I didn’t always think to play on my students’ instruments when they first came to me. When I began graduate work with Richard Sherman at Michigan State University, I was a bit startled when he eagerly requested to play my flute at the very beginning of my first lesson. But, afterall, it was really a good idea; he already knew what I sounded like on it and had developed some opinions about what I did and didn’t do well, so now he could begin to judge how many of my deficiencies were entirely my fault, and how many could be corrected with equipment better suited to my needs. He was really quite surprised I was able to get much of a sound at all on my rather stiff headjoint and clunky keywork, and I had no idea that flute playing could be easier. I am not advocating a requirement that each new student purchase all new equipment to suit my tastes (and we all play with slightly different physiques, anyway) but it does help to know what your students are going through. And, on a much more basic level, they often do not realize they are playing with leaking pads or play in their keys, because the wear has happened slowly over time, and their hands have adjusted to it on a subconscious level. I, on the other hand, have no idea when I should press more firmly to get a note to speak, and so, the minutest mechanical problem is generally evident immediately. Too few teachers take the time to consider their student’s equipment unless they are unhappy with the kind of sound their students are producing, and yet we all know how much easier our lives became when we found the “right” equipment for ourselves. Students are not constantly in the market to try out new instruments, and they may not know just how hard they are working, or why they cannot achieve technical cleanliness past a certain level. Do them the favor and play their flutes.

If your student does decide to purchase new equipment, your guidance will be needed on many levels. From informing the student of details like measurements to providing a set of ears to judge the quality of the sound, you are his or her most important reference. Jim Phelan’s book (listed in the selected bibliography) is a practical, detailed account of how a flute is made well; read it, and review the following information:

To be sure, the flute (and headjoint) should be made to Cooper scale or its equivalent (Powell uses “modified” Cooper in an extreme attempt to correct sharpness in the high register; Jack Moore uses William Bennet scale, which is quite similar to Cooper’s original intentions.) There are some lovely old Powells and Haynes floating around which have been rebuilt to Cooper scale; they play at A=440 on a good day. Stick to something made since the late 1980s, at least, and preferably a new instrument tuned to A=442. Examine the wall of the C# tone hole and be sure that it is sufficiently high to prevent sharpness. In choosing metals and details like drawn or soldered tone holes, I plead the fifth. While platinum will obviously elicit the darkest sound (and the most resistance), the effect of using gold is a mystery to me; it sometimes sounds darker than silver, but sometimes much sweeter. I think it’s the cut of the headjoint that really makes the difference between silver and gold, and not the metal much at all. I will say this: silver is the most commonly chosen metal, and it is also the most reasonably priced. Soldered tone holes are a bit sturdier and easier to replace, but standard care should prevent that need from ever arising. When choosing wall thickness, I avoid .018mm altogether; it’s just too heavy to project well in ensemble situations. Whether a student prefers .016 or .014 depends upon how much air she uses, the material, and darkness of sound. I play on .014 for ease of projection with the least amount of work, but some players will like something more to blow against. Have them try both – for at least a week each. Straubinger pads are another area of personal preference. Those who have them swear they hold a repair longer, but they cannot be shimmed for simple leaks, are more expensive to install and replace, and there are fewer repair people in the country who are licensed to work with them. You may be choosing between more frequent, cheap repairs and infrequent, expensive repairs. I’m not sure which is better.

The headjoint is really the heart and soul of the instrument. It is largely responsible for the tone colors (and range of colors) that you can produce on your flute. Purchasing a headjoint is an excellent way to improve the sound (and intonation) of the flute when your student either cannot afford or does not wish to purchase an entirely new instrument. Time and care should be taken in choosing a headjoint; this is not a process which can be rushed. Oftentimes, a headjoint may correct existing problems on the flute while creating new ones. A headjoint should only be purchased when corrections occur without adopting new woes. And, no two headjoints are made quite the same; they are handcut and cannot be replicated exactly. So, take the time to find “the one” – try as many headjoints as possible and don’t be in a hurry to spend money.

There are some basics that we overlook in our eagerness to test Daphnis and Prokofiev solos when we finally get our hands on a headjoint. Check to see that the cork is in place for an accurate idea of its intonation. The area from the inner end of the cork to the center of the tone hole should measure 17.3 mm. Most cleaning rods do not measure this sufficiently; the mark tends to be too low on the stick, stretching that 17.3mm to as much as 17.5. Ask the company’s representative for a measured dowel rod or better yet, make your own. You should have one for removing the cork, anyway. The average diameter of the tone hole is 12mm; the depth of the wall is 5-5.1 mm. A very large hole will produce a bigger sound, but may make quieter dynamics difficult to control. Likewise, a hole which is more square than it is round will suit orchestral playing well, when projection is key. Many companies have now included a squarish tone hole as one of their special cuts. Check to be sure the head cork is sealing properly. Cover the end of the headjoint with your hand, and the tone hole with your mouth (seal it completely), and then suck in. When you take your hand away from the end of the tube, you should hear a slight pop. If not, the cork is leaking. While you can easily soak it in water and expand it yourself, no company should sell you a headjoint with a cork that does not fit securely into the barrel.

The rest, again, is preference. There are any number of combinations: silver with gold lip plate, silver with gold riser, gold in 14k, 10k, white or rose, platinum with gold lip plate, or just plain silver. Even the crown has been the subject of recent experiments; should it be silver, gold, or wood? Who knows...just find the headjoint that works and sounds best. And this can only be done in the most practical way – try it!

The most careful and respectable flute makers, with the exception of Albert Cooper, are all located in the States, lucky for us. Many of them are in Boston, and if the student has the time and money, visiting different makers in their natural habitat would be a great way to compare flutes. Otherwise, equipment can be sent on loan for generally one week at a time. Some recommended flutemakers are listed on the "link" page of this website.