Hi boys and gals, the last few months I seem to have a stiff right pinky before or after playing, a bit of joint ache. I always kept my pinky steadily anchored on the flute. It has become a habit and I can’t get rid of it so it stays on there during the whole session. I guess the solution is to stop playing but that isn’t really an option is it? Do my fellow flute players have issues before, during or after playing the flute? Do they have a similar “problem” pinky-wise? Or am I just getting worn out? Thanks for your answer. 
Hi, Ronnie.
I can’t remember much about your grip when I met you in Ballyvourney. Does the pinky provide some of your flute support? I had some discomfort occasionally until I shifted all the flute support on that hand to my thumb (pressing against the side to balance the pressure from the edge of my left hand). There wasn’t that much pressure on it at the time as I was able to use it for the foot keys fairly conveniently. My pinky is completely free now although it mostly lies against the key blocks.
Jim
“the little finger, even when not applied to any key, ought on no account to rest on or touch the flute, but should support itself and be kept over the D sharp key.” John Gunn, 1793.
More at: http://www.mcgee-flutes.com/Gunn%20on%20Tone.htm
Terry
I had and occasionally still have a similar problem - a stabbing pain in my little finger. It dates back to my early days of playing and I think it was down to the bad habit of pressing too hard with the little finger balancing the flute - RSI I guess.
I found that putting a small plaster around the end of my little finger helped - perhaps it was the cushioning effect or it was reminding my small brain not to press too hard or use the finger so much - anyway it’s now almost cleared up - just get a few twinges when playing for a while when I rest my finger on the flute.
Good to know that Matt Molloy has been getting it wrong all these years 
Some suggestions, for what they are worth:
If your flute has room (e.g. no Eb key, etc.) put a thick rubber band around it where the pinky goes, to make an easy
grip. Or paste some moleskin where the pinky rests and put some superglue on the ‘OUTSIDE’ of the moleskin to
roughen the surface. The easier the grip, the less your pinky will work, the less stress on the joint.
Put hot water on your pinky before playing. Ice it (or use a cold compress) afterwards.
Ronnie, you have to suffer for your art…
Hahahahaha, thanks for the encouraging words Julia, am I permitted to ask you the same question when in Ennis in september face to face ? Would be good to see ya again No seriously now, I thank the poster for the Matt Molloy photo, I do the same, leave the pinky all the time on there, but reading these comments, I am paying attention now when I play and find that I still play sometimes too stressful when encountering parts in the music that I struggle with and in that way stress the pinky too much or get too much tension in there. I see that Matt’s pinky is even bent over. If I ever meet him which won’t happen in the near future I’ll ask him about that. Pressing too hard could be also the problem like John mentioned. I have it now not above the Eb key which means that I turned the Eb more towards me (I still can use it thoug) and let it rest on the side of the key touching the wood of the flute. Maybe that helps. It doesn’t bother me when playing but when I don’t play its kind of stressed, stiff. Thanks for all the reactions! Thanks for the photo Brendan, thanks for comeing to the meet Jim! Keep on reacting Davy, I would miss those comments
P.s
I think like Matt, it functions as my anchor point and I can’t play without it anymore although I tried
Yeah, I used to do it like Matt, and after 30 odd years, I used to think I could do it no other way. But now I don’t and many years later I’m the better for it. My hands are more relaxed, and my right hand fingers in particular are straighter and much more free in motion. My left thumb and R4 float free, and the flute sits more solidly.
Mr Nicholson, 1836:
The position of the flute should be nearly horizontal, being supported by placing the second joint (about an inch above the first hole) against the side of the first finger of the left hand, resting it nearly as high as the knuckles. By this means, that finger will have free action, and the second and third fingers can be more easily brought over the holes, than if the flute were placed lower down on the joint of the finger.
The first and second holes should be covered with the points of the first and second fingers; and the third hole by the third finger, using the broad part immediately under the nail. By which the first and second fingers become properly curved, the little finger will find its place exactly over the G# or Ab key, and the thumb will be over the A# or Bb key.
The thumb of right hand must press against the third joint of the flute, being placed nearly under the fourth and fifth holes, but nearer the fourth. The fingers must be curved, particularly the second. Great care must be taken to avoid the third being straight, for to this fault may be attributed the difficulty experienced by many amateurs in the use of the F natural and lower C keys. The little finger should be over the D# or Eb key.
More at: http://www.mcgee-flutes.com/Nicholson_on_Tone.htm
Terry
Thanks Terry, I’ll see what I can do. I did try it but found myself pressing the Eb key sometimes when I shouldn’t 
But you should press it most of the time, just not for Ds!
For me its my left pinky that hurts, even when its not being used. But this is probably due to the finger next to it having problems because of a cut tendon when I was 4.
I don’t know about all modern flutes Jem, but on Olwell flutes i don’t think you have to vent the E flat key to keep the notes above in tune. I showed my teacher how, on my antique flute, venting the E flat key made E less flat sounding. We tried it on her Olwell and it didn’t sound right at all.
Just saying because one of Ronnie’s flutes is an Olwell.
But you should press it most of the time, just not for Ds!
It has no effect on my Wilkes and makes rolls with my right hand on the lower notes impossible.
Tape dat pinky!
You’re right that many modern makers tune their E hole to be in tune without venting the Eb key - probably a work-back from necessity on keyless (Grrr!!!) flutes and IMO misguided as you cannot then strengthen the inevitably weak E by venting without it going sharp.
FWIW, I don’t find mostly keeping R4 on the Eb key limits R-hand dexterity, including for rolls, but if it did/when it perhaps does, I’m not obsessive about keeping it on! I think the point for stiff finger sufferers to consider here is that if your R4 is constantly on and off the key and your R thumb is doing the main out-pushing tube-support job then even if it is giving auxiliary support when on the key it will not be constantly stressed or usurp the thumb’s role. If you acquire the habit (as per Böhm flute), then your little finger will tend to behave as though it is playing an Eb key even when there is not one there, thus reducing the risk of stress.
The discipline of mobility in R4 (once acquired, and as I’ve often written, all classical players acquire it from the start, it’s not a big bug-bear!) is also beneficial to the performance of the rest of the hand. If your little finger is constantly stressed by pushing against the flute, that will not only strain it but assuredly will tend to limit general dexterity in the hand. The other alternative, keeping R4 mostly hanging free and using R3 as a counter-balance, on its hole much of the time, has less potential for strain injury but also other significant disadvantages in fingering and fluency (yes, I know many great players do this without evident disadvantage, but that doesn’t make it a good idea - it’s comparable to shoulder propping and other bad habits IMO.)
I don’t have the patience or the discipline to wade through the oftimes tedious written advice on holding the flute. I just try to avoid tension anywhere in my body. If you can avoid tension you won’t have problems like Ronnie’s. And if you are relaxed when you play and playing from within your comfort zone, then your music – your playing – will be that much better. As has been noted before, almost all great players violate some of the “rules” regarding proper grip, position, etc. While these players might be “wrong” they are suifficiently relaxed that tension is not a problem.
To that end: eliminate unnecessary ornaments (those on which you stumble) and try to play simply, clearly, and rhythmically. Play as slowly as necessary. Playing out of your comfort zone will make anybody tense and lead to over-use syndrome. Find a session where you are comfortable. Playing with the hot-shots can be counter-productive. And if it is easier for you then by all means rest the head-joint on your shoulder. Would you presume to correct Garry Shannon or Catherine McEvoy, et al?
You can’t be serious, not in the same thread with that pic of the mighty Matt with his pinky anchored! How’s Matt’s dexterity, I wonder, poor man.
I anchor too, albeit with a little cork fitting for my own comfort. Might work for you, too, Ronnie?
Rob
ronnie,
if the little finger is being hyperextended by pressing it onto the flute, which i see alot from fluters, you might try making a mini-split to prevent the hyperextension of the distal joint (DIP). Maybe try wrapping the joint with a taut bandaid or tape or something like that which is easy to wear and take-off; or try something a little more stiff if they don’t not work. taking a break from playing would help too. most muscians, like anyone who does something repetitvely, should take breaks from their playing, not only will it help the body but does wonders for the mind as well.
taking a break from playing would help too.
Or play a different instrument for a while. Playing a different instrument diminishes some of the effects of the overuse syndrome and helps you to hear different things in the music.