Editing Flutter-tonguing (section)

== Usage ==
One of the earliest uses of flutter-tonguing was by [[Pyotr Ilyich Tchaikovsky]] in his ballet ''[[The Nutcracker]]''. In the opening of the final act, Tchaikovsky makes the flutes flutter-tongue to depict the cascading river of rose-oil seen as Clara and the Nutcracker are welcomed to the kingdom of Confiturembourg: he named the effect ''frullato'', as did the flautist who first introduced him to the technique, Alexander Khimichenko.<ref>Wiley, Roland John. ''Tchaikovsky's Ballets'', Oxford University Press: 1997, p. 230. {{ISBN|978-0-19-816249-0}}.</ref>

The effect has since been called for in many classical compositions, where it is most often used on [[flute]]s, [[recorder (musical instrument)|recorder]]s, [[Clarinet|clarinets]], [[Saxophone|saxophones]], [[bassoon]]s, [[trumpet]]s, and [[trombone]]s, but can be used on other [[Brass instrument|brass]] and [[woodwind instrument]]s as well. The technique became quite common in the 20th century, notably occurring in the music of [[Arnold Schoenberg|Schoenberg]] and [[Dmitri Shostakovich|Shostakovich]], where it can have a nightmarish or sarcastic effect, or conversely by [[Benjamin Britten]] who uses the effect on the recorder in ''[[Noye's Fludde]]'' to imitate the cooing of a dove,<ref>Britten ''Noye's Fludde'' pocket score, Boosey & Hawkes 1958</ref> or in ''[[Curlew River]]'' on solo flute to suggest both the mental state of the Madwoman and also the curlews she identifies with.<ref>Britten ''Curlew River'' full score, Faber Music 1964</ref>

Both [[Gustav Mahler]] and [[Richard Strauss]] used the effect as well. In [[Don Quixote (Strauss)|Don Quixote]], Strauss imitates the distant bleating of sheep with flutter-tongued notes in the horns. Notably, he uses the marking "Zungenschlag" (tongue-beat) in this passage from Variation II. Elsewhere in the score, he used the traditional German "Flatterzunge". Mahler used this traditional marking as well, but he also deviated from it in the finale of his Second Symphony, where he uses the marking "Zungenstoss" (tongue-thrusts). On sustained whole notes, the tongue thrusts Mahler requires have the effect of a flutter tongue.<ref>Del Mar, Norman. ''Anatomy of an Orchestra''. [[University of California Press]], 1983. [https://books.google.com/books?id=vsVzqUN1GBcC&dq=zungenschlag+flutter+tongue&pg=PA194 p. 194]. {{ISBN|978-0-520-05062-4}}.</ref>

Flutter-tonguing is also common in [[jazz]] music, particularly that which is associated with [[Dixieland|New Orleans]] or [[Vaudeville]] style. [[Cootie Williams]] was a master of combining a plunger mute with the flutter tongue to create a conversational effect.<ref>Harnum, Jonathan. ''Sound the Trumpet: How to Blow Your Own Horn''. Sol Ut Press, 2010. [https://books.google.com/books?id=hD5BLv6S6DoC&dq=flutter+tongue&pg=PA170 p. 170]. {{ISBN|978-0-9707512-7-0}}.</ref>