Does it make sense to order a flute with two headjoints: one with an oval/elliptical blow hole and one with a modern, rectangular cut hole?
Does the shape of the embouchure make enough of a difference to justify the cost of an extra headjoint? Is alternating between two embouchure shapes too confusing? It was F. Scott Fitzgerald who said that “Life is best seen through a single window.” I am wondering if that applies to this situation too. 
Seems reasonable to get used to one hole before worrying about another ( never mind the expense).
Mr Wilkes , when he made me a keyless with a quite big hole (everybody agrees it sounds fantastic) said he would make it a small holed head for when I can play better. He doesn’t need to hurry ! ( but a silver lip plate would look pretty !)
The main question for multiple head flutes is whether to bother with the fancy case.
It does make a big difference, but I second what Andrew said. You best get one that you get used to really well. Most pro’s or very good players rarely have more than one D flute which they play regularly for preformances and stuff. They might have several different flutes, but they usually have one that they know best. It takes time to really get used to a flute, having more than one head that you play for the flute will confuse the matter. One head might be easier and one might have better preformance, so it makes sence to have a long discussion with the maker to see what he thinks.
I think it is worth considering what you EXPECT from the two different headjoints.
If these two would give you an entirely different SOUND (not playability) I would say it would justify the costs.
But I’d think twice about spending money on two headjoints which have different playability, also because when you are not yet at least an intermetdiate it would confuse your embouchure.
berti
(still a beginner myself though 
)
Thanks everyone! I guess the main issue is the choice of embouchure hole shape. I am currently learning on a Casey Burns which has an oval hole. When I order a keyed flute, since none are cheap, I would like one that will sound good with a variety of music, not just ITM, which is what I am learning to play flute/whistle on. Also, I would like a flute that sounds slightly less dark, still woodish but lighter in tone.
Both interests would suggest I try a modern embouchure hole. Yet, for some kinds of non-ITM music, such as jazz, I think the dark woody sound adds bite and character, more so than, say, a Boehm flute. Anyway, therein lies my predicament and why I was considering a flute with 2 headjoints.
This is likely a matter of personal preference, ability and lip shape. I prefer an oval embouchure over round or modern cut/boxed oval - I myself find it the most adaptable. I’m sure my answer doesn’t help much…sorry.
Eric
Me too. I’m playing baroque music now
on a Dave Copley oval holed six key,
and it’s just fine. I don’t want another headjoint;
I want a keyed foot!
I have the impression, FWIW, that
Dave’s flutes are immensely
adaptable to all sorts of music.
Jim - what are you playing? I was playing Bach Minuet in D (along with a few other pieces) last night on my Sweetheart 4 key…it sounded lovely, but I was able to switch gears to more of a hard/reedy sound to play some reels, too.
I’m not sure Dave Copley’s, or anyone’s, flutes are truly limited to playing in any style or any more adaptable to other styles - if the flute suits you, and you put the effort in, I think you can make it do what you want.
Eric
Yes, I think this is quite right. I haven’t played flutes
with non-oval embouchure holes, and so perhaps
I’m mistaken, and my definite impression is that
oval holes are no limitation. Other features, like
lined heads and bore size may make a difference,
however. I’m not sure how baroque sounds
on a Pratten honker.
I’m playing now Abinoni oboe concertoes,
but please don’t for a moment think I know
what I’m doing! Lovely, lovely music, however.