I recently posted a thread asking for suggestions on dealing with a loss of sensitivity in my hands that causes a problem in completely covering the tone holes when I play my flute. As it turns out, I have a condition called peripheral neuropathy, which is often hereditary and for which there is no treatment. I have, however, come across something that helps me manage around the problem: If I smear a very, very small amount of cork grease over the tone holes, the added moisture makes it easier for me to feel the holes and (I think) it helps to form a better seal when my fingers are not 100% over the hole. The grease used should not be noticeable, greasy, or gummy. A little goes a long way.
I am posting this as an update to those who were kind enough to respond and show concern, and also in the hope that it may help those with similar issues (apparently it is quite common) or may just be a bit sloppy in covering the tone holes and are thus not getting the full sound of their instrument.
I am seeing this with some of my new clients, who ask about my smaller handed flutes, sharp edged tone holes that they can sense better, etc.
What type of flute do you play? If its one of mine, going to one with a narrower finger spacing may be one solution. If it is a Pratten copy, you have a really large stretch and going to anything narrower is better. Cylindrical bored flutes out of bamboo and other materials usually have even larger stretches still (with Bansuri being the worst) - this is one of my pet peeves against these instruments, especially for people trying out Irish Flute the first time. Its really not the correct instrument! And these large stretches can lead to serious issues down the road, especially for those of us who are getting old.
Some suggestions - varying your hand position. If you play with fingertips, which are the parts going numb, consider playing piping style which uses the pads farther up the fingers. The hands are left in a less cramped position as well/ Its also important for carpal tunnel and other issues to keep the wrist in line with the arm, so flexing upward of the hands. You may need to learn a new position to hold the flute.
Although I don’t have P. N. I do have motor issues with my hands that affect flute and other instrument playing, as a result of 31 years of being an instrument maker and working with machine tools that are commonly icy to the touch (my workshop is poorly heated - better for the wood if I keep it that way). Some weeks I call “National Hand Mutilation Week”. Occasionally range of motion is affected and stuff just doesn’t feel like its moving right. A trip to my chiropractor who used muscle palpation techniques and drop tables usually loosens things up. Not just the hands, but everywhere.
A trip to my chiropractor is a requirement after spending the day tuning up one of my heavier and longer low Bb or A flutes. Or on a day of making and fitting keywork, where I tense up. I have an appointment today at 5:15 and another planned when I finish the current one on the queue, a low A in blackwood with tuning slide, and 8 keys.
Thanks for the reply, Casey. I have two of yours - a blackwood with tuning slide and bone rings that I bought from another player some years ago, so I don’t know when you made it - I love that flute’s tone and volume. I also have one of your earlier flutes (1983) of Mountain Mahogany. The blackwood flute has a rather large ‘b’ hole that I’ve always had to pay particular attention to covering.
I have an eight-key vintage flute of cocus wood in the Pratten mold, as well. I have fairly large hands, so the stretch is not an issue. I have also tried the pipers’ grip, but lack the patience and determination to make that work.
Regarding positioning, I find I do much better if I keep my right elbow high enough so that there is no bend in the wrist - is that what you meant?
Thanks again for the tips. I guess I never realized that there are a variety of physical concerns to playing flute.
In your profile photo the wrist is bent back a fair bit. Straightening that, keeping the head fairly straight, not tilted, etc. It may simply be a function of nerves getting pinched along the way (and why a chiropractor might be worth checking out).
That was back in my Pratten copy days with just these wide finger hole spacings. Too painful for me nowadays, though I can manage if I play slowly!
Similarly that one with bone rings is from the late 80s. I was just starting on narrowing my hole spacings back then.
The stretch on a cylindrical D bansuri or any other cyc. D flute are pretty much the same. Even for small hands like mine the stretch on a D key bansuri (indian music reference: G tonic bansuri) is quite easy and RELAXED especially using one of the bansuric piper’s grip which is a whole body approach. These grips enable hours of playing and well into old age.
If you’re talking about a Bb flute - yes I would rather have a Casey Burns tapered bore than a bansuri but for most ITM on D flute I woould say that if you are comfortable with a cylindrical one in PVC it shouldnt be much diffrent on a bansuri excdept that slidings/ half holings will be a lot more responsive on the latter - as responsive as thin walled whistles.