Articulation is more than just about getting a note to sound! Here you see excerpts of Handel's Sonata in E minor, second movement Allegro. Use varied tongue strokes and the "articulation silence"(stopping sound with the tongue) to create groupings of notes. This way, the fine details of the music become transparent and we won't have just a random mass of notes flying by. Be sure to stop the sound consistently where you need to (apostrophes), your tongue should feel the slight pressure before it releases the air flow again for the next note. PRACTICE SAYING these without the flute will help a lot.  This is also a great way to gain technical and rhythmic stability. The stopping of the sound gives us a fraction of a second to prepare for the next leap and starting accurately. It'll also prevent us from rushing, making fast passages sound solid and absolutely in control in an exciting way. 

In this next passage, the groupings then change to 4 notes (instead of the 3 notes previously). So we shift the articulation silence to one note later. Notice how the varied tongue strokes of T,D, and create an acoustical connection of those stepwise notes. Remember that "R" is a light flick of the tongue on the hard palate, not the English "R" where the tongue is in the air. 

Measures 16-18 are tricky as it gets a little complicated! But the idea is still the same, "untangle" the notes and find the structure. The groupings of notes are often delineated by leaps (not always, but that's for another time). When practicing, take a moment and mark those groups in the music so that you have a visual orientation. Sometimes there are even subgroups - for example in m. 16 between beats 3 and 4, where two little units make up a bigger 4-note unit.

Depending on the tempo, the acoustical result in a concert performance might be subtle but absolutely crucial. (and definitely audible!) It's a small difference with a big impact, making the passage sound much more organic and lively. Also, we get to have fun with them as a player instead of simply just "getting through" a bunch of notes! Once you grasp this concept, I guarantee you'll never want to go back! 

What you see is NOT what you get in music!
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A common situation we have in Baroque music is these kinds of continuous rhythmic patterns. For me, the notes look like wall paper, but just because they look like that doesn't mean we should play them that way! We'll always need to take time to phrase. Don't be afraid to breathe, make your breaths musical, make it a part of the expression. Amidst all these notes, there are wonderful shapes, emotions, & details that are waiting to be discovered. Don't be afraid to break things apart and really look into the corners. For me this discovery aspect is really the fun and joy in music!

An anticipation anticipates the next note. At a cadence, no matter how much ritardando occurs, the anticipation must have the intention of MOVING TOWARDS the next note. They belong together. You can do a great ritardando, stretch out on the trill and really elongate the anticipation, but the resolution must follow organically afterwards and not feel separated from the anticipation.

Use the tongue strokes T-D or T-R, ease up on the air (diminuendo), and think the word "A-MOUR" - which is 1 word with 2 syllables, just like anticipation + resolution is ONE entity with TWO parts.

A suggestion from Bart Kuijken - you may also think of the phrase "merci beaucoup" - "merci" is the trill, and "beaucoup" is the anticipation plus resolution. You'd also never separate the syllables "beau....coup", but rather the word falls and follows naturally after "merci"!

Here's the moment in my last chat with the inimitable Eva Legêne talking about the expressivity of rhythm in Telemann's G minor Fantasy. While it's good to know what affect certain rhythmic patterns may imply, we still have to bring them to life in actual playing, and what we see is not what we get in music!

So for example, the opening "anapest" rhythm (short-short-long, 2 eighths + 1 quarter) suggests action, something lively, maybe even violent. In this particular case, it's effective to *very slightly* rush the 8th notes and be sure to use the tongue stroke t-d'-t, which will give an energetic swing to the motif. The slight stopping of the tongue on the second 8th note (notice apostrophe in t-d'-t) before the quarter helps to give a rhythmic anchor and thus reinforcing the rustic sound of this movement. If we play this rhythmically correct and "straight", we won't arrive at the spirit of this music.

The "trochee" in the major section (long-short, dotted quarter + eighth) represents something gentler. In this case, be sure to lighten up in the air pressure at the end of the slur, slightly over dot the quarter and make the 8th note almost inaudible. This will give a sweeter expression compared to the boxy and spirited first section. Again compare this with playing it as written, I guarantee you'll never want to go back to that way.

Eva and I are so looking forward to NOV. 8TH to share with you the fun in connecting knowledge with artistry! Registration info: ​https://www.eventbrite.de/e/the-affect-in-rhythm-tickets-1450312366329