IMO, the only way to build a real "flute mute" is to have it integrated into the headjoint.įor example, the flute maker Kotato has a headjoint design with a membrane that can be muted (muting the membrane, not the flute!) so as to be able to produce sounds akin to the Chinese DiZi at will. If you can achieve that, you have created a mute. The hard part is to create something that is relatively small, easy to attach or remove, and most important of all, it can't affect the intonation, response, or playbility of the flute. So, Theodore, the easy part of your project is creating a device that can be attached or inserted into a flute to reduce the sound. I don't see a device such as the above being written in by composers or used in performance. Composers specify in music when to use a mute - most notably with strings or brass.
In my mind, a true mute is a device that can be used both in practice and in performance. I view it as something more akin to this saxophone practice system (which I feel is inaccurately labeled a mute). It seems to me that what Theodore is describing, while it could perhaps be described as a mute, it would be more accurately classified as a sound reducing practice system (according to his description). I've never tried their methods, but I suspect that both will affect intonation, response, and playability in a negative manner. Alternatively, put a piece of modelling clay on the edge of the embouchure hole, just opposite where you blow. This works well on the low range, but less well at the high pitches where you will wake the neighbours. Put a small piece of cotton wool in the headjoint. Can you make a flute mute? Is there a way I can practise in the middle of the night without disturbing the whole house and at the same time learning how to play notes and music?
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