Hotteterre, Principes de la flûte traversière…, Paris, 1707. Ex., p.22 #2.
Note: Basic pattern for passages of moderate speed, showing that t r go across the accent of the beat, and can even go across the measure. This seems to support and may even engender the use of inquality.
Quantz, Manuscript exercises with autograph tonguings
This shows the same pattern of articulating across the beat. quantz also adds d as a tonguing which is “forward moving” but slightly softer than t. Linguists point out that d is almost the same as t as far as the tongue is concerned, but is voiced whereas the t is unvoiced. I believe the tongue in a d pronunciation touches a little farther behnd the teeth, contributing to the softer effect.
Jean-Pierre Freillon-Poncein, La Véritable Manière d’apprendre à jouer en perfection du hautbois, de la flûte et du flageolet, Paris, 1700. Ex. F.
Note: This shows the standard pattern for faster passage-work, where the t and r fall withn the accent of the beat, rather than across it. An exception, not in Hotteterre, is seen in second line where a tie causes the fast notes to begin off the beat. Obviously speed is not only obstacle to t t r pattern, nor can we assume that t t r always causes inequality, since there is hardly time for it here.
