All about the Headjoint Cork

Tags

flute intonation, flute maintenance, flute pedagogy

Recently, one of my private students reported that their band director had told all the flutes in band that you could adjust the cork placement for tuning purposes, rather like a tuning slide on a brass instrument. I would like to know where this idea originated in music education literature and pedagogy. It can be said with certainty that flute makers and professional flute teachers kindly wish that the cork assembly be put in the proper position and then left alone. Tell the kiddies to keep their hands off the crown. If the crown is loose, it should be gently snugged down and left alone. Why? Because the flute will play in tune at the pitch it was designed for, i.e. A=440 or A=442 (most flutes today at every price point are designed to play at A=442).

Piccolo and flute cleaning rods with cork measurement lines

• What is the ideal placement of the cork assembly in the headjoint? 17 mm (I have a cleaning rod that says 17.3 mm, but I honestly don’t know how you could place it with that kind of precision without a special caliper) and for piccolo, it’s 8 mm. Basically, the line on the cleaning rod should be dead center of the blow hole.
• What happens if you move it away from the ideal 17mm placement? If the cork assembly is too close to the crown, the high notes will be more flat and the low notes will be more sharp. The more you move it, the more out of tune the scale becomes. Conversely, if the cork assembly is too close to the blow hole, the high notes will be more sharp and the low notes will be more flat. (This was precisely the problem with the pre-Cooper/Bennett scale flutes. The headjoint was too short for the body, which was tuned to A=435. The intonation was horrendous). See Tuning Tendencies of the Flute
• The flute already has a “tuning slide”, otherwise known as a headjoint tenon or receiver (in flutemaker parlance). The flute is designed to play at it’s manufactured scale with the headjoint pulled out 5-6 mm or ~1/4 inch. If the student is having to pull out much more than that to play in tune, or can’t push in far enough to get up to pitch, the issue is with how the flute is resting on the lip and the angle of blowing. See Troubleshooting Tone and Pitch Issues

Now, about the cork itself. Cork is the bark of a special kind of oak tree that grows in Portugal. It has been used to seal small openings, like wine bottles and other stoppers for centuries. When compressed, it expands to create a tight seal, hence it’s use in flute headjoints and for wind instrument tenons. It is often additionally sealed into place with paraffin wax. As a cork ages in a flute, it can shrink because it loses it’s natural moisture or develop mold if the flute headjoint isn’t swabbed out sufficiently. If the cork shrinks, it can start moving up toward the crown. The student progressively tightens the crown (because it is loose) and moves the cork up to the top of the flute (which compresses the cork further and negatively impacts the intonation as described above). At this point, or if the cork is moldy, it should be replaced. Some repair people recommend replacing a cork every couple of years as a matter of course. They are cheap and take only few minutes to replace.

Finally, it can be well worth it to experiment with replacements for cork stoppers. Personally, I stopped using cork in my headjoint 5-6 years ago now. I use the Celestine Rexonator in most of my instruments, including piccolo and alto flute. It’s made of solid brass and fits over the stem assembly. It seals in with a small plumbing gasket. It’s very easy to install. It adds a world of resonance and response to the flute, improves the quality of articulation and also changes the balance of the flute in one’s hands slightly because it weighs an extra ounce or so. There are a couple other companies out there that are now offering similar devices. Also, there are stoppers made of Delrin plastic or that just leave the cavity above the assembly plate open. They all make sense in that cork is an acoustic dampener. Taking out the cork and using a more resonant material has a measurable effect on the sonic signature of the flute.

As always, if you find these entries useful, please subscribe, share with your colleagues and come back regularly. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics, workshops and performances, click here. Dr. Cate’s Flute Tips will be available soon in book form. Manuscript is done and editing is underway. Stay tuned for updates about pre-ordering through Amazon in 2021.

Finding the Sweet Spot

Tags

blowing, embouchure, flute pedagogy, flute tone

We all know that sports equipment often has a sweet spot. A baseball bat, tennis racket or skis are good examples of sports equipment with a sweet spot. If you make efficient use of the sweet spot, you maximize the response of the equipment. When you hit a baseball or softball with the sweet spot of the bat, the ball travels much farther than if the ball makes contact with another part of the bat. You have more control over the placement, velocity and spin of a tennis ball using the sweet spot of a tennis racket.

The sweet spot of downhill skis are probably most like the blow hole of a flute headjoint than any other sweet spot in sports. Skis for beginner and intermediate skiers generally have a larger sweet spot and therefore are more forgiving of a skier’s technical weaknesses, but you also sacrifice something in terms of finesse and control on the hill with the larger sweet spot. On the other hand, advanced skis have a narrow sweet spot that gives a lot of control in turns and with speed. However, you need to understand how your center of gravity works in tandem with the skis to benefit from the precise response.

Yes, flute headjoints most definitely have a sweet spot. And like skis, beginning flute headjoints are more forgiving of inexperienced players. Professional headjoints tend to require more precise air direction and placement to maximize the response. If your students have windy tone and/or pitch problems, they simply haven’t learned how to direct the air to maximize the response of the headjoint’s sweet spot.

• We blow down at about a 45 degree angle at the blowing edge, not really across the blow hole at all, as is so commonly believed.
• Most flute players are directing the air slightly to their right at the blowing edge. Headjoints are cut in such a way to allow for this. The exception to this is someone with a teardrop top lip who plays off to the right of the teardrop, rather than the more common left of the teardrop.
• How do you know if someone has hit the sweet spot? The sound is focused, full, round, in tune, has depth and resonance.

Every flute player has to discover their own best blowing angle. There really is no One Size Fits All solution, only general guidelines:

• Rest the inner edge of the blow hole approximately where chin skin and lip skin meet.
• Allow no more than 1/4 to 1/3 of the blow hole be covered by the bottom lip.
• Reach over slightly with the top lip to angle the air down at the blowing edge.
• Shape lips as if to say the letter “W”
• Blow through the resulting aperture
• Experiment, experiment, experiment with all of the above until you discover the best combination for you
• Practice to make it reproducible, so you can do it every time you put the flute on your face

As always, if you find these entries useful, please subscribe, share with your colleagues and come back regularly. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics, workshops and performances, click here.

Tuning Tendencies of the Flute

Tags

flute intonation, flute pedagogy, flutes

Only this week I came across a chart on a high school band website listing notes on the flute that have tuning problems with recommended fingerings for correcting pitch. It is taken from a Guide to the Understanding and Correction of Intonation Problems, Al Fabrizio, Meredith Music Publications, 1994. In looking through the chart, I realized that the advice it was giving was based on the old scale flutes that were available back in the early and mid-1990s. The scale of instruments has changed since that time. A LOT.

When the modern flute was invented, the schematic of the placement of tone holes was based on a lower pitch than we play at today. “Normal” pitch in the mid-1800’s, according to Theobold Boehm, was A=435. Therefore, the schematic he created for the flute was for an instrument that played in tune at A=435. Over the rest of the 19th century and well into the 20th century, pitch has climbed to A=440 and even A=442 or in extreme cases A=444. For a really long time, the solution for getting a flute up to pitch was to make a shorter headjoint, by several millimeters over what would play in tune at A=435. The consequence of this practice was that the low register of the flute would be flat and the third octave would be sharp. The open C# would be hair-raisingly sharp. In order to have a hope of playing these flutes with short headjoints in tune,  all kinds of compensating fingerings were created to correct the pitch. This included things like adding right hand fingers to lower the pitch of the C# and half-holing right hand keys. Student flutes with this older scale were widely available until fairly recently. Think old mainline American student brands, especially Armstrong, Gemeinhardt, Bundy, Artley, etc.

Fortunately, there has been a revolution in flute making brewing from the mid-20th century started by flute makers and players including Albert Cooper, Eldred Spell, Trevor Wye, William Bennett and even James Galway to bring the schematic of the flute up to modern pitch. Most every flute made today, by every reputable manufacturer, at every price point, has a scale that has its basis in the work of these pioneering flute makers and players. Many of the old compensating fingerings are unnecessary and even undesirable with a modern scale. The first and second octaves are now in tune, and only minor adjustments are needed in the third octave.

The C# is still an issue, but not because it isn’t in tune. It is more because it is the shortest tube and therefore the most bendable pitch. It also reveals the player’s expertise in focusing and directing the air correctly. If the C# sounds high, it means that the blowing angle is too shallow. It is absolutely true that if you can fix the pitch and tone quality of the C#, you will vastly improve the tone and intonation on the rest of the flute. More on tone, tuning and C# in another post.

If you find these entries useful, please subscribe, share with your colleagues and come back regularly. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics, workshops and performances, click here

An Oldie but Goodie

Tags

flute maintenance, flutes

It has been a busy week of travel and performance for me, so I’m sharing an old post from last year that got a lot of views the first time around “Quick Fixes for Common Mechanical Problems”. There is nothing worse than having a kid come to you the week of, or even the day of a concert or solo contest with a flute that isn’t playing. Here are a few suggestions for maintenance and what I call “chewing gum and rubber band” solutions for last minute emergencies. They won’t work in all cases, but often they will at least tide the student over until the flute can get proper service on their flute.

See you next week with a new flute tip. Thanks for following Dr. Cate’s Flute Tips! If you find these entries useful, please subscribe, share with your colleagues and come back regularly for more flute tips. Feel free to comment. If you have a topic you would like to see explored more fully, you can contact me via IM/Messenger on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

Gadgets and Gizmos

Tags

accessories, flute balance, flute fingering, flute technique

Sometimes flute players can use a little help when it comes to balancing the flute in their hands. This can be to assist young players in developing efficient hand positions or for comfort. One of the easiest and cheapest things you can use is a foam pencil grip cut lengthwise.

You can put it underneath the C key as a left hand cushion or you can cut it in half and put it under the F key as a right hand thumb guide. Because the grip is round, it will stay on the flute really well. However, it can fall off. You could use a little bit of a removable adhesive to make it stick to the flute, while making it easy to take off if necessary.

  

There are also several adaptive devices that are affordable and readily available. For the left hand is the Bo Pep finger saddle. It provides a little more thickness to the body of the flute and a very secure depression that the inside of the index finger rests in. Here is what it looks like on the flute:

If it is properly placed, it won’t interfere with the C key. It’s also really comfortable.

For the right hand thumb there are a couple different devices available. Which one you choose depends on the size and shape of the thumb. If the player has a short to medium size thumb that is nearly straight, I like the Thumbport. It is designed to rest against the ribbing underneath the F key, between the kickers. It provides a little shelf that the thumb goes underneath that helps with balance. It frees up the fingers from holding the flute so they can move more freely.  If you have a very long thumb or one that hyperextends at the first joint, the Thumbport won’t work so well for you.

 

Bo Pep also makes a thumb rest for the right hand that goes directly under the F key. This device can be used by almost anyone, but is especially good for people who have long and/or hyperextending thumbs. It gives a flat and stable platform from which to balance the flute.

We have looked at the pros for these devices. There are a few cons to consider.

• The Thumbport seems to only work well for people with medium to short and/or straight thumbs. Not a good choice for long and/or hyperextending thumbs.
• The BoPep products are made of a hard plastic which can scratch a flute.
• The foam pencil grips can slide even though they do stay in place really well. This is a minor issue for an advanced player but it might be helpful to use a removable adhesive to attach it to kids’ flutes.

Also, I really don’t believe there is a one-size-fits-all solution for balancing the flute correctly. These devices can be helpful, but they are by no means necessary in most cases. And providing one device exclusively over others for your students can cause more hand position problems than you ultimately solve for them. Check out the previous posts on balance and hand position, It’s All About Balance and Flute Balance and the Right Hand.

If you find these entries helpful, subscribe, share with your colleagues and come back regularly for more flute tips. Feel free to comment and ask questions. What do you want to know about flute pedagogy? Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me your questions at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

A Brief Guide to Step-up Flutes

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step-up flutes

By the time your flute students have been playing two or three years, they are ready for a flute that has a more sensitive and faster mechanism and allows them to explore a wider range of dynamics, tone color and vibrato. There are many fine brands on the market today to choose from, as well as a dizzying array of price points, features and options. Here is brief explanation of the main features so you can advise your students if they are shopping for a step-up flute.

Silver plated headjoint and body – there have been step up flutes like this around for some time, but there is more customer interest in these models and there are more brands making them in the last couple years because of the jump in price of the model options below. Some of these models offer a silver lip plate and/or riser (the blowing chimney) as either standard or as an add-on. Prices range from $900-$1200

Silver headjoint and plated body – in many cases, this is the most economical step-up choice available for students and their families. They range from around $1500-$1900. There is a significant improvement in tone quality and sensitivity of the mechanism over beginner flutes. I recommend these for avid band students who want more response and enjoyment out of playing. Several manufacturers make flutes in the $3000-$5000 range with silver headjoint and plated body that are handmade rather than machine made. These flutes should be considered for college-bound players who think they would like to major in music.

Solid silver headjoint and body – all silver does make a difference in sound. These flutes are for serious flute players who think they might want to continue into college. A good step-up silver flute is in the $2400-$3000 range.

Open holes – standard on most step-up flutes. They come with plugs so students can gradually get used to playing with open holes. I recommend taking plugs out by starting with the F key, followed by the A key, E key and then either the G or D keys. The last two can take some time. Having good balance and hand positions is essential for making the transition to open holes.

Y-arms or pointed arms – more and more step-up flutes that come with pointed arms. Pointed arms look more like professional flutes. The pointed arms do lend a lightness to the mechanism, but it isn’t a significant difference. There are still step up flutes with Y arms available. If looks are important, go with the pointed arms. 

In-line vs. off-set G – This depends on the size of your hands, the length/width of your palm and length of your fingers. In general, a smaller hand does better with the off-set G. For me personally, switching to off-set G in my 20s was the best thing I did for myself. My left wrist was straighter under the flute and my thumb was more relaxed. 

B-foot – pretty much standard on step-up flutes and higher. Also comes with a Gizmo, also known as the high C facilitator. A very sweet plus for advanced ensemble music. To use it, you finger the high C or C# and open right hand to reach the gizmo at the same time. It improves the response significantly. If you want a C foot, it is a special order these days.

Split E mechanism – As you can see from the diagram, it adds mechanical complication. It does stabilize the high E by closing the G key alone. If you know how to maintain fast air speed, it isn’t really necessary, but I don’t discourage students from getting it if they want it. 

C# trill – this feature is available on some step-up flutes (especially all silver flutes) by special request. Is this necessary? I would really recommend this for any serious student. It is not so important for a more casual player who is in band just for the fun of playing and being with their friends. I love the C# trill for all the tricks and hacks it can do like solving the B-C# trill, high G-A trill, high Gb-Ab trill, playing a high Ab super soft and giving another fingering for the C# whose tone color has a bit more hair on it than the standard fingering. 

If you find these entries helpful, subscribe, share with your colleagues and come back next week for another flute tip. Please comment and feel free to ask questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.

What to Look for in a Beginner Flute

Tags

beginning flute, flutes

What brand of flute do you recommend for the beginners in your band program? Why that particular one? If your response is, “That’s the one we’ve always gotten” or “This was the one that was recommended by my woodwind methods teacher when I was in college”, it might be worth reevaluating your choice because there have been so many improvements in student flutes in recent years. There are also brands on the market now that didn’t exist even five years ago.

There are three main things that you should consider when making a choice of which brand to request from your local dealer. First is whether flute has a modern scale. There are old and venerable brands who haven’t changed their scale since they started making beginner flutes back in the day. The problem with the older scale is it was designed to play in tune at below A-440. In order to get the flute to play at A-440, the headjoint was shortened. Consequently, the low register is flat and the high register is sharp. When a beginner starts on an old scale flute, the student becomes acclimated to hearing the flute out of tune. For example, a screaming high Db and low Eb doesn’t bother them because that’s what they are used to. On flutes with an updated scale, the entire key schematic is slightly shorter so the entire range is better in tune. The newer quality brands have a modern scale. And slowly, the older brands are retooling and incorporating better scales in their beginner flutes.

The second factor to consider is sturdiness. Like the proverbial Timex watch slogan of old, can the flute “take a licking and keep on ticking”? There has been a disturbing trend in recent years to use softer metals to save money in manufacturing. I’ve had way too many experiences in the past few years of seeing bent Ab keys, as in wrapped around the flute body, bent trill keys, twisted main line keys, footjoint keys bent open a 1/4″ or more. While it is true that these things happen because of mishandling by students, it is safe to say that the metals are too soft if the keys can be bent back as easily as bending a paper clip. Another dubious manufacturing trend is having adjustment screws anchored in a nylon slug rather than into threaded metal. In my experience, these screws slip much more easily and constantly need to be adjusted. Lastly, check the quality of the plating. Does it hold up well or does it pit or start to come off, showing the copper under layer?

Thirdly, the quality of the cut of the blow hole can make a huge difference in developing a characteristic sound. There have been huge innovations in headjoint technology in the time I have been a flutist. Most flutists will tell you that the newer brands tend to have better sounding headjoints, though there have been recent improvements in the older brands as well.

In conclusion my suggestions are: Learn as much as you can about all the quality brands available on the market today, both old and new. If you are intensely brand loyal but have concerns about some of the issues raised here, talk to the manufacturer representative in your area and voice your concerns. They do listen. If they hear the same concerns from enough people, things change for the better.

If you find these entries helpful, please subscribe, share with your colleagues and come back next week for another flute tip. Please comment and feel free to ask questions. Maybe the answer to your question will be the next flute tip. Find me on Facebook or email me at dr_cate@sbcglobal.net. For information about clinics and workshops click here.