Forgive me if a similar thread has been posted before.

I'm a self-taught multi-instrumentalist and although flute was my first wind instrument, I've been away from it for a few years (I need to invest in one, actually, I only have cheap broken ones now!) I ran across Galway's masterclass on YouTube, you can view it here:
http://www.youtube.com/watch?v=VQg0vScnQ8E&feature=PlayList&p=012517B21CB86B53&index=0&playnext=1

I reckon he is playing a Marumatsu's headjoint, and I possess a cheap Sky and a Paul Dupre flute headjoint. Since my flutes are so cheap and beat up (yay second hand) I decided to commit all my time to working on the headjoint alone. When doing the exercise Galway does in that video, the pitch I produce is a bit lower than his, and this leads me to a question. Are some headjoints longer or shorter than others? Understood that once the flute is assembled the length of the headjoint doesn't matter (so long as it fits!), I'm wondering if I'm doing something with my embouchure that incorrect and therefore resulting in the wrong pitch compared to Galway or if it's just that my headjoint itself just happens to be a smidget longer. Thoughts?

You should check the position & condition of the headjoint cork. Some flute cleaning rods have a mark for this purpose.

it could a. be a fault with the speakers or the video which makes it sound lower b. a fault with the flute it's self- like the tube is too long or the cork is in the wrong place or lastley a fault with your playing, first of all i'd check it against a tuner, then i would try another persons flute (or have them try mine) and then if you were of of tune on their flute i would try getting the embouchure right if it was right on another flute then i would get a new flute or have the current one looked at (but by the sound of things you may want to get a new flute like a yamaha 211 or a jupiter, a reliable student model would probably serfice)

I've heard Galway play on recordings & radio many times & I reckon he tends to play a bit on the sharp side.

As someone else said check the head cork assembly for tightness & position - sometimes things work loose & there is a gap between the metal plate & the cork which can cause odd effects.

James, there must be many factors that could cause this pitch difference. The width of the headjoint would be the last one, in my opinion, because this kind of measure is stablished for decades now, and it's very unlikely to be the main cause.
Cork position could be one of the strongest points you should pay attention to. Another cause could be your playing style itself. In general we do play in a way so there is not much difference, but there is some, so that could be a reason. If you try to roll the headjoint in and out, whilst playing in between the positions, you will notice a wide variation in pitch. That too is very personal from flutist to flutist.
Just for the record, the head (and flute) Sir James is playing acctually is a Nagahara.
cheers,
Zevang

Oh, right - Nagahara. Yes, Galway has asked him for higher pitched flutes - he wants one in like A=444 because he complains that orchestras play too sharp for him. I don't think it's a problem with the speakers - recording unlikely also. But very likely the posititioning of the cork is too far out - this Sky flute is such a load of tosh the position of the cork hardly affects the scale at all - but the playing pitch of the headjoint alone may be greatly affected, I thank you for the advice and I'll play around with it. The reason I asked is because Galway in that masterclass video talked about how much he covers the flute, and the more I cover the flute the lower the pitch. So I figure if I can match the pitch I have the right amount covered and I just need to tune my embouchure to work at that pitch. Hopefully this way I avoid any "UR DOIN' IT RONG!"

Btw, I'll likely get something more higher end than a 211. I don't take this lightly - I'll be getting something that I can rely on for many many years to come that will last me through rather rapid improvements. For now I'm thinking a higher end Yamaha, a nice Pearl (if I like them, never played one) or an Emerson.

I'd tell you to choose an all silver flute, since durability is a concern. I think the Yamaha is a very good brand, although not being the cheapest, but still you have the extra benefit of a very durable instrument, yet not the most expensive.
More important than choosing a brand, I'd say that it's very important that you can try playing the one you choose.
good luck :-)

all great flutes. I have an emerson myself. Yamaha has the best mechanism and durabiliy though I have heard, so maybe in your case a Yamah would be a good investment. Emerson is a ton cheaper, and I really like the cut, so I got that. The inly problem is you lose mechanism and durability for the price. I've heard Pearls are alot like that too, but I can't say I've ever tried one.

Maybe to answer a question,
Are some headjoints longer or shorter than others?"
yes. the ultimate determination of pitch is going to be the length of the tube(s) in a flute. If for example a flute is to be tuned to A= 440 then the length of the assembled instrument tube will be the determination of pitch. Of course, we can change the pitch with how we blow the tones but this is not what I'm writing about. So there can be a difference between head joints from even one company in their flutes but if two flutes have this difference and they are to be played at the same pitch then their body joints may be shorter or longer to compensate.

"I'm wondering if I'm doing something with my embouchure that incorrect and therefore resulting in the wrong pitch compared to Galway or if it's just that my headjoint itself just happens to be a smidget longer. Thoughts?"

What you probably should be doing with your head joint alone is to try to get good octaves. This means that you will adjust the position of the head and your embouchure until your octaves are in tune. Forget trying to match Galway's pitches for the start of this exercise. Just match your own octaves. In this respect, it may be better to work in a way that your lower pitch matches the upper one and not the other way around.
This may be a help or not but what I've found on my head joints here is that this position is rather much rolled back from where I typically want to play.

~bilbo
N.E. Ohio