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. Flutter-tonguing is also common in jazz music, particularly that which is associated with New Orleans or Vaudeville style. Cootie Williams was a master of combining a plunger mute with the flutter tongue to create a conversational effect. Method The traditional method for producing a flutter tongue effect is to roll the tip of the tongue as rapidly as possible. This is done by performing an isolated alveolar trill while playing the notes desired. Some players find it difficult or even impossible to roll their tongues in this way, possibly due to ankyloglossia. Uvular fluttertonguing is a method of producing a flutter tongue effect with the back of the tongue. The instrumentalist performs a uvular trill, which produces an only slightly rougher frrrr effect. The uvular trill does NOT produce the traditional growl sound from the jazz idiom. Real growling is produced by singing or groaning while playing a tone. The uvular trill is sometimes used simultaneously with groaning for an even more aggressive sound. Uvular fluttertonguing can also be used when an alveolar trill is not appropriate to achieve the effect of fluttertonguing, e.g. in the low range of the flute, or when a faster fluttertongue is desired. Fluttertonguing can also be used in conjunction with other types of articulation. Either method requires more than the usual volume of air to produce the effect. References Extended techniques Musical performance techniques Tongue