Greetings everyone! I am new to IFR and this Forum. Glad to be here and everyone seems very friendly. Already very impressed with IFR and their fast responses to questions. Enjoying the method very much and having lots of fun!
Mapping using the major scale is really helping me understand the relationship between the scale degrees. It’s only been a few days and already I’ve learned the G Minor scale and its relationship to B Flat in Autumn leaves. Learning relative minors and understanding them was way into my future with traditional learning methods
My question is this. If we map B Flat to discover the Seven Worlds, the 3D would not have a #5 because it is not in the B Flat major scale. Maybe IFR will explain 3D further along, but I happened to be working on Autumn Leaves presently. So, using the IFR method, how would we know to bring in the #5 on the 3D? In other words, if I go to map a new song that I’m not familiar with at all, is there training on the 3D so I will map correctly myself in the future?
Welcome to the forum @John524
The short answer (sorry I don’t have the time for more than that just now) is yes.
If you’d like to check it out yourself, find the chapter ‘Exercise 4: Mixed Harmony’ in the IFR book (I’m assuming you have the book).
By the way @John524 are you aware that Autumn Leaves is the song we’re looking at in the first month of the new IFR Jazz Standards Study Group being run by David Reed (@ImproviseForReal) & @MireiaClua? We’re in the first week now of the study & just looking at the 2- 5D 1 part, but it seems highly likely we’ll be addressing that 3D later in the month?
Details of the Study Group can be found here.
Hi David and thank you for answering. I will “read ahead” to understand 3D. I’m taking my time in IFR but ran into this in Autumn Leaves.
I did see the Jazz Standards Study Group and it looks fantastic!!! I have to pass on this one for now as I also purchased the Blues course and want to work my way through this a bit.
Woke up this morning with one of the melody lines from Autumn Leaves playing in my head
The 3D is NOT diatonic to the major scale. Any dominant scale is the major scale with a b7. In the case of Bb major, the 5th is F natural. The 3rd of Bb is D, so the b7 of D is C natural, which IS diatonic to Bb major. However, D has an F#, which is not part of Bb major–it is the only chord tone in D7 that is an outside note to Bb maj.
Bb maj: Bb C D Eb F G A
D7 : D E F# G A B C (F#, the #5 of Bb maj) (C natural, the b7 of D dominant)
Thanks Woody! And when I listen to it, the #5 sounds right to me.
OK I cheated and read ahead I think I get it now. In order to have resolution to the 6- we need to modify the 3- chord (3 5 7 2). We need to make it into a Dominant chord so that we tension and then release. To have release playing the 6- chord, we change the 3- chord into a 3D chord. To do this we have to change the 5 note into a #5 because a 3D chord uses 3 #5 7 and 2. By changing the 5 into a #5, 3- becomes Dominant causing the ear to want resolution. We find that resolution in the 6- chord. Is this right?
So, for example, in Autumn Leaves, we play the 3D and then 6-.
Yes @John524 raising the usual minor 3rd of the 3- to get a Major third transforms the minor chord 3- into the Dominant 3D, thus enhancing the need for resolution.
John, it would be F#, since F is the 5th of Bb. The scale of 3D in Bb would be D E F# G A B C. Notice that the C is natural, not C#, which because in a Dominant chord, the 7 is flatted.