Assembling A Flute... With No Regrets

Flutes, while made of metal, are quite delicate. The tiny springs and small keys are easily snapped off, or simply misaligned so that air leaks out of the key. There's definitely an art to safely getting your flute put together and ready to play. Here’s how to assemble your flute without needing to head for the repair shop later.

First of all, let’s get familiar with the parts of the flute, if you aren’t already. There are three main components to a flute, which you will see pictured above: the headjoint, the first piece; the body, the middle and largest part of the flute; and the footjoint, the piece on the very end. There are two common types of footjoints, the C footjoint and the B footjoint. The one pictured is a B footjoint. It has three keys, whereas the C has two.

Before putting the flute together you may want to check the distance of your cork in the headjoint. Often the cleaning rod will have a nick in it, indicating the proper distance that the cork should be from the center of the lip plate hole. Insert the end of your cleaning rod, as demonstrated in the photo. The nick should be exactly in the center of the opening.

The first parts we assemble are the body and the headjoint. Grasp the body of the flute with your right hand, carefully holding onto the part above the keys as shown in the photo. Do not hold on to the keys.

Now, gripping the headjoint with your left hand in front of the lip plate, gently wiggle the headjoint into the body of the flute. You will not want to push the headjoint all the way into the body; most flutes are in tune when the headjoint is about ¼-inch or so from being completely pushed in.

Be careful to line up the lip plate opening on the headjoint with the keys for best tone when you’re playing later.

The footjoint is ready to join the rest of the flute now. Hold it at the end and gently ease it into place.

The footjoint should align with the body of the flute so that the footjoint bar is in the center of the last key on the flute body, as shown.

Congratulations… your flute has now been properly assembled and is ready to make beautiful music!

Performance Etiquette for the Solo Pianist

The solo pianist, unlike many other musicians, usually has to man the stage completely by himself. It’s easy to become overly self-conscious because of this fact, but choose instead to focus on showing respectful courtesy to your audience.

▪ Stride to the piano purposefully and relatively quickly. Show enthusiasm and a positive attitude even if that’s precisely not how you feel at the moment!

▪ Place your hand on the side of the piano and bow to acknowledge the audience’s applause. Bow from the waist, count slowly to two, and come back up. Don’t “pop” down and up – be deliberate. A female performer may want to place her hand on her neckline when bowing to prevent her blouse from gaping.

▪ Approach the bench around the back so that the audience can see your face (most people like that). Adjust your bench at this time, if you need to.

▪ Sit down, place your hands in your lap, and find the pedals with your feet. Don’t rush, lest your fingers begin playing before your feet are ready, leading to a disastrous start.

▪ At the end of your piece, return your hands to your lap before standing to bow and smile. Even if you’re not pleased with your performance, maintain a positive bearing and upbeat attitude. Even trained musicians are rarely going to pick up all mistakes, and many people won’t even notice them unless you let on.

▪ If you’re playing a full recital, then you may need to go back for extra bows at the end of the recital if the applause warrants. Place your hand on the side of the piano and bow as before, striding purposefully off stage when you’re done.

Good performance manners can add spice to a less-than-perfect performance and add polish even to the very best. Remember, respect for your audience will take you far!

Performance Etiquette for the Solo Instrumentalist

As a soloist in a recital, the main responsibility of the performance rests on your shoulders. It’s very important for the best musical experience possible that your stage deportment be orderly and rehearsed. It should also communicate respect and gratefulness to your audience.

▪ The soloist enters the stage first, followed by the accompanist. If the accompanist is female and the soloist make, the accompanist may enter alongside or closely following the soloist. If a page turner’s services are used for the recital, then he or she always enters the stage last.

▪ Enter the stage purposefully and energetically. While you needn’t run, you want to convey enthusiasm to your audience.

▪ Carry your instrument onto the stage in a natural position. Don’t sling it over your shoulder like a rifleman with his weapon, or engage in any other bizarre antics that detract from your upcoming performance.

▪ Stand or sit near the crook of the piano, then take a bow to acknowledge the applause.

▪ While it’s usually preferable to tune with the piano prior to coming on stage for the recital, if that was impossible then tune up quickly just before playing. Don’t keep the audience waiting too long.

▪ Communicate with your accompanist by making eye contact when you’re ready to begin.

▪ When you’re finished with a piece, lower your instrument to help the audience know you’re finished. Acknowledge the applause by bowing from the waist and counting to two. Look at your feet, not at the audience. If you’re female you may need to place your hand lightly on your neckline to keep it from gaping.

▪ After you bow, be sure to acknowledge your accompanist by extending your arm towards them to signal their turn to bow.

▪ At the conclusion of your performance, exit the stage purposefully. Your accompanist will follow, with the page turner (if used) picking up the rear of the procession.

▪ If you are performing a compete recital and the applause requires more bows, it is customary for the soloist to come out alone for the extra bows.

Etiquette is vital to ensure the best musical communication. Keep a positive attitude, be courteous to your audience, and play your heart out. That’s real music-making!