The Thumbport - Pros and Cons of a Flute Modification Device

The Thumbport - Pros and Cons of a Flute Modification Device Author Lonsdale, Karen Published 2011 Journal Title Flute Focus Copyright Statement The Author(s) 2011. The attached file is reproduced here in accordance with the copyright policy of the publisher. For information about this journal please refer to the journal s website or contact the author. Downloaded from http://hdl.handle.net/10072/44911 Link to published version http://www.flutefocus.com/437-the-thumbport.html Griffith Research Online https://research-repository.griffith.edu.au

10 APR 2011 The Thumbport Written by Karen Lonsdale The Thumbport - Pros and cons of a flute modification device Introduction Flute playing-related musculoskeletal conditions have been reported in a number of studies in recent decades (Fain 2010; Fry 1988; Norris 1996; Spence 2001; Thompson 2008). Performing arts medicine experts recommend various approaches to preventing playing-related discomfort or pain, which include improving posture and ergonomic set-up, good general fitness and conditioning, managing stress and anxiety, reassessing technique, ensuring adequate rest breaks, and gradually increasing playing intensity or load (Brandfonbrener 1991; Dawson 2008; Foxman and Burgel 2006; Lederman 2003; Llobet and Odam 2007). Instrument modifications or adaptations are suggested as one way of achieving a better match of the instrument to the physical characteristics of the musician, or a more ergonomically sound set-up (Dawson 2008; Horvath 2009; Llobet and Odam 2007). One possibility for modifying the flute is by using a flute rest, support, platform, or pad. Llobet and Odam (2007, p. 48) state that such a device prevents the flute rolling and helps the hand maintain the correct position. Dawson (2008, p.43) suggests thumb supports distribute the instrument s weight over a larger area of skin and protect both the skin and underlying nerves from excessive pressure. This article will focus on one of these thumb rests, called the Thumbport, designed by Taiwanese-American flutist Ho-Fan Lee. What is a Thumbport? The Thumbport is a small, clip-on plastic device that can be easily attached to the flute tube, where the right hand thumb is normally placed. Like other flute rests, it helps to keep the right thumb from sliding forwards, along the tube, or the flute itself from rolling back towards the player. The common balance points when holding the flute are the chin, first joint of the left index finger, and right thumb. Lee (2007) explains that if the left index finger bears too much of the weight of the instrument, when the player pushes the embouchure plate against the chin, the right hand must necessarily produce a counter force to support the remaining weight of the flute and stop the rotation of the flute backwards. The Thumbport is purported to work by stabilizing the right hand thumb position, preventing the flute from rolling backwards and therefore, freeing up the fingers to operate the keys. It is also claimed that the Thumbport does not scratch or otherwise damage the instrument, unlike some other flute rests. (Lee 2007; Moratz 2010, p.123)

Photograph from http://www.thumbport.com/ Used with permission A number of well known flutists have endorsed the Thumbport, including William Bennett, Emily Beynon, Michel Debost, Katherine Kemler and Jeffery Zook. (Lee 2007) Principal Flutist of the Indianapolis Symphony Orchestra, Karen Moratz (2010, p. 123) states that the Thumbport can be helpful whether you re a beginner (to keep the flute from rolling) or a professional flutist (to alleviate discomfort and improve technique). In his discussion on flute rests and achieving stability when holding the flute, Debost (2002, p. 224) states that he is in general not in favour of contraptions and gimmicks, but if they work, use them, especially if they prevent to play with pain. Effort, yes; pain, never. Flute teacher at the Wollongong Conservatorium, Australia, Suzanne Cowan has found the Thumbport a useful device for students in her teaching studio: I find the Thumbport to be a very useful tool in helping students of all levels. For beginners it ensures that they find the correct thumb position from the very beginning. This means that they achieve good balance and beautifully curved fingers from the start. For intermediate and advanced students, the Thumbport can help correct a protruding thumb. By getting the thumb back into a better position the fingers that are often hanging over the keys when the thumb pokes forward, tend to sit more naturally on the keys. Although this can be corrected without a Thumbport, it is much quicker with a Thumbport as it is a constant reminder for them. It is also useful for correcting students who play with their thumb too far along the flute. (Cowan, S., personal communication, 16 November, 2010) Figures 1 and 2 below show the difference in the right hand playing position of one of Suzanne Cowan s young students playing without and with a Thumbport. In Figure 1 (without Thumbport), the thumb is flexed (bent), with very little space between the body of the flute and the fingers. In Figure 2 (with Thumbport), the student is playing with a more open, comfortable hand position as a result of a more stable thumb placement. Figure 1: A child playing without the Thumbport (Photograph by Suzanne Cowan) Figure 2: Same child playing with a Thumbport (Photograph by Suzanne Cowan) Lecturer in Flute at The University of Queensland, Patrick Nolan concurs: These Thumbports offer the flute player a greater ability to achieve a stable three- point hold which in essence requires the thumb to push in a direction away from the body. The beauty of it is that this outward push can be achieved while also giving the young player the security of holding the flute vertically via the thumbport s ledge. Not only does it offer this increased stability but it also diminishes

any tendency for the flute to unintentionally roll inward. It gives freedom to all the fingers of the right hand, including the pinky, which diminishes the tendency for gripping. With it, no right hand fingers ever need to be used in opposing the thumb. After exploring its usefulness for my students I've had no hesitation in using the Thumbport myself. (Nolan, P., personal communication, 5 March, 2011) The Thumbport may be useful for players with small hands, or those suffering from playing-related pain. For example, after a few weeks of playing a new, open-holed, heavier flute after several decades of not playing at all, amateur flutist Belinda McKay began to experience quite severe pain in the fingers, especially on the left side. McKay states: My teacher gave me a Thumbport to try during a lesson, and although the initial awkwardness was somewhat discouraging, I was sufficiently interested to buy one so that I could give it a proper trial. Within a fortnight, I was convinced that the Thumbport was having a positive effect on my playing by stabilising the flute and easing the pain in my fingers. Over a period of about six weeks, the pain in my fingers gradually subsided and is now no longer a problem. I discovered the optimal position of the Thumbport only after a good deal of experimentation, and now find that the quickest way to check this is to play low B, C, C# and D# : when these notes all come out clearly, and the flute feels comfortable to hold, the Thumbport is correctly positioned. Fortunately, shifting the Thumbport does not mark the flute. After a couple of months using the Thumbport, I feel lost without it. The Thumbport makes the flute seem lighter and much more stable, and as a result there is less strain on both the left and right hands. My fingers move more freely, and my tendency to seek stability by pressing the keys tightly especially in the upper register has reduced markedly. (McKay, B., personal communication, 29 June, 2010) Is the Thumbport right for every flutist? There are various ways of achieving a more ergonomically sound flute playing set-up, but as Dawson (2008, p.132) cautions: Not every method of prevention is applicable to any one person. He advises musicians to look critically at the physical conditions that surround and affect practice and performance, and determine what steps might be taken to optimize them and to ensure that the body is operating in an efficient, comfortable fashion while playing. Thus far there have not been any scientific studies to determine which flutists might benefit from using the Thumbport, so trialling the device is the only method of discovering whether improvements might be experienced. The Thumbport website (http://www.thumbport.com/) addresses some concerns that players may have had when using the device, for example, not being able to keep the wrists low enough, having a thumb that seems too long to anchor at the recommended place, or experiencing discomfort when holding the thumb further back on the tube than usual. (Lee 2007). The Thumbport, may not be suitable for every flutist, and the designer points out that some may not need to use the device if the current set-up is working efficiently: Some people with a large hand (long fingers) claim that the Thumbport won't work for them, but there are also some who like it a lot. If one examines this issue purely from the flute construction point of view and how it is held by the player, it's quite clear to me that the Thumbport will increase the stability and reduce human effort. However, if we involve the wide range of human body structure, then we start to wonder. I don't intend to convert everyone. Many flutists have played for years and formed certain habits. Unless they had threatening pains I don't otherwise see the reason to change them. On the other hand, doing a study is for learning, to further us in the path of enlightenment, not necessarily to change the status quo. (Lee, HF, 2011, personal communication, 2 March, 2011) Conclusion Anecdotal evidence suggests that some players may benefit from using the Thumbport device. Until further scientific studies can confirm which flutists may be most likely to benefit from using the Thumbport, flute teachers and performers may consider the device as an option when greater stability is required. The Thumbport may also be useful in reducing playing-related discomfort, and therefore, is a potential tool that may be useful in achieving a more ergonomically sound set up, and reducing playing-related pain in some players. Bibliography Brandfonbrener, A. (1991). Epidemiology of the Medical Problems of Performing Artists. Textbook of Performing Arts Medicine. B. Sataloff R, A and Ledermann, R. New York, Raven. Dawson, W. (2008). Fit as a fiddle: the musician's guide to playing healthy. Lanham, Maryland, Rowman

and Littlefield Education. Debost, M. (2002). The Simple Flute. Oxford, Oxford University Press. Fain, S. (2010). An application of the principles of anatomy, physiology, and neurology to the balancing and playing of the flute. Oklahoma, University of Oklahoma. Doctor of Musical Arts: 355. Foxman, I. and B. J. Burgel (2006). "Musician health and safety: Preventing playing-related musculoskeletal disorders." AAOHN Journal: Official Journal Of The American Association Of Occupational Health Nurses 54(7): 309-316. Fry, H. J. (1988). "Patterns of Over-use Seen in 658 Affected Instrumental Musicians." International Journal of Music Education (IJME) 11(1): 3-16. Horvath, J. (2009). Playing (less) Hurt: An injury prevention guide for musicians. Kearney, Janet Horvath. Lederman, R. J. (2003). "Neuromuscular and musculoskeletal problems in instrumental musicians." Muscle & Nerve 27(5): 549-561. Lee, H. (2007). "Thumbport." Retrieved 27 February 2011 Llobet, J. R. and G. Odam (2007). The musician's body - a maintenance manual for peak performance. London, Guildhall School of Music and Drama and Ashgate Publishing. Moratz, K. (2010). Flute for dummies. Indianapolis, Wiley Publishing. Norris, R. N. (1996). "Clinical observations on the results of the 1991 NFA survey." Clinical observations on the results of the 1991 NFA survey. The Flutist Quarterly, The Official Magazine of the National Flute Association 21: 77-80. Spence, C. (2001). "Prevalence Rates for Medical Problems among Flautists: A Comparison of the UNT- Musician Health Survey and the Flute Health Survey." Medical Problems of Performing Artists. Thompson, L. (2008). Risk factors for flute-related pain among high school and college students. University of North Texas. Denton, University of North Texas. Doctor of Musical Arts. Dr Karen Lonsdale, a freelance flautist based in Queensland, Australia, was awarded a Doctor of Musical Arts degree in 2011 at Queensland Conservatorium Griffith University, researching the topic of Injury Prevention and Management for Flute Players Karen's Website