Petite Player v.3.0

The Petite Player
Position Adjustments for Small Hands
Molly L. York
The Petite Player
Position Adjustments for Small Hands
Being a petite player with a small stature and petite hand structure can present many
challenges. One of the challenges a small player faces is overcoming physical limitations related
to hand and body positions stemming from hand size and arm length. The physical strain from
reaching to cover the keys and open-holes can cause cramped and awkward hand positions, often
resulting in painful practice sessions.
Through experimentation with minor adjustments in playing position and flute
alignment, the possible addition of key extensions, and the incorporation of hand flexibility
exercises, the petite flutist can discover a physically comfortable and technically efficient
approach to flute playing.
How Small is a Small Hand?
The average size of a woman’s
hand is about 6.9 inches from the base of
the palm to the tip of the middle finger
Fig.1 - Male/Female Average Hand Size
female
2.9”
male
and is approximately 2.9 inches in width.
This compares to a man’s average hand
size, which is 7.5 inches in length and 3.5
inches in width (Fig.1). A small hand is
considered to measure 6 inches in length
and 2.6 inches in width – a considerable
difference when it comes to putting
fingers on the appropriate flute keys.
3.5”
female
male
6.9”
7.5”
Body Position
The traditional playing posture for the average-sized flutist requires the performer to turn
the head slightly to the left and bring the arms forward and slightly to the right. This enables the
flutist to comfortably create a 90 degree angle between the center of the flute’s embouchure hole
and the flutist’s embouchure (Fig.2). This position may be uncomfortable for the petite player
due to shorter arm length. The lack of proper reach can cause a significant amount of strain on
the right wrist, perhaps even causing the ring and pinky fingers to “lock” (Fig.3a,b&5). The
following adjustments in playing position are recommended.
First, bring the arms down in height and closer to the body (Fig.4b). In order to maintain
the angle of the flute to the embouchure, tilt the head slightly to the right (Fig.4a). This shortens
the distance the player is required to reach (Fig.4b).
Fig. 3a
Fig. 2
90
Fig. 4a
O
90O
strained
90O
90O
O
90
Fig. 2 - Average size flutist’s
traditional playing position.
Fig. 4 - Petite player in
traditional playing position.
Fig. 6 - Petite player in
adjusted playing position.
Fig.3b
Fig.4b
Fig. 3 - This shows the arms too high and the distance
between the flute and the player too large. This is
causing the wrist to angle to the right.
Fig. 5 - Here the arms are dropped and the flute is
closer to the body, creating a more comfortable hand
position.
Second, move the arms even slightly more to the right. This shortens the forward
distance the right arm is required to reach and will allow the right wrist to relax (Fig.4a). Take
care not to pull the arms too far “back” to the right which can create tension in the shoulders as
well as inhibit breathing capacity. A very small person may wish to consider a curved head joint,
which further shortens the required reach.
Sometimes petite hands can complicate a player’s effort to create a natural
“C” curve with the right hand often resulting in a locked ring finger and pinky (Fig.5). Just
because a player has a shorter fourth finger doesn’t mean this problem can’t be solved. Make
sure the right palm is facing more forward than to the right. This will position the ring and pinky
fingers closer to their assigned keys and therefore reduce unnecessary tension.
Fig.5
Fig.7 - The wrist is bent toward the
flute causing right hand tension.
Fig.6
Fig.8 - The keys are rotated forward,
encouraging the right hand fingers to
curve naturally over the keys.
Alignment
The right wrist should be straight with the elbow down. A wrist that is bent toward the
flute amplifies the shortness of the fingers and increases the possibility for right hand pain and
labored technique (Fig.5). Since the petite player’s thumb is likely to be shorter than average,
moving the thumb toward the back side of the flute’s tubing will help facilitate the straightening
of the wrist.
Rotating the keys forward will also aid in straightening the wrist as well as provide
optimal balance between the players hands and the weight of the flute and it’s mechanism
(Fig.6).
Fig.8
Fig.7
Fig.7 - Adjusting the head joint inward will rotate the keys forward.
This will require an inward adjustment between the head joint and the flute body (Fig.7). This
alignment encourages the wrist to straighten and the fingers to curve more naturally over the
keys . Rotating the keys forward also brings the key work closer to the left hand (Fig.8). In
adjusting to this new position, be aware of the tendency to revert to your habitual playing
position. This can result in the undesirable and excessive covering of the embouchure hole. As a
practice aid, take a non-sharpened, regular sized pencil and tape the center of it directly to your
wrist (Fig.9). The pencil serves as a reminder to maintain a naturally straight, comfortable, and
relaxed wrist.
If the player still struggles to operate the Eb key, experimenting with turning the foot
joint in or out in order to find the alignment which creates the least amount of tension, may be
beneficial (Fig.10).
Fig.9
Fig.9 - A pencil taped to the wrist
is a useful reminder to maintain a
naturally straight wrist.
Fig.10
Fig.10 - Here, the foot joint is
turned out to lessen the pressure
needed from the pinky to operate
the foot joint keys.
➔
➔
Fig.11
Fig.11 - Here the right hand, first finger and third finger keys are plugged. This
may be helpful if the natural span between the fingers causes these key holes to
vent.
Fig.12
Key extensions available from Brannen
Brothers Flutemakers, Inc.
Key Plugs and Key Extensions
If the adjustments described above do not relieve the discomfort or tension, the petite
player can plug the open holes or add key extensions to the specific areas where the tension is
greatest. For example, if a player’s left hand, third finger still struggles to reach the key, an
offset G key or a plug may help. On an open-hole flute, plugging the right hand, first finger and
third finger keys may be helpful if the natural span between the fingers causes these key holes to
vent (Fig.11). Key extensions, which can be easily installed onto a flute, elongate the keys to
accommodate small hands (Fig.12).
Hand Structure
Fig.13
All of our body parts - muscle and bone - are connected; if any one part is
experiencing pain or tension, it may be an indication that there is a problem
in another part of the body. The hand and wrist are very complex, and any
tension in these areas could cause the player struggle to operate the keys
correctly and comfortably. Being aware of the structure of the hands and
arms can also be helpful in relieving stress. The hand has two sets of
tendons: the flexor tendons, which allow the hand to close, and the
extensor tendons, which allow the hand to open. These tendons run from
the fingers up to the muscles in the forearm and also connect the bones in
the hands and fingers to the muscles in the forearm (Fig.13). This is why
relaxation in the shoulders and forearms is important in order to keep the
wrist and fingers relaxed.
Flex Those Fingers
Here are some stretching exercises that may help develop flexibility and relieve tension in small
hands – and they can be done anywhere:
•
Hold your right palm up and with your other hand pull your
pinky back. See how far you can stretch comfortably. Relax
and repeat with your ring finger. If you can’t flex very far or
you feel discomfort, you can achieve more flexibility by doing
this stretch regularly.
•
Lay your arms on a flat surface with your elbows pointing out
and your palms together. Take your ring fingers and fold them
together and hold for a few seconds (Fig.14). Repeat with the
pinky, middle, and index fingers. Make sure while interlocking
each pair that the other fingers stay pointing straight up. If
Fig.14
this stretch is too hard you can lift your elbow off the table a
bit. It is also beneficial to stretch two sets of nonadjacent
fingers at once (Ex: pinkies and ring fingers, pinkies and middle
fingers).
•
Take a tennis ball and set it on a table. While standing over
the table, take each finger and stretch it for a few seconds over
the tennis ball with the palm of your hand firmly against the
table (Fig.15).
Fig.15
•
Lay your arms on a flat surface with your elbows pointing out
and your palms together. Take each pair of fingers and slide
them against each other (Fig.16). Hold each stretch for a few
seconds. This exercise stretches the tendons in each wrist.
Fig.16
•
Lay your hand on the edge of a table in a relaxed position with
your thumb resting underneath the table and your pinky
hanging off the edge, as if you were playing your flute. Stretch
your pinky down and over the edge of the table (Fig.17). This
stretches out the muscles running along your pinky and up the
Fig.17
outside of your hand. See how far you can go without moving
or letting the fingers and thumb give way.
•
Take a pair of your fingers (Ex. index and middle finger, middle
and ring finger) and roll them on a flat surface stretching the
tendons in the fingers (Fig.18). This will allow the tendons in
the fingers to lengthen, creating more flexibility and a wider
Fig.18
finger span.
•
Lay your arms on a flat surface with your palms up. Take a
tennis ball and gently massage the tendons along the forearm
in a circular motion. Flip your arm over and massage the other
side (Fig.21). This exercise is wonderful during practice for
relaxing tension in the arms and wrists.
Fig.18
Overcoming the disadvantages of having small hands is challenging, but possible. Painfree playing doesn’t just happen overnight. My personal battle for a suitable hand
position has taken years of effort and experimentation with suggestions from several
different teachers. And still the effort goes on.
References
Brannen Flute website. “Flute Extensions.” http://www.brannenflutes.com/extensions.html,
2004.
Finny, Shannon. “Pinky Calisthenics.” Flute Talk, January 2001; pg. 12-15.
Kujala, Walfred. The Flutist’s Progress. Winnetka, IL: Progress Press, 1970, p.90-91.
Pearson, Lea, D.M.A. Body Mapping for Flutists: What Every Flute Teacher Needs to
Know About the Body, second edition. Columbus, OH: Flutibia, 2002.
Sawyer, David. Bonchiku shakuhachi website. “Hand Care for Musicians.”
http://home.mindspring.com/~shin-on/handcare.html, 2004.
Tilley, Alvin R., Henry Dreyfuss Associates. “Hand Measurements of Men, Women, and
Children.” The Measure of Man and Woman; Human Factors in Design.
New York: John Wiley & Sons, 2002.