I am used to aligning the far edge of the emouchure to more or less the center or the L1 hole, as most Trad flute tutors suggest (at least as a starting point).

From my research, it appears most concert flute players and teachers advocate lining up the concert embouchure directly inline with the center of the first key. I see Jennifer Cluff advocates aligning the concert embouchure more like us trad players, but she seems to be a rebel in this regard, and her rationale seems to be based more on balancing the weight of the flute rather than the actual embouchure position.

What accounts for this difference in technique? Is it because of the rectangular shape of the concert embouchure or perhaps the presence of the lip plate?

maybe the range?

I think the difference is purely down to personal preference. Three of the best fluters I know, and whose playing I would like to emulate, turn their headjoints just slightly out, more or less so that the near edge of the embouchure is in line with the near edge of the first tone hole. Since I started doing the same my playing is much improved.

But there are other fluters who have the headjoint turned in by varying degrees, and who play brilliantly.

Personally, I don't think it's down to the type of flute, so much as the player.

You would be trying to achieve different things on the metal and wooden flute. If broadly following Nicholson for the strong, dark, reedy tone then you're trying to direct the air down vertically onto the far edge of the embouchure cut. You can either roll the flute or turn the head a bit but you'd need to get the cut under your lip. I guess you're blowing more across the metal flute than down into it? (but I don't play one)

Rolling the head in seems to strengthen the bottom octave and produces stronger harmonics (Irish Style).

Rolling the head out seems to favor the upper octaves, produces a purer tone and improves articulation (Boehm Style).

I don't think this is quite right. A purer tone is one with weaker upper harmonics and stronger lower ones, really just a strong fundamental. It's a darker sound, and sweeter. That is easier to get by rolling in, but you lose some of the power and flexibility of rolling out. The reason that Boehm flutist roll out more is not so simple. You are supposed to roll out and then learn how to extend your lip longer, to be able to get the "rolled in sound" or "rolled our sound" as you choose. I still don't play as well like this, but I understand its strong benefits.

I've had an Irish flute teacher tell me to line up the blow hole squarely with the finger holes, which is what I do.
Turning it in may produce a reedier sound,and I know a lot of people do this,
but I think you can get that also by how you hold the flute.

and there's many 'Irish flute teachers' will tell you to 'hold it however the feck you like' if it gets the sound you want

I like that...



The one I don't like is "turn it in" said by someone that bends their wrists back...

Right. I've been told all kinds of things. The 'rolled out' position seems to yield a sweeter second octave, which I think rather
suits the rudally flutes I mostly play these days. I can, without strain, shift the flute inward in the first (or second) octave, when I wish.

Rolling the edge of the embouchure hole to the middle of the first fingerhole seems a bit extreme, but that's just my opinion. More of a slight roll makes for a better sound in my case. I find that as you progress as a player this particular factor becomes less and less important.

well, take it like this: its an adventure!
and while you travel, you discover many new ways to your final destination.
I know I have.....

and also was told, turn in, or center with fingerholes and even have rolled out for a while.....
so my conclusion so far has been, whatever suits YOU and makes for relaxed playing.