D D-N_ : Getting Started with Ghosting Pairs of Notes

Today's post is on an articulation pattern I refer to as "D D-N_". This is a common jazz articulation pattern most often applied to a group of four notes.

The first and second notes are attacked ("D"), and the third and fourth notes are ghosted ("N_").
This means that the tongue must remain touching the surface of the reed (at one side or corner) while allowing it to still vibrate, and you're changing pitch at the same time.

The pair of ghosted notes is usually ascending by a half-step.​​

To begin, speak the articulation in rhythm:

Next, practice applying the articulation to single pitches:

Once this becomes comfortable and you're able to apply this articulation with rhythmic accuracy, I suggest these common patterns to practice this over.

Each involves ghosting a pair of notes that ascends by a half step.

Of course, once you are comfortable playing this articulation as straight quarter notes, the next step is to begin working it out as eighth notes:

Then, apply it to the aforementioned shapes. For example:

Contained within the previous pattern are shapes that work well for navigating ii-V's.

I recommend working out these ii-7 V7 I's in different keys.
For example, moving this pattern around by 4ths:

Lastly, it's highly beneficial to work short cells around your instrument synthetically.

By synthetically, I mean that the cell is moved by a repeated interval, whether or not it fits a specific chord progression or harmonic function.

Here is a synthetic pattern moving a 2-beat shape around by fourths.
(This particular pattern would be useful navigating iiø7 V7b9 sequences like you may find in "Woody'n You", "Stella By Starlight", and "Along Came Betty".)

And another, moving around by minor 3rds.
(Useful over V7, especially V7b9 chords. In this case: A7, C7, Eb7, or F#7.)

Experiment practicing and applying this articulation pattern in your own playing. With focus, you will begin hear it in the playing styles of jazz greats and understand how it is used in the broader context of melodic lines.

As always, any feedback is welcome. 
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In my next post, I'll be talking about a technique I refer to as "Ghosting Up A Rip".

Stay tuned!
Jake Dester