Powell Headjoint- Grenadilla Wood (New)

The perfect marriage of old world tradition and new world design, the Powell Grenadilla headjoint has the ability to transport your sound to a completely different spectrum of color. Powell Grendilla wood headjoints are designed to fit either Powell wooden flutes, Sterling silver flutes with 0.014 barrels, or gold flutes with 0.012 barrels, and are available in four heaadjoint styles (cuts). These beautiful wood headjoints can be fit to most other flutes by our professional repair staff.

Headjoint Cut Styles

Lumina

Powell’s newest headjoint style, the Lumina, has a clean and energetic sound that moves quickly throughout the range with little effort. The Lumina is described as being ‘supple, yet responsive’. This is a headjoint with style and panache.

Philharmonic

The Philharmonic headjoint is readily identified by its broader embouchure plate, which makes it the most resistant of the styles offered by Powell. Articulation is crisp and clean, and this style is capable of broad dynamic and timbral ranges. A player can create a rich tone with extraordinary carrying power and focus.

Soloist

The Soloist headjoint is the newest addition to the headjoint styles offered by Powell. This new style was developed in collaboration with renowned flutist, Ransom Wilson. The Soloist headjoint features strength and flexibility. It offers a strong sound which allows the player to fill a hall, as well as complete command for performing the quietest of passages. The embouchure plate, which is similar to the Boston style, provides the player with quick, responsive articulation while a new style of undercutting gives the headjoint its strong, full color.

Venti

The name "Venti" encapsulates the concept of a headjoint that allows air to pass freely through the instrument and beyond, giving the performer variations of flexibility, dynamics, power and sound. Powell has worked with international flautist, Paul Edmund-Davies to develop this latest headjoint style. Mr. Edmund-Davies became interested in the development of this style due to the prospect of playing on a headjoint that mirrored his experiences of singing in a cathedral choir. Paul's concept of a natural approach to the instrument incorporates an open and unrestricted style, with reference in particular to a more resonant and free 3rd octave. The result is a headjoint that allows for depth of sound through all three octaves, even pitch and dynamic range, as well as a sound that is powerful without being wild or breaking up.