I really like your approach to improvisation. I'm curious, how do more advanced jazz improvisers use the chord changes in their solos?
I am totally immersed in your system and find that Exercise 2 will keep me busy for the next few months. I practice IFR every day for about one hour. What comfort level should I hope to achieve in Exercise 2 before trying to attempt Exercise 3?
If I play popular songs like "Amazing Grace" with many different interval jumps in all 12 keys on my sax, is this a good way to practice IFR Exercise 2? Or does this complicate the idea?
I get confused and lose my place in Seven Worlds when I try to improvise too freely with the notes. Can you give me some advice on how to tackle this problem?
A new IFR student asks, "When you improvise over chord progressions, do you think of the chords vertically or horizontally?"
I'm used to calling the root of a minor key "note 1" but I notice you often call it note 6. Why wouldn't we just call it note 1?
I am practicing the IFR exercise "Sing the Map" and I can move up and down the scale but I cannot yet make interval jumps and "wander freely". Should I just keep practicing moving through the scale? Will this bring about the ability to sing the notes freely one day?
Can the IFR method be applied to the ukulele? How can I visualize the map of notes on the fretboard, given that the strings are tuned out of order?
I play the five string banjo with open G tuning. Yesterday I bought the IFR method book and I see that guitar and bass players use a special version of Exercise 1. Is there a special version of Exercise 1 for banjo?
Do you define the first note you play in your daily meditation exercise to be any note of the major scale? Or do you leave out that awareness of where you are on the tonal map for this exercise?