Thanks, Gordon. I posted in complete ignorance of what a Boehm flute was. I mean, there’s a relatively consistent modern orchestral flute, with its metal body, variations-on-a-square embouchure, and Boehm-system keywork (which has its own variations) . . . but as for others, even saying Rudall-style or Pratten-style denotes very little.
I guess I ask because of the distinction a poster had made between wooden and Boehm headjoints. I guess when I hear “Boehm flute,” I tend to think of the fingering system. Same with our simple-system flutes; just the fingering.
When I was privileged to play the McGee ambassador flute, I just had to try to see if the headjoint would fit on either of my Boehm-style flutes. Even with a decent fit, he told me there was no chance of this working. Something to do with the parabolic taper in the Boehm-style headjoint. So it seems that if you are trying to get a wood headjoint to fit your Boehm model flute, you need to get one with designed for that particular flute, but you do have an option to choose between many types of embouchure styles. The overly squared off is definitely the more modern orchestral cut.
Has anyone here played any of the Folkers and Powell Boehm and/or Louis Lot historical reproductions? I’ve been intrigued with these for a while. (I’d love to try one with my wood VQ Powell flute). For someone looking for a more traditional sound, these headjoints may be just the thing. Their website is http://www.headjoints.com/
dhigbee, do you go into the fourth octave on
a wooden flute? Is it a wooden head joint on a
Boehm or just an Irish flute. If the latter,
how do you do it? What happens? Fingering? Best
A good wooden headjoint by Noy, Powell or Abell will significantly improve (well, make more reedy, rich and traditional) the tone of a metal flute. Bear in mind that even headjoints made by the same person will vary, so it’s good to try them before you commit to them.
Actually, I think what you call the fourth octave, I call the third octave. I have a wood Powell flute (head and body) that plays well to high D (2 octaves above the D in the staff). Takes a bit more oomph than the silver flute up there. I don’t have an Irish flute, although I have played them. (My hands are probably too small to be able to play an Irish flute well, although I’ve been eyeing the new McGee model).
I agree with Jessie that a wood headjoint on a silver body will definitely change the sound of the flute.