Headjoint

[MissyHPhoenix]

My playing is getting better and better. Problem now is that my flute instructor is pushing me to get more and more sound -- needs to be bigger all around. I guess I've always played pretty softly in the past and now ....

Well, my Sankyo headjoint has a gorgeous, sweet sound, but when I "push" to get more sound out, I crack all over the place. So when I crack, I tend to back off on the pushing and then it turns into a vicious circle. So. My question is, would a different headjoint help? Are there headjoints that are less prone to cracking when you push to get a more vibrant airstream? I've read up, like usual, on different types (i.e., Drelinger, Burkhart, Brannen, Powell) and am going to see about trying some out. I saw that Powell and Drelinger have the combo silver/gold headjoints (can't remember what they're called -- arumite??). What are those like, if anybody has tried them? What headjoints have you had good experiences with in this area? Has anybody else had the same problem? I want to get one asap so that I can start working on it and hopefully have a better handle on the cracking problem before my next jury in May. I got scared at this one and backed off on my sound to keep from cracking -- still made all A's, but I knew I didn't do as good as I could have.

Thanks in advance for any information you can give me!

Hope everybody has a great holiday season, too!



Oh yea, do any headjoints in particular help with clean articulation? It would be neat if I could find one to help both problems. I can spend probably up to $1500 (approximately).

[Phineas]

My playing is getting better and better. Problem now is that my flute instructor is pushing me to get more and more sound -- needs to be bigger all around. I guess I've always played pretty softly in the past and now ....

Some headjoints do better than others when it comes to sound and flexibility. However, practice will beat flute dollars any day of the week. I have played on a Sankyo headjoint, and have been able to practically play over a funk band with it. Then again, I could play loud and broad on almost any headjoint. Articulation/flexibility is a slightly different story, however it is still doable on ANY headjoint.

The key to the big sound is how well you focus the most air without over blowing. I can play pretty loud with out using a of air(relatively speaking of course). Every headjoint has a sweet spot. The only way to find it is to explore it.

If I want to play loud and fat, I would go for the Armstrong 104. Anyone could play loud on that thing.
If I want more articulation/flexibility, then I would say the Muramatsu headjoints are the best.
The most middle of the line headjoint for me was the Yamaha EC.

All of the rest of the headjoints I ever owned or tried needed work at one end of the spectrum or the other.

Just remember "Practice over Flute Dollars!!!" my flute sista!!! Happy Holidays to you too!!!!

[JButky]

I agree mostly with Phineas. But let me add a little "why"...

The common prescription today to correct a "deficiency" in playing is go out and buy different equipment. There are at times when this is necessary, however, it is really a grossly overdone recommendation these days.

You can't ask anyone what headjoint will do what for you but no answer will be consistent and answers will be contrary. There are general principles, yes, but selecting a headjoint is like trying on shoes. Everyone reacts differently to a headjoint just as people react differently to different shoes. The headjoint that you can exploit the most is the one that achieves a comfortable fit (in terms of its design for your performance). Hence, there are a bazillion headjoints out there and opposite opinions about the same headjoint from different players.

That being said, you CAN learn to play a headjoint a certain way, BUT for the reason given above, it may not be the most comfortable way to do it. You will always sound like you, but you do need to reach your potential.

As far a "cracking" is concerned, there are all sorts of reasons for that. As far as a headjoint is concerned, it could be a lot of mechanical factors (as we call them) in the design specs reacting to the way you play. It's an overall question of design to player efficiency. The body tube spec can also have an impact on "cracking" (usually because it is insufficient for a player's air threshold efficiency) but that will be true of every similar body spec regardless of almost any headjoint you put on it.

So if you are trying headjoints anyway, try as many as possible. You will generally start finding similarities in specs of the headjoints you like. I could write a treatise on what specs affect what and how you should go about looking for things, but It's just too much to explain here.

But from your description, I would also do what Phineas suggests. Flute shows are "Introductions" to headjoints (and flutes). You've got to live with it a little to see how it fits. But you do have the opportunity to see what you like and discover if it's the headjoint, the flute, or if you just need more practice!

[Zevang]

I could not agree more with you both.

BTW, receive my season greetings and my wishes of great success to you all.

[MissyHPhoenix]

Thanks for the replies! I don't really want to buy a new headjoint just to try to fix the problem, per se. (not rich by any means, just want to be a better player). I am easily able to admit that the problem could very well be me and that more practice and time could help it. How do I tell the difference? IS there a way to tell the difference?