tube is made of
determines its timbre. With the exception of our patented
Platinum-Air-Reed® and Gold-Air-Reed® features, the metal of
which the crown and lip plate are made is an option of
personal taste, rather than acoustical consideration.
With most makers, the wall thicknesses of their gold tube
headjoints range from .002 to .004 thinner than the wall
thicknesses of their silver headjoints. Perhaps this is done
for reasons of economy. The rationale usually given for this
dimensional difference is that the gold wall is made thinner
to offset its higher density. In effect, the use of thin-wall
tubes weights the timbre of these gold headjoints in the
direction of silver. In contrast to this approach, Drelinger
has been able to achieve the optimum gold experience by
offering the same wall thickness in gold as we make available
in sterling silver and Karritium® . It costs a little more,
but the results are worth it.
l wish there was an objective flute language with a universal
meaning so that I could communicate the distinguishing
characteristics of each of the metals described here. To my
knowledge, no such language exists. In the world of
headjoints, the same words often mean different things to
different people. The word 'bright' to one flutist means the
projection of a beautiful radiance, while to another flutist
the same word means strident and steely. Despite this dilemma,
I endeavor to give as general a view as possible so that you,
the reader, are motivated enough to try these comparisons for
yourself. Comparing the sound quality of sterling silver and
coin silver headjoints is like comparing identical twins. For
the most part, they are alike, differing only in very subtle
ways. Silver, whether sterling or coin, has a very musically
malleable quality, following sensitively, with minimal
resistance, the contrasts produced by the player. I make all
of my silver headjoints out of sterling silver because, to my
taste, I believe it has just a bit more variety of colors than
coin silver. 9 karat gold headjoints typically have a solid
tonal center and possess an enormous potential for both warmth
and projection. In the hands of some players, the variety of
tone colors that can be produced with this metal is without
equal. 14 karat has a darker tone than 9 karat but it is also
slightly more resistant.
Drelinger's Karritium® was developed specifically to combine
the acoustical qualities of gold and silver in one metal.
Karritium® by its nature, gives you the expanded possibilities
of projecting the spectrum of timbre from the light, supple
sounds of silver through the tone color associated with gold.
9. - Is there a substantive
difference between gold and silver headjoints?Yes.
However, this difference is much more apparent to the player
than to the listener. Many flutists prefer one over the other,
while a far greater number have not experimented sufficiently
to have an opinion.
10. - What part of the
headjoint gives it its characteristic timbre? I
have found that the acoustic source of the characteristic
timbre of a silver, gold, or Karritium® headjoint is the
headjoint tube. While some claim that a gold lip plate and/or
riser (chimney) imparts certain discernible characteristics to
the sound of a silver tube headjoint, l have never heard it
said that their presence gives the sound of a gold headjoint.
For those who want features such as these, we produce the
widest variety of gold lip plates and/or risers in any karat,
color, or combination. In addition, we offer standard
features, customization, and technical services that are not
available elsewhere.
11. - Can a new headjoint
overcome some of the problems to which the modern scale
flutes address themselves? Depending on your specific
requirements, sometimes yes and sometimes no. The phrase we
often hear to convey the latest and greatest is "state of the
art." State of the art was once defined as a point in time
between two obsolescences. More than a decade ago, the flute
world began hearing much about "modern or new" scale flutes.
For some, modern or new, by inference, connotes the improving
of that which came before. In some respects, this is true, but
not without potential compromise. Generally speaking, with
several versions of modern scales, the low register has been
pulled up and, usually, the middle register is more in tune
with the octave below. That is all for the good, but what else
has changed? Some players report that while modern scales have
advantages, they can't get used to the accompanying thinning
of the tone of the third octave combined with some high note
pitch inconsistencies*. It's well documented that if you move
the tone holes, the pitch changes, but as a subtle consequence
so does the timbre. You can understand why tuning cannot be
realistically evaluated without also considering the
simultaneous changes in the tone quality. Hence, there is no
black and white in defining the newer scales and what came
before. The choice of a flute body's tuning is not an athletic
event with winners and losers, but rather a very personal
choice, based on what compromises you are willing to live
with. The headjoint also has a critical role in the production
of pitch and timbre. My experience has shown that both
traditional and modern scale flutes can be optimized with the
right choice of headjoint. In my opinion, the right headjoint
is, in part, one that allows the flute to be played both more
in tune with itself and other instruments in a natural and
unstrained manner. When l have done my job, all octaves have a
certain seamless continuity that is easily perceived by player
and listeners alike. I often advise people with high quality,
traditional scale, standard pitch flutes not to change to
another scale without first trying a wide variety of
headjoints with their present instrument. More often than not,
the selection of a new headjoint eliminates the desire to seek
an entirely new instrument.
*See section on T.O.O.T.S.
12. - What is the primary
advantage of "modern" headjoints?
When properly
voiced and matched, this style's major virtue is that it can
play Louder and more efficiently than traditional types. It
seems to require less air and muscle tension to produce a wide
variety of colors and rapid articulation. One owner of a
Drelinger Headjoint said that when she switched to it, she
found that she could do everything she could on her old
headjoint, except that now it was easier.
14.- Can a headjoint that
plays well in either the low or high register play as
well in all registers? Yes. A correctly made and matched
headjoint should play equally well throughout all the octaves.
If someone suggests that you settle for less, he or she
probably is not acquainted with Drelinger headjoints.
15.- What is usually done
to a headjoint when the entire flute is overhauled?
Overhauling a headjoint usually involves some necessary
procedures combined with discretionary ones. The head-cork
should be replaced after two to five years of use because
these corks deteriorate with use and time. To replace the
head-cork correctly, requires a special skill considerably
more painstaking than replacing a pad. Tarnish and dirt
build-up on both the inside and outside surfaces of the
headjoint should be cleaned manually using special
non-abrasive metal cleaners and soft cloths. Under no
circumstances should machine buffing be used on the embouchure
plate, especially around the blow hole. Such machine polishing
alters, to some degree, the critical areas so vital to the
production of sound. Headjoint dents should only be removed at
our factory, using the forming arbor on which your headjoint
was originally produced. One of the most common automatic
adjustments made during an overhaul is to tighten the
headjoint's fit. If you are satisfied with this fit prior to
the overhaul, let the repair person know in advance. Drelinger
Headjoint Company offers a special overhaul service for our
customers. For a fee, we will meticulously perform these
specialized procedures on headjoints we produced.
Note: If you have any doubt whatsoever about your
repairman's understanding of the care of your Drelinger
headjoint, do not leave it with your flute when it is given
for repair or overhaul.
16.- I have a rose gold lip
plate on my headjoint, and it sometimes leaves a slight
stain on the area where it contacts my chin. The rose
(pink) golds are rich in copper which is responsible for its
color. Infrequently, it is reported they leave a discoloration
or even exude a faint copper-like taste or smell. To avoid
this potential problem, I prefer to use yellow gold for my lip
plates which appears to be free of these reported reactions. I
also offer Gold-Lip® which is pure gold, topically applied to
silver and pink gold lip plates.
17.- How long does it take
to hand-make a headjoint? I do not know how long it
takes other makers to create their headjoints, but for us it
takes 4 to 5 working days of skilled labor from the beginning
to delivery to hand-make one silver headjoint. The very large
selection we have on hand has been built Up over several
years. When a headjoint is sold, its type is made again for
inventory.
18.- Is a separate carrying
case necessary for a headjoint? Yes, so you can
store your original headjoint or simply carry an extra
headjoint, in addition to the one in your flute case. At no
extra charge Drelinger Headjoint Company includes a velvet
lined carrying case with every flute headjoint sold.
19.- It seems that each
manufacturer has its own unique way of describing its
headjoint models. Can l really get an idea of a headjoint's
suitability from these various descriptions? No detail by
itself can give much information unless you understand the
interaction between all the vital features. When understood in
relation to each other, wall height, blowhole shape and size,
and under and over cutting, as well as a myriad of other
equally important dimensions help explain the acoustical,
ergonomic, and musical make-up of a headjoint. I prefer to
describe the complete make-up of a headjoint's critical
features in terms of the words, "voicing structure".
20.- Many flute companies
offer a choice of headjoints with their flutes. Is this
basically the same as what Drelinger offers? No. For
example, let's say you need a pair of eye glasses. You have
two alternatives to pursue in order to see properly. The first
is to try an over-the-counter pair at a drug store and hope it
offers some improvement. The second and most effective
alternative is to be examined by an ophthalmologist and have
the exact glasses prescribed so you can see optimally. I am
like the ophthalmologist in that I offer a personalized
service and a custom product.
21. - In answer to my wish
list for the ideal headjoint, my local music dealer
said, "If you want to play softly in the third octave, have
maximum projection, and a quick, dark sound, you must purchase
at least three different models of headjoints," Do you
agree? No. One Drelinger model can satisfy all your
requirements and give a multitude of other benefits you can
not get with an over-the counter headjoint.
22.- Is purchasing a mail
order headjoint by telephone a good way to buy? No.
There is no substitute for working with me in person and
choosing from the largest selection available anywhere.
23.- Does Drelinger
Headjoint Company offer exchanges? Yes. For some
time now, we have offered our customers the most flexible and
liberal flute headjoint exchanges of any l know of. While the
option of an exchange is a worthwhile back up, it's much more
important to obtain the right headjoint the first time around.
In this regard, it's well worth noting that during the past
ten years, Drelinger Headjoint Company exchanged about one
percent (1%) of all the headjoints we sold.
24.- Do you offer a credit
purchase plan if I select a headjoint, but cannot
afford to pay for it totally right now? Yes. Drelinger
Headjoint Company will arrange interest free time payments for
those who can only afford a down payment on the headjoint of
their choice.
When you are in New York City, please visit my
workshop.
Please phone in advance to set up an appointment.
The Largest Headjoint Selection Anywhere!
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