Sure you’re right Harry, I’m trying to put names on things I’m trying to study but haven’t really understood yet, so I’m always hoping someone will correct me, which is also what this forum is about 
I’ve tried to ask Brendan what he was doing, the answer wasn’t very enlightening…!
Good man, Brendan!
Having to work it out for yourself is probably the best lesson IMO: Him telling you exactly what he was doing is of little more use to you than the instructions for a currently non-existent Ikea flatpack kitchen. That’s actually quite enlightening when you consider how it is you actually develop your own style of playing (i.e. lots of actual playing)… and the technique is not exactly rocket science (confusing terminology aside for a moment), you just have to do it a lot til it gets good and natural: Doing it well, or even reasonably well, just takes time and a bit of the right sort of effort.
If anyone was interested in developing a nice rhythmic style then I’d advise him/her to allow for about 5 years of regular playing with an emphasis on pronounced rhythm (by whatever means), and regularly recording their playing for critical listening/focused practice, for a level of fluency to develop in a way that’s coherent with what’s going on with other aspects of the playing (all this besides listening to the players who excite and inspire the intrepid aspirant, of course). Then to give it 20+ or so years for it to ripen. They’re just provisional estimates, of course. I’m still learning.
Regards,
Harry.
Thanks for the link Harry. As Sean himself would say: I like the way you breathe. . . 
Bob
Seems Glottal stop is well defined in linguistics and music I don’t see the problem. Tonguing on the other hand brings up an odd mental picture. But I guess it’s all about context like how you can tell if the word overlook means “fail to notice” or “closely examine”.
I just thought I would add to this thread a link to this video gallery featuring flute player Seán Ó Broin, this is some truly great playing:
http://source.pipers.ie/Gallery.aspx?id=901
Well I’ll admit that I’m jumping into rarified air here since my primary instrument is whistle and some folks who’ve posted on this thread are far more learned in this art than I. I’ve only just stuck the tip of my littlest toe into the deep waters of flute.
But as one who matriculated from recorder to whistle, I can say without hesitation (insert glottal stop here) that I use the glottal stop far more often than tonguing. I tend only to use tonguing when absolutely necessary to reinforce the clean start of a particular note or during tricky phrase. I use the glottal stop on all whistles in all keys by all manufacturers though I readily acknowledge that it is somewhat facilitated by a certain amount of resistance (I greatly dislike the term back-pressure).
No one asked for my opinion, and the OP was about flutes but I noted a few comments seeming to indicate that this topic was not as much of an issue with whistles. I felt, therefore, it was my solemn duty to respond and defend our honor.
I noted Jem’s statement about some historic debate on what was or was not a glottal stop. I subscribe to the technique as described on Wikipedia that it is the same physical condition experienced when one pronounces Hawai’i or Uh-oh.
My un-asked for two cents.
Please continue…
ecohawk