Thanks cubitt. I found David’s vids last night while searching the net. They are very helpful and I’m encouraged besides. I may never play nearly as well as he, but I realized that my embouchure doesn’t give me quite such a sour face. I really am working at relaxing everything. Especially the face.
I’ve also discovered that if I roll my right hand inward, (toward me), ever so slightly, the fingers seem to fit the flute a bit better. I can honestly say that the reach is no longer a significant concern.
While i don’t find the joke funny, i do think it may be useful to examine how he’s adapted to missing phalanges on his fingers. Looks like he’s balancing the flute on his LH thumb; does he also play “on the shoulder”? It’s not exactly piper’s grip on either hand but he does keep the fingers straight and his wrist is also straight. So he must turn the left elbow out toward the front?
I’m asking because i’m trying to head off some potential problems with my LH (top hand), i’m also missing part of my LH index fingertip (my index finger looks like his middle finger, with the rounded nail) and i get cramping in my LH index finger from keeping it tightly curled over the hole. I’m also getting some problems with my LH ring finger from extending it while the index and middle fingers are curled, if that makes any sense. So it’s valuable to consider how a good player like Aaron has adapted.
Aaron lost parts of his fingers when he was about two years old. He has obviously adapted well to all the instruments he plays.
It’s painful for him to play the concertina because of the exposed unprotected finger-tip that is missing the nail. Although he is right-handed, when he plays the fiddle he bows with his left hand because he has trouble fingering with his left.
Since he makes flutes he has been able to make subtle changes to his instrument to accommodate his missing finger-tips. He’s very open and would be willing I am sure to talk to you about finger position. He’s very thoughtful about his technique and why he holds the instrument as he does.
Check out Aran’s right hand. That’s exactly my technique as well. Angle your right hand so the bottom hole is covered with the fingertip and the fourth hole is covered by the second joint of the finger. The spread of the fingers is thus reduced everything is nice and relaxed.
The joke is in extremely poor taste, but the pic is appreciated.
Piper’s grip, on your left hand, anyhow, may be a simple option,
if I understand you. I’m actually going back to it now a fair
amount and it has some advantages (though I prefer classical,
ultimately, I think). Wrists are quite straight and the position
is very natural and relaxed. Of course fingers are extended.
i’ve played around with it a little and while it solves some problems it seems to create others. seems hard to balance the flute without putting it on my shoulder, for example. i’ll work with it some more. i’ve been playing on and off for years and the “un-learning” part is probably the hardest.
the offset 3 hole on a couple of the flutes i play helps the ring finger some as well, but i think in term of makers there are very few who do that sort of thing.
With practice the balance should be good.
Four points: the mouth, two thumbs cantilevered somewhat
against each other,
and the rt pinky down. Rt 3 can go down too on its hole
some of the time.
I think you’ll find a good number of makers will
do offset holes.
With practice the balance should be good.
Four points: the mouth, two thumbs cantilevered somewhat
against each other,
and the rt pinky down. Rt 3 can go down too on its hole
some of the time.
I think you’ll find a good number of makers will
do offset holes.
I did respond to query as to how to better span the right hand holes, as apparently was the question, but perhaps that falls somewhat short of advise on how to hold the flute properly. After all, I only focused on one hand.
In regard to the physics of holding a flute, well, no two individuals could do so in quite the same way, as perhaps we are individually different, yet perhaps some techniques could be known as more successful than others.
Just how long I have been holding a “timber” flute is irrelevant. Moreover, just what is your criticism, in that regard? Perhaps we could discuss technique.
Read again, please, as I said that tonguing is an, not the, ultimate flute articulation form, ITM included. There are also lesser articulation techniques.
