AKA “Ghost Tonguing”, “La-la Tonguing” or “Half Tonguing”
I have also heard this referred to as doodle tonguing, however I believe that is incorrect as this is a trombone and trumpet technique very similar to legato tonguing.
This technique has probably got more names than any other.
In his book on jazz articulation, Miles Osland refers to it as subtonguing. This sounds like a good term, but easily confused with subtoning. I have heard that David Sanborn uses the term la-la tonguing, which sounds likely but I find the association with the teletubby of that name a bit off-putting. I have also heard people refer to it as ghost tonguing, mute tonguing, or dampen tongueing.
Whether or not dooden, (or dood’n) tonguing is the correct term, that’s what I shall use until someone is able to correct me (Please feel free)
First you need to know how to do normal tonguing
As mentioned in the page on Articulation & Tonguing, the ideal way to do normal tonguing is to place the tip of the tongue on the tip of the reed. If you can do that (and for some people it is easier than others), then dood’n tonguing should be quite straightforward. As mentioned on that page the tip of the tongue is placed against the reed in order to stop the note.
Doing the Dood’n
With dooden tonguing, the tongue is placed very lightly against the tip of the reed and held there while you blow, so that the note is partially stopped. It sounds choked or damped so that some air is allowed to escape mostly around the sides) of the tongue but some may escape past the end depending on how lightly you hold it. You will get a rough idea vocally if you place your tongue and hold it against the bottom of your top teeth, and say a prolonged “th” syllable.
It works best when alternated with normal note production as in the example above.