September 1998

Supporting Thumb

Do you by any chance have a callous on your bottom thumb, the one which supports the flute? Some people have a very big callous where they hold the flute up. Having a callous on your thumb means there is too much tension in your hand.

Try placing your middle finger and your thumb together (as though making a shadow puppet fox). Can you move your index and ring fingers freely? Try relaxing your hand as much as possible, then moving your fingers again. Is it easier? Without excess tension in your hand, it should be much easier to move the two fingers which cover the holes.

If you hold too much tension in your hand (especially enough to develop a callous on your thumb), the fingers which need to move freely and rapidly won't be able to do so. This may be one reason why you are having trouble with techniques like koro-koro, although it is by no means limited to that.

There are many ways to ease tension in your hand. Here are just a few:

1. Put something on the flute to keep your thumb from slipping:
   • Rubber sheet
   • Leather
   • Rubber webbing shamisen players use on their knees
   • Carpet pad
   • Sandpaper (waterproof)
2. Attach something to make that part of the flute thicker
3. Attach something protruding to rest the flute on

As for number 1, I've heard that some recorder players use sandpaper to keep their flutes from slipping. Use double-sided tape and 600-1000 sandpaper. Make sure to use waterproof sandpaper to keep it from deteriorating quickly.

As for number 2, there is an optimum thickness of flute for everyone's hand to hold. If the flute is too thin for your hand, you will end up using extra tension in holding it. Attaching something to the part of the flute where your thumb sits to increase thickness can help release this excess tension.

Number 3 is especially useful for longer flutes. Some people use L-shaped metal bars made for clarinet players that are attached with special wood screws.

If you have tension in your hands, try these techniques and see which work for you. Number 2 may change the angle at which you hold the flute (which could be a good thing).

The shakuhachi we have today is the result of centuries of experimentation by others. Ceasing this experimentation is no way to preserve tradition. Continuing innovation is a very part of the shakuhachi tradition itself.