Frequently Asked Questions about the Thumbport
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1. How and why did you come up with this product? Answer: It all started when Ho-Fan Lee picked up the flute at the 5th grade. The pressure of studying for exams in the junior high school made him look for refuge. Flute playing was the perfect answer answer. He injured his right pinky by over-practicing the flute before 15 years of age. He had always thought that it might have been an inherent problem of playing the flute or caused by his incorrect holding of the flute. It contributed negatively to the development of my flute skills. Whatever it was, this damage is irreversible. Learning the three-point support system was a new direction for better flute playing when he went to study with William Bennett at the Royal Academy of Music, London. The idea is that if one can balance the flute with only the chin, the first knuckle of the left index finger, and the right thumb, all the key playing fingers would be free from excessive stress and strain, thus spare those fingers for more effective operation. This method would require the right thumb to be supporting the flute not directly under the F key but moving back toward the palm (on the side of the flute). The right thumb will push the flute diagonally—approximately 30° to 45° from the vertical line. This position is referred to by many as the “Rockstro” position. It helped Ho-Fan a great deal, but, because of his early injuries, he was still having considerable pains after practicing scales for merely 15 to 20 minutes. After moving to Cleveland, Ohio, USA 5 years ago, he had the fortune to meet Michel Debost and Kathleen Chastain at Oberlin Conservatory. He audited some of their lessons and classes at various occasions. One of Mr. Debost's main ideas was about the stability. Mr. Debost demonstrated many a time how a steady flute could produce better and more consistent sound. Then, Ho-Fan saw the Thumbalina (a product manufactured and marketed by Roger Holman). It gave him additional stimulation. If configured properly, the Thumbalina could balance the flute quite well, but he wanted to make something more configurable and easier to handle. Thumbport was born out of all the above inspirations. To Top. 2. Is the Thumbport only a teaching/learning aid? Answer: No. From the inception the Thumbport had in mind all professionals, beginners, and everybody else. Because the flute has inherent balance issues, the Thumbport will help flutists of all levels. To Top. 3. My thumb seems too long to put at where you recommend. Answer: It is difficult for people with long thumbs to hold the flute anyway; it is not a particular problem to using the Thumbport. It requires some clever planning to solve this problem. In very few cases, the current Thumbport model may not be helpful. To Top. 4. Why did you not make it fit into the case? Answer: The functionality precedes the form here. If the Thumbport is configured all the way against the rib of the flute, it has difficulty in getting into slim cases. Most people find the Thumbport comfortable when the extension arm points downward a little more (away from the rib). It then gets into the case with the flute without a problem. The main concern when designing the Thumbport was to work well for the player, not the case. To Top. 5. Any possible modifications? Certainly. Please see the MODs page. Also, please keep in mind that the Thumbport is made of two materials. The soft part is in contact with the flute. This material will not scratch the metal and does not slide easily. One can scoot it along the tube to find the best position. For many flutists, the extension needs to point closer to the floor. To Top. |