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Your
Questions Answered
Why is the headjoint of the flute
so important?
 
The headjoint is singularly the most important part of the
flute, not only for sound production but also for tuning.
Flute makers continually strive to make the ‘perfect’
headjoint, however because this is such a subjective topic,
the perfect headjoint will probably never be made. Broken
down in to three distinct parts, the tube, lip plate and the
chimney or riser, most headjoints give different strengths
and tonal widths in various parts of the octave. There are
various reasons for the different headjoint characteristics
of the various manufacturers - different parabolic curves,
varying embouchure sizes, angles and depths. What can be said
with certainty however is that a student will advance quicker,
and to a higher standard if they play on a flute resplendent
with a responsive headjoint.
What
is undercutting and over-cutting of the embouchure hole?
Over-cutting is the term given to the bevel on top of the
embouchure hole, whilst undercutting is the action of changing
the angles at the bottom of the chimney or riser. Both actions
are achieved by hand filing and then finished by polishing
the angled areas. Over-cutting and undercutting of the embouchure
hole and chimney does indeed make a difference to the sound
and tonal flexibility, however as this is again a subjective
topic, the extent and severity of the cutting varies from
flute maker to flute maker, as does the preference from player
to player.
What is an ‘E’ mechanism?
The
split E mechanism has been around for many years and is especially
popular in England. The note E3 has always been difficult
to play in tune (it has a tendency to be sharp) as well as
crack easily when first attacked. The split E mechanism is
an optional extra and can be requested on both in-line and
off-set G flutes, however the E mechanism is most commonly
found on the offset G flute. When a player plays E3 on a flute
without an E mechanism, both G keys remain open. However if
the player has an E mechanism, a bar located adjacent to the
F# key pushes down the lower G key. The upper G key however
remains open.
What is the difference between
open hole and closed hole flutes?
There
are two common forms of key styles used today, ‘closed
hole’ keys, and the ‘open hole’ style. The
‘open hole’ flutes have five keys which have holes
in them - the A key, one of the G keys, the F, E and D keys.
The purpose of the hole is to provide increased air circulation
when the key is open. To close the key, the finger must cover
the hole completely. In addition to the acoustical differences
for this key style, there are certain artistic and aesthetic
preferences for them, as well as the ability to encompass
may of the modern day flute techniques that may require the
player to half cover the keyhole. The most common key style
in the U.K is the closed holed version which as the name implies,
has keys without holes.
What
is the difference between an inline and offset G key flute?
The
in-line model - The G key tone holes are set in the same row
as the B, A, F, E, and D keys. The G keys are part of the
left-hand section. Simply, all the keys on the main body are
in line with each other. The French flute player favours the
in-line model.
The
offset model - A type of centre joint construction in which
the G keys have tone holes set forward of the row of other
tone holes. There is a separate set of posts and rod for the
G keys and they are not part of the left hand section. The
offset model predominates in the UK flute market. There is
no acoustical difference between the two styles. Many players
prefer the offset G keys because it feels more natural to
them. Those who consider it conducive to good hand position
prefer the in-line configuration. It is purely a matter of
personal choice.
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What
are traditional key cups and French style pointed key arm
mechanisms?
traditional key cup
Most
student manufacturers use the traditional key cup design for
their flutes rather than the key arms favoured on the handmade
flutes. Traditional key cups can be cast or drop forged in
one piece whereas French style pointed key arms are usually
made in two separate parts and then carefully soldered together
to form one.
pointed key cup
How do you know if any of the flute is
made of a precious metal?
Most
student flutes are silver plated, however there comes a time
in a player’s musical evolution when they want to demand
more of the instrument with regards to tonal colours and flexibility.
The progression to a solid headjoint, solid tube or solid
tube and mechanism flute certainly assists the player in their
search for musical advancement. Most manufacturers will identify
the areas that have a precious metal content by stamping the
numbers 925.
On the Trevor J. James ‘Cantabile 2’ flute (solid
head), the 925 is stamped next to the crown, on the underside
of the headjoint. On the ‘Virtuoso 2’ (solid tube)
model, 925 is also stamped on the underside of the main body
and footjoint sections. Flutes can also be made of gold, which
like silver is also a precious elemental member of the copper
family. Pure gold is measured as ‘24 karat’. Used
in flute making, it is usually 9k, although 14k, 18k and 24k
flutes are also available.
The
question of which metal gives the best tone has yet to be
answered as all players have different desires and opinions.
However most players would agree, that there are definite
benefits to a student up-grading their silver plated flute
to either a solid head, solid tube or one with solid tube
and mechanism as they progress through their grades.
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Why are the pads of the flute so important?
Padding
a flute is the single most important process in making a flute
play at its best. A well-padded student flute will play better
than a badly padded professional flute. The role of a pad
is to quietly close off a tone hole completely, creating a
hermetic seal with the least amount of effort. If a pad is
not seated correctly in the key cup, it will cause an air
leak that will affect the formation of the note it produces
when closed, as well as every note below that pad. The hermetic
seal made by the pad is therefore the most important factor
in tonal production. This process continues to constitute
a large proportion of Trevor J. James & Co. workshop time
during the finishing process.
Why is the regulation so important?
The
purpose of regulating the flute is to ensure that two or more
keys, which must close together, will seal the tone holes
at exactly the same time. Some keys are not closed directly,
but will depend on the closing of other keys to activate them,
e.g. the F# key is closed by the action of the D, E and F
keys. It is also possible to make the mechanism feel heavier
or lighter to the touch, however this is again of individual
taste. Whilst it is possible to change the feel of the mechanism,
unless it is really heavy, it would be of no significant benefit
to the new student. Lightening of the key work mechanism however
can be of great importance to the more advanced player
What is a ‘B footjoint?
The
standard concert flute comes resplendent with a natural three
octave range, from C1 to C4, however the more advanced and
professional player can occasionally be found ‘up in
the gods’ playing C# 4 through to F#4. On the odd occasion,
the flute part may contain a low ‘B’, which is too
low for a normal concert flute to play, unless it has an extra
key. This extra key is situated on the footjoint below the
‘C’ tone hole and is called the low ‘B’.
This particular footjoint is therefore called a ‘B footjoint’
as opposed to the normal ‘C footjoint’ found as
standard on all flutes.
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