Musical articulation and more specifically how to musically articulate a sounding event is essential for how an artistic output finally is generated. As we know, musical articulations could be the length of a sound, the shape of its attack and decay, the timbre of a sound and its dynamics and pitch. Accordingly, the articulation of a sound is very essential for the expression generated in a music performance. Professional musicians have gained their knowledge on how to articulate different musical events through years of practice on their traditional music instruments within their specific music genre. Thus, how professional musicians interpret and perform musical articulations is very much dependent on the embodied music performance traditions for the specific music instrument used and the specific music genre being situated within. This Toothbrush quartet performance explores how to use articulations and variate a music material in a performance using an object with no embedded historic tradition of being used as a music instrument. Accordingly, using such an object in a music performance sets a demand on the performer to invent performance techniques to enable different possibilities to articulate the sound material. This performance highlights articulation of a sounding event as an essential parameter for the creation of a dynamic and diverse music material. The performance aims to highlight a discussion around the tradition of articulation in music performance. In particular, ways to think about musical articulations, when using instruments with no embedded music tradition.