by Elizabeth Watson, Headjoint Department Manager

When testing new headjoints, seek out those that are most comfortable and compatible with the way you play. You, as an artist, whether amateur or professional, are going to have to make difficult aesthetic choices for as long as you play music, so avoid the temptation to select a headjoint based on fad or fashion.

When the purchase of a new flute is not feasible, a new Brannen-Cooper headjoint can make a big improvement in your sound, using your present flute. Then, at a time of your choosing, you can buy a new flute that fits your headjoint. This method of "stepping up" is often used by those who are developing as players, and/or by those who need time to save money for a new instrument.

Brannen Brothers offers two headjoint styles:
1. The Modern Cooper is powerful, responsive, and articulates easily. The Modern Cooper is our most popular style.
2 . The Modified Cooper style combines the best elements of both the Modern and the Classic styles.

The testing process can be challenging, at first. The way a headjoint feels or responds when played may give a different impression from the way it sounds and projects. Many people find it helpful to bring an extra pair of ears when testing headjoints--a teacher or colleague who knows your playing.

Make sure that the flute on which you are testing headjoints is in proper adjustment and that the pads are covering well. A new headjoint will not improve a leaky flute, nor will such a flute aid you in choosing a headjoint.

Test the headjoint in a quiet room with little or no sound reflection. A small room with carpeting and drapes or other sound absorbing qualities is preferable. Warm up for a few minutes until you feel ready to begin. Since most flutists are trained to make the sound consistent from note to note (Moyse!), playing chromatic scales will probably not reveal much. Try some easy melodic passages in several different keys. On the trial headjoint, play a short passage from something you know well and can produce easily on your present headjoint. Notice any difference in the overall response. As you progress, play more challenging passages, using extremes of register and articulation. Playing something from memory will help you to hear the headjoint without the distraction of reading music notation.

If one extreme end of the range presents a consistent challenge to you, look for a headjoint that will help you in that area. Use this approach to think about articulation, beauty of tone, dynamic control, etc. Once you have narrowed the field to two or three headjoints, these considerations will assist you in choosing the right one.

It should take 15 to 20 minutes to test one headjoint; use the full range of the flute in several keys, legato and détaché styles. Check for smoothness of important intervals such as a3 to e3, b3 to f#3, and c#3 to g#3. Remember that you are testing the equipment, a part of your artistic tool kit. Do not be too concerned about what other people outside of the testing area may be hearing while you are testing. After all, this is a test, not a performance! Enjoy the testing process—you will probably learn a lot about your own unique way of producing a flute sound. © Elizabeth Watson 2007