Flutter-tonguing

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.[3] The effect has since been called for in many classical compositions, where it is most often used on flutes, recorders, clarinets, saxophones, bassoons, trumpets, and trombones, but can be used on other brass and woodwind instruments as well.The technique became quite common in the 20th century, notably occurring in the music of Schoenberg and 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,[4] or in Curlew River on solo flute to suggest both the mental state of the Madwoman and also the curlews she identifies with.In Don Quixote, Strauss imitates the distant bleating of sheep with flutter-tongued notes in the horns.Cootie Williams was a master of combining a plunger mute with the flutter tongue to create a conversational effect.