Simple Articulation: Starting Notes Cleanly on Flute

What “Articulation” Means on Flute

Articulation is how you start (and sometimes lightly separate) notes. On flute, the sound begins because your air is already moving and your tongue briefly interrupts or releases that air at the lips. Think of it as a light tongue release coordinated with steady airflow, not a hard “hit” with the tongue.

The goal is a clean, immediate start to the note while keeping the tone consistent. If the air stays steady and the tongue motion stays small, the note will speak clearly without a harsh attack.

Air First, Tongue Second

A useful mental order is: air is continuous, and the tongue simply shapes the beginning of each note. If you stop the air between notes, articulation becomes choppy and the tone often gets thin or unstable.

Syllables: “Too” vs “Doo” (and Why They Help)

Syllables are not about speaking; they are a way to describe tongue motion and the feeling of the release.

• “Too”: a slightly clearer, more defined start. Helpful when you want a crisp beginning.
• “Doo”: a gentler start, often used for smoother, more connected playing.

Both syllables should use minimal tongue movement. The tongue tip typically moves only a small distance, touching lightly near the ridge behind the upper front teeth (not deep in the mouth). Your jaw stays relaxed and mostly still.

Continue in our app.

• Listen to the audio with the screen off.
• Earn a certificate upon completion.
• Over 5000 courses for you to explore!

Or continue reading below...

Download the app

What You Should Feel

• Air is already flowing (or ready to flow) before the tongue releases.
• The tongue moves quickly and lightly, like a soft tap.
• The lips and jaw do not “help” by clamping or bouncing.

Stage Practice: From Whisper Articulation to Notes

Work through the stages in order. Each stage trains one coordination: steady air + small tongue release.

Stage 1: Air-Only “Whisper” Articulation

This stage removes pitch and fingering so you can focus on the tongue-air timing. Use your normal playing posture and head position, and aim the air as you would for a clear tone.

How to do it:

• Form your normal playing embouchure.
• Send a steady stream of air (a quiet “whoosh”).
• Without changing the air pressure, lightly articulate with the tongue using “too” or “doo.”

Listening goals: even “puffs” of air, identical in strength; no extra bursts; no stopping the airflow between articulations.

Exercise 1A (air-only, slow and even)  Tempo: ♩ = 60  Count: 4/4  Repeat 4 times  1) Start steady air for one beat  2) Then articulate 4 times evenly: too too too too  3) Keep the air stream continuous underneath

Exercise 1B (air-only, gentle)  Tempo: ♩ = 60  Count: 4/4  Repeat 4 times  Articulate 4 times: doo doo doo doo  Listening: softer edges, same spacing, no “h” added

Stage 2: Single-Note Tonguing (One Note, Many Starts)

Choose one comfortable note you can play reliably. The purpose here is not range or volume; it is clean starts with consistent tone.

How to do it:

• Prepare the note silently (fingers set, embouchure ready).
• Begin with steady air.
• Release the tongue lightly to start the note.
• Hold the note for a full count so you can check tone stability.

Listening goals: the note speaks immediately; the tone after the start matches the tone you sustain; no “thud,” no breathy delay.

Exercise 2A (single notes, clear starts)  Tempo: ♩ = 60  Play: quarter note + 3 beats hold (or whole note)  Pattern: | too—(hold) | too—(hold) | too—(hold) | too—(hold) |  Repeat 2–3 times  Focus: identical starts, steady volume, no pitch scoop

Exercise 2B (single notes, gentle starts)  Tempo: ♩ = 60  Pattern: | doo—(hold) | doo—(hold) | doo—(hold) | doo—(hold) |  Focus: smooth start, no airy “h,” no jaw motion

Stage 3: Repeated Notes (Even Spacing Without Stopping Air)

Repeated notes reveal whether you are accidentally turning the air on and off. Keep the air moving as if you are sustaining one long note, and let the tongue create the separations.

Listening goals: each note begins cleanly; the tone stays consistent; the spacing is metronomic; the sound does not “collapse” between notes.

Exercise 3A (repeated quarters)  Tempo: ♩ = 60  Play 8 quarter notes on the same pitch:  | too too too too | too too too too |  Repeat 3 times  Focus: same tone on every note, no accent on note 1

Exercise 3B (repeated eighths, still relaxed)  Tempo: ♩ = 50  Play 8 eighth notes:  | too too too too too too too too |  Repeat 3 times  Focus: light tongue, steady air, even spacing

Stage 4: Two-Note Patterns (Tongue + Simple Changes)

Now coordinate articulation with a small note change. Keep the tongue motion the same size as before; do not “help” the change by biting, lifting the chin, or pushing the jaw.

How to do it:

• Set the first note, start with a light tongue release.
• Move to the second note smoothly while keeping air steady.
• Articulate each note cleanly, as if the tongue is independent from the fingers.

Listening goals: both notes speak equally well; no extra accent on the higher/lower note; no gap caused by stopping air.

Exercise 4A (two-note alternation, quarters)  Tempo: ♩ = 60  Pattern: | too A  too B | too A  too B |  (Use any two comfortable notes you already know)  Repeat 4 times  Focus: same tone color on A and B, clean starts

Exercise 4B (two-note alternation, eighths)  Tempo: ♩ = 50  Pattern: | too A too B too A too B too A too B too A too B |  Repeat 3 times  Focus: even spacing; tongue stays light; air never “turns off”

Legato vs Lightly Separated: Hearing and Feeling the Difference

Articulation is not always required. Sometimes you want notes connected (legato), and sometimes you want them lightly separated. The difference is mainly tongue use, not big changes in air.

Comparison Drill (same two notes)  Tempo: ♩ = 60  1) Legato: start first note, then change to second without tonguing (hold each 2 beats)  2) Lightly separated: tongue each note (2 beats each)  Listening: legato has no “edges” between notes; separated has gentle edges but no silence

Common Problems and How to Fix Them

1) Heavy “Thud” Attacks

What it sounds like: a percussive pop at the start, sometimes with a momentary harshness.

Common causes: tongue pressing too hard; tongue traveling too far; trying to start the note by “hitting” instead of releasing.

Fix:

• Switch to “doo” for a few minutes to reduce force.
• Practice Stage 1 (air-only) and aim for identical, gentle puffs.
• Think “touch and release,” not “strike.”

2) Stopping the Air Between Notes

What it sounds like: notes feel disconnected, with little silences; tone restarts each time rather than continuing.

Common causes: using the throat or breath to separate notes; letting the air collapse after each tongue.

Fix:

• Imagine one long ribbon of air and the tongue making “marks” on it.
• On repeated notes, try articulating while keeping the chest and ribs steady (no pulsing).
• Use a softer dynamic and slower tempo until the air stays continuous.

Air-Continuity Check  Tempo: ♩ = 50  Play 8 repeated notes very softly (pp) with “doo”  Listening: the sound should not disappear between notes; it should only be lightly separated

3) Excessive Jaw Movement

What it looks/feels like: jaw bounces with each note; embouchure shifts; tone changes note-to-note.

Common causes: trying to articulate by moving the jaw or lips; tension in the face; over-pronouncing “too.”

Fix:

• Keep the jaw heavy and relaxed, as if it is “resting.”
• Let only the tongue tip move; the lips stay stable.
• Practice in front of a mirror: the chin should remain quiet during repeated notes.

Short Practice Sets (Slow Tempos + Clear Goals)

Use these as 5–10 minute articulation sessions. Stop if you feel facial tension; reset with a few relaxed breaths and return to Stage 1.

Set A: Clean Starts

• Stage 1: air-only “too” x 4 measures at ♩ = 60. Goal: identical puffs.
• Stage 2: single-note “too” starts, hold each note 4 beats, 8 times. Goal: immediate response, no thud.

Set B: Even Spacing

• Stage 3: repeated quarter notes “doo” for 2 measures, repeat 4 times at ♩ = 60. Goal: metronomic spacing, consistent tone.
• Stage 3: repeated eighth notes “doo” for 1 measure, repeat 6 times at ♩ = 50. Goal: light tongue, no air stoppage.

Set C: Two-Note Coordination

• Stage 4: two-note pattern in quarters at ♩ = 60, 8 measures. Goal: both notes speak equally cleanly.
• Contrast: play the same two-note pattern legato (no tongue between notes), then lightly separated (tongue each note). Goal: you can clearly hear the difference without changing volume or tone quality.