For More Info
send contact form
Before Trying Headjoints
Think about this general advice
before trying new headjoints:
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
Bring along your old headjoint as a reference for
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
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.