I’d like to hear from anyone who has had a new head joint made for
an older flute. I have a beautiful R&R (#4117-you can see it at David Migoya’s Rudall site), which unfortunately plays very sharp (A=452) when the head joint is pushed all the way in. In order to play in tune with others at sessions, I need to pull the hj out 2/3rds of the way, compromising the sound somewhat. The true beauty of the instrument comes out with the hj pushed all the way in, and I becomming increasingly frustrated having to play the instrument in any other position. I have been able to offset the tuning problem somewhat by pulling each section out slighty, there by lessening the distance I adjust the hj, but this is not a permanent solution. I would like to hear from anyone else who has dealt with this issue. David Migoya’s comments about purchasing a new hj were that it is expensive, but well worth it. Any other comments?
On my Rudall, I have to play about 2/3 out as well for A=440 but my flute doesn’t seem compromised at that position. It plays better if the slide is ‘in’ a bit more but it stills plays well pulled out to that position.
Olwell, Wilkes, Hamilton all have made headjoints for R&R’s with success.
Bryan Byrne (Vermont) could do so as well.
If you want to talk more about it etc., send a PM to me, be glad to help.
rama
Please don’t get me wrong-the flute does sound wonderful when the head joint is pulled out 2/3rds of the way. It’s just that when it’s all the way in, the instrument really seems to shine! That wonderful sonorous tone just permeates the room. I cold most certainly get along with it as it is, but once I started playing at home with the hj all the way in, I found it difficult to play any other way.
Oh yeah, I know what you mean. But alot of flutes that allow you to go a tad sharper in pitch do sound great at that higher pitch, which is just a slighty shorter sounding length. But I leave my slide out to where it is roughly A=440 and practice at that pitch or sounding length. Over time I’ve gotten used to it. I wouldn’t pull the tenons out of the sockets to try to improve the tuning.
Learn to retrain yourself to adjust to a new or differently internally tuned flute, probably having richer tonal dynamics than what you were used to so you’ll you have to learn to control it a little more and take advantage of the subtle bore design.
I’m sure Dave could pass some pointers on to you about that particuliar flute or I’ll be glad to help if I can.
r
why do you make the comment about puling out the tenons? The person who has worked on my flute suggested this, claiming that as long as the sections were equidistant (sp?), it shouldn’t affect the individual tuning while promoting greater tonal strength. I haven’t noticed any tuning problems while doing this. With respect to practicing at the lowere pitch, I am not at al convinced that any amount of practice will compensate for the shift in tonal differences regarding the position of the hj.
Having a new HJ made to avoid having to pull the head out enough to get an old flute to A=440 will only offer a cosmetic improvement. The reason the new HJ for Migoya’s flute is better than the old one isn’t because when he pulls it out less of the tuning slide is exposed. Less of the tube is exposed because the blow hole is cut in a different positon on the HJ. His flute sounds better with the new HJ for several reasons that have nothing to do with the length of tube hidden or exposed.
Using a modern HJ will do nothing to change the scale of an old flute’s body, which is built to sound best at A=452. Unfortunately for the player of traditional Irish music, old Rudalls are often unforgivingly and irremediably sharp for a session that is spot on at A=440. But for a fiddle-flute session they are wonderful.
That’s not entirely true. Even with a patent head, can’t the cork position be pretty far off with the slide out that far? There will be some improvement in tuning with getting a headjoint made to play at that pitch.
Of course, if your flute plays well-in-tune at A=452Hz (or thereabouts), no headjoint will bring it all the way down to 440. As a matter of fact, in instruments made with corps de réchange, meaning “bodies of change,” it’s the body that’s changed to play at different pitch with the same headjoint.
Oh, that brings something else up. Make SURE you’re venting if you’re playing an original instrument. Meaning, you absolutely MUST open the Eb/D# key when you’re playing any note above D# (up till you hit the next D, of course). These flutes, and Böhm flutes too, were MADE to have the other notes vented to bring them into tune.
Well, I guess I’m wondering that if you still have 1/3 (+) of the tuning slide remaining, why pull the tenons out? Why not just pull the slide out some more?
If you don’t think practicing at A=440 is going to help you play at A=440 then don’t bother. But remember, you already notice a distinct difference when the slide is all the way in. So obviously something does change besides pitch, unless A=452 is just an outright better pitch. Maybe call it the ‘sing-ability’ factor but can you make it sing at A=440 or is it simply too much of a stretch ? I guess that’s the question for you right now.
A new headjoint can introduce a new embouchure hole (a new size, shape and location) and a different diameter in the headjoint which can improve the ability to blow into tune the various notes pre-established on the body of the flute. Sharpness can be curtailed or restrained (up to a point) with a new embouchure hole and/or a new diameter in the headjoint. A huge embouchure and and a big diameter is definitely not a good remedy. Maybe a tighter embouchure hole and a slightly smaller diameter in the headjoint will work, or something like that.