Hi. I've been playing my Tipple flute quite a bit the last few weeks but I find I can't play for long stretches of time because my left writst starts to hurt.
I have it bent at a funny angle and it seems to get agrivated when I'm attempting to play lot's of cuts, rolls, etc... using the left hand.
Is this normal, or is there something wrong with the position of my left hand/arm?
I did have pain in my right hand from the finger stretch for a while but it's gone now.
P.S. I'm going to pick up my Casey Burns Folk Flute at 2PM today. I'll report back later and let you know what I think.
-Brett
left wrist pain & Casey Burns Folk Flute Review
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Bretton
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left wrist pain & Casey Burns Folk Flute Review
Last edited by Bretton on Wed Mar 03, 2004 7:04 pm, edited 1 time in total.
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peeplj
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At the risk of telling you what you've already (painfully) discovered, flute playing is much easier if you can keep your wrists as straight as possible.
I've found holding the arms well away from the body helps with this; it also helps with breathing, and with your overall posture and stance.
--James
I've found holding the arms well away from the body helps with this; it also helps with breathing, and with your overall posture and stance.
--James
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Nanohedron
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Oh, yeah: also a mod here, not a spammer. A matter of opinion, perhaps. - Location: Lefse country
Concurring with the first paragraph, dissenting with the second on the basis of approach. James, I'm assuming you use piper's grip with the left hand, yes? In that case your advice is good. With the grip I use (that other one; I don't know what the heck it's called), my left wrist is straighter if the elbow is close to the body, and I don't experience any impedence to my breathing or posture.peeplj wrote:At the risk of telling you what you've already (painfully) discovered, flute playing is much easier if you can keep your wrists as straight as possible.
I've found holding the arms well away from the body helps with this; it also helps with breathing, and with your overall posture and stance.
--James
Not trying to be contentious, here, but I just want to point out that one's grip should determine what's needed; all one needs to do is move things around a bit to find the most optimal-as-possible positions for things. I fear I've been less than helpful, though, in offering my opinion that we all need to take into account our own variables and listen to what our bodies tell us. It comes off as a bit vague on the read, but I am firmly convinced of this.
How's about, it is more important to get the wrist straight. Where the elbow ends up is due to the type of grip employed. Grip and hence elbow position may vary for a player... When I get rowdy I tend to use my finger tips more and bring my elbows away from my body.
Drifting off again. Point is to watch the wrist.
Denny
Drifting off again. Point is to watch the wrist.
Denny
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glauber
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Please be very careful. Don't injure yourself permanently. When it hurts, stop. The pain is a sign that you're doing something wrong.
On the Internet, nobody knows you're a dog!
--Wellsprings--
--Wellsprings--
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lesl
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And, you may find that with the left wrist straight the mouthhole is
nowhere near your lip..
If that happens don't crick your neck!
Turn the headjoint towards you until you can reach the
mouth hole without bending your L wrist. Usually this ends up somewhere
btween the - I can't explain this well. Somebody else please if needed. A
little ways towards you from the parallel with the other fingerholes.
I'm convinced this is more comfortable, to keep the L wrist straight as
James said.
Lesl
nowhere near your lip..
If that happens don't crick your neck!
Turn the headjoint towards you until you can reach the
mouth hole without bending your L wrist. Usually this ends up somewhere
btween the - I can't explain this well. Somebody else please if needed. A
little ways towards you from the parallel with the other fingerholes.
I'm convinced this is more comfortable, to keep the L wrist straight as
James said.
Lesl
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Nanohedron
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Oh, yeah: also a mod here, not a spammer. A matter of opinion, perhaps. - Location: Lefse country
In substance the advice isn't conflicting at all. The issue is keeping as straight a wrist as possible. How you do it depends on the grip. Second the advice on lessons if you've got the spondulics.jim stone wrote:OK, we are giving conflicting advice and
Glauber is right--there are real risks.
Bretton, you live nearby Grey Larsen.
Take a lesson, please. Definitley worth it.
Doubtless I'm being dense, however I find the
above thread confusing, and I don't suppose
being a newbie to the flute would help me.
As Bretton lives in the same small town
as one of the best flute teachers in the
world, as he may well need help with his
position, and as I drive from St. Louis to where he lives
to take lessons from GL, and not because
I'm in pain, I draw the reasonable conclusion that
this would be a good time for him to
take a lesson.
above thread confusing, and I don't suppose
being a newbie to the flute would help me.
As Bretton lives in the same small town
as one of the best flute teachers in the
world, as he may well need help with his
position, and as I drive from St. Louis to where he lives
to take lessons from GL, and not because
I'm in pain, I draw the reasonable conclusion that
this would be a good time for him to
take a lesson.
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Cathy Wilde
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Brett,
As one who drove 5 hours TO St. Louis to take a lesson from a teacher who I then discovered lives only an hour away from me, I second or third or fourth that lesson opinion. (And I can't tell you how I hold my wrist, just that it doesn't hurt.)(although the sound coming of out the flute sure can, alas!
)
If you'd rather, let me know & I bet I can hook you up with John.
As one who drove 5 hours TO St. Louis to take a lesson from a teacher who I then discovered lives only an hour away from me, I second or third or fourth that lesson opinion. (And I can't tell you how I hold my wrist, just that it doesn't hurt.)(although the sound coming of out the flute sure can, alas!
)If you'd rather, let me know & I bet I can hook you up with John.
Deja Fu: The sense that somewhere, somehow, you've been kicked in the head exactly like this before.
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Bretton
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Thanks for the comments and suggestions!
I did see Grey Larsen today (that's who I was picking up my Casey Burns flute from). He didn't have time for a lesson today but I'll probably have one in the next few weeks. I mentioned the wrist pain and he said to take a look at the "holding the flute" section in his book. I already had, but just went back over the 20 step process of finding a comfortable way to hold your flute. I don't feel like I changed much, but we'll see...
The Casey Burns Folk Flute smells good and looks good. It's much quieter than my Doug Tipple flute and the low D isn't quite as hard and/or full-sounding (this could be me tho...). The Burns flute is more responsive to ornaments and easier to play in the 2nd octave.
The holes of the Burns flute are significantly smaller than the Tipple flute, plus the Tipple flute has the long (vented?) foot. I assume this accounts for the volume difference, and maybe a bit of difference in the low D. The Burns low D is fine (about the same volume as the rest of the lower octave), but the Tipple flute's low D really booms (I guess "honks" is the term used) when you hit it right.
I like them both but will probably limit myself to playing the Burns for now so that I can get used to it.
-Brett
P.S. Cathy: I have corresponded with John Skelton via email and may drive over to Cincinnati at some point for a lesson. I'm going to the St. Louis festival but currently I'm signed up for Mary Bergin's class. If I make enough progress between now and April (not much time), maybe I'll switch to the flute class.
I did see Grey Larsen today (that's who I was picking up my Casey Burns flute from). He didn't have time for a lesson today but I'll probably have one in the next few weeks. I mentioned the wrist pain and he said to take a look at the "holding the flute" section in his book. I already had, but just went back over the 20 step process of finding a comfortable way to hold your flute. I don't feel like I changed much, but we'll see...
The Casey Burns Folk Flute smells good and looks good. It's much quieter than my Doug Tipple flute and the low D isn't quite as hard and/or full-sounding (this could be me tho...). The Burns flute is more responsive to ornaments and easier to play in the 2nd octave.
The holes of the Burns flute are significantly smaller than the Tipple flute, plus the Tipple flute has the long (vented?) foot. I assume this accounts for the volume difference, and maybe a bit of difference in the low D. The Burns low D is fine (about the same volume as the rest of the lower octave), but the Tipple flute's low D really booms (I guess "honks" is the term used) when you hit it right.
I like them both but will probably limit myself to playing the Burns for now so that I can get used to it.
-Brett
P.S. Cathy: I have corresponded with John Skelton via email and may drive over to Cincinnati at some point for a lesson. I'm going to the St. Louis festival but currently I'm signed up for Mary Bergin's class. If I make enough progress between now and April (not much time), maybe I'll switch to the flute class.
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Cathy Wilde
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Brett,
Cool! I'll see you in St. Loo -- it'll be great to meet you!
(I'm passing on the Mary Bergin class because I figure it'll be packed, plus a room full of whistles .....
)
You know, you could ask John if he'd consider a quick lesson while you're down there ....
Also, as I was going through Mr. S's latest round of reels of death (aka exercises) last night, I was thinking about your left wrist (it was much more interesting than why my left-hand rolls are so lame). Anyway, one thing I run into time and time again is "unconscious tension." Next time you play, why don't you try a little experiment: pick an easy tune -- i.e., one you know like the back of your hand, and then try focusing your attention on ... well, the back of your hand (i.e., your wrist). First, play this easy tune basically unornamented. Then as you come around for the 2nd, 3rd, or 4th pass, start ornamenting it more -- the whole time focusing on nothing but what your left hand/forearm are doing, esp. as the piece gets more difficult.
Just a thought, but my theory is that your left wrist and/or hand and forearm can get sore if you're gripping too tightly or tensing up somewhere -- a tensing that is, at least for me, typical whenever the going gets tougher.
Good luck!
Cool! I'll see you in St. Loo -- it'll be great to meet you!
(I'm passing on the Mary Bergin class because I figure it'll be packed, plus a room full of whistles .....
)You know, you could ask John if he'd consider a quick lesson while you're down there ....
Also, as I was going through Mr. S's latest round of reels of death (aka exercises) last night, I was thinking about your left wrist (it was much more interesting than why my left-hand rolls are so lame). Anyway, one thing I run into time and time again is "unconscious tension." Next time you play, why don't you try a little experiment: pick an easy tune -- i.e., one you know like the back of your hand, and then try focusing your attention on ... well, the back of your hand (i.e., your wrist). First, play this easy tune basically unornamented. Then as you come around for the 2nd, 3rd, or 4th pass, start ornamenting it more -- the whole time focusing on nothing but what your left hand/forearm are doing, esp. as the piece gets more difficult.
Just a thought, but my theory is that your left wrist and/or hand and forearm can get sore if you're gripping too tightly or tensing up somewhere -- a tensing that is, at least for me, typical whenever the going gets tougher.
Good luck!
Deja Fu: The sense that somewhere, somehow, you've been kicked in the head exactly like this before.