In 2003, Robert Dick, international flutist and pedagogue, launched the glissando headjoint. This mechanism can be described as a telescoping flute headjoint with metal wings attached to the mouthpiece, which enhance a flute’s ability to bend pitch. The glissando headjoint was built on the inventions of Eva Kingma, Kaspar Baechi and Bickford Brannen. In the last 16 years, the glissando headjoint has failed to become as mainstream as the standard flute headjoint, despite its claimed potential as its replacement. Comparatively nominal repertoire has been written to include its use, and a nonstandardised approach to notation has resulted. The primary purpose of this research project was to contribute to the available repertoire and research surrounding the glissando headjoint, explore its possible opportunities and advocate its future relevance. Research methods included an extensive literature review studying formal and informal publications, a semi-structured interview of the inventor Robert Dick and practice-based research plus a variety of approaches to composer– performer collaboration incorporating national and international composers within my professional networks. This research explored the capabilities of the glissando headjoint, discussed the development of a standardised notation for the glissando headjoint, ascertained informational requirements of composers when creating new works for the headjoint and investigated further technical and timbral possibilities. While improvisation and the transcription of pre-existing works were utilised to further expand the existing glissando headjoint repertoire, these processes were not the primary focus of this study. Additional research outcomes include music exercises and increased accessible repertoire with complementary recordings for people new to the glissando headjoint mechanism. This research has also identified limitations of the glissando headjoint that could be explored in future research: the relatively limited enhancement of a flute’s pitch bends, and a lack of stability and continuity of the headjoint throughout a playing session. While this study would be of interest to those seeking to adopt new approaches to flute playing, it may also appeal to those seeking to modify non-flute traditional Western instruments.