i like a lot northern style of flute playing, especially highlands and strathspeys.one of main characteristic in strathspeys is sequence of stacatto triplets in last ,or in last two bars.when i play those triplets first or first two groups of triplet sounds good, but triplets after that sounds dirty, muddy with no proper separation between notes situated in triplets.
how to improve those triplets? what is best practice to improve staccato playing of those triplets?
marin
Hm. I’d say work on your tonguing without the flute.
Practice making the sound of a horse galloping with your tongue.
Start with “Tot-a-lot, tot-a-lot”, then move to “tottle-lot, tottle-lot”,
then work toward “te-te-tet”. This will get your tripple-tonguing up
to snuff, I’d think…
You can also use glottal stops to separate the notes.
Catherine McEvoy can do some amazing triple glottal stops, you’d swear they were tongued but they’re not, and they pop out like rifle shots.
Best way I’ve found to work on these and any other staccato triplets is to play them very slowly for a while, then try playing them a little faster until you can do that, then try faster still.
I don’t use these much, on only one or two Irish tunes that I can think of (both of which are hornpipes), but they come in handy on the few Cape Breton tunes that I play.
Ooo, or combine glottal stops with tonguing:
“kuk-ka-tet, kuk-ka-tet”
…careful there…starting to channel Steven King
how bout ‘takata, takata, takata’?
I switched from tonguing on the flute (not whistle or chromatic harmonica) to glottal stops and the result sounds great but now I have a throat “growl” type sound behind most of my notes. I tried opening my throat more - ye old yawn technique - but not much improvement. I played Boehm flute before and never noticed the growling until I began using glottal. I also use glottal on the chromatic harmonica and, although I love the technique, how do I stop the background growl?
BillG
I think it adds charm appropriate for irish music 
“Dad-a-chum? Dad-a-chuck?!” shiver
That doesn’t seem staccato to me…
It does lend itself to speed, though.
“tu-tu-kuh” or
“tu-gu-du”
are the syllables I learned in uni for triple-tonguing, but clarinet players do something called “doodle-tonguing” which is something like “toodleoodloodloodloo”. It’s a rapid movement of the tongue up and back, brushing the clarinet reed, or the front of the hard pallette (behind the top teeth). It’s tough to do in a rhythmic manner, but it’s the second most fun thing one can do with one’s tongue. 