Sing the Map and Transposing

Hey everyone! I’ve been using IFR book and the jam tracks for a while now and had a lot of success with them. Lately I’ve decided to finally dig in deep with singing the numbers and being able to sing and improvise with just my voice, so the connection is even deeper when playing my saxes. But I have a question about transposing. I play alto and tenor sax, Eb and Bb. Let’s say I learn and get really comfortable with F major, or G dorian when exploring the seven worlds, and I learned both of those on tenor sax. How would I then apply that to the alto sax? Like for G dorian, the 2 3 4 5 6 7 1 2, do I have to learn that again but using the scale it would be on alto (D dorian), and then sing those numbers? That seems like it could get confusing. I’m just wondering the best way to balance things out. Or is the purpose of singing the numbers just to get familiar with the sounds and feel them, and less about mapping them to the instrument?

I look forward to learning and contributing here! Thanks so much for putting this method together, it really is fantastic and effective.

(Edit: I meant to say D Dorian, not C Dorian. Whoops!)

For me, the numbers are not notes (F#, C), the numbers are how the sounds feel when I hear them in a context, against a tonal centre, and interacting with each other.

Try to get away from simply equating numbers with notes, and experience “how does 2 sit with 4 in the 1st world”.

Your knowledge of chords, scales and all that theory will always be with you. IFR will give you different tools, and an enjoyable way to learn to use them.

To your specific question, with IFR transposing comes with method. The 2nd harmonic environment/world (Dorian) is the 2nd world, with 2 as the tonal centre, regardless of key. Imagine you didn’t know any note names, picked up your instrument, play any note at random and thought “ok, this is 2 and I’m in the 2nd world, where can I go now?” and see what happens.

BTW welcome to the site, and to the IFR community.

Hi mem, okay so it is basically like David describes it in the book. You are getting to know the sounds, and how they feel. Just trying notes to numbers probably isn’t nearly as helpful, as actually knowing what they sound like. So that makes absolute sense.

Right the key doesn’t matter, because a 2 will still sound like a 2. I think I’ve got it now. So transposing is actually not nearly as complex as I thought. When you approach it that way.

Thanks! I look forward to contributing here.