The Intervallic Concept, as conceived by Eddie Harris, revolves around the use of intervals as the primary building blocks of melody and improvisation. Harris believed that by focusing on intervals rather than traditional chord progressions, he could create more complex, nuanced, and emotionally charged solos. This approach allowed him to transcend the limitations of conventional jazz harmony and explore new sonic landscapes.
Injecting just one or two intervallistic ideas into a standard bebop solo instantly modernizes your sound. 5. Listening Examples
Since an official PDF is not readily available, how does the modern musician learn this system? You have three options:
As of 2024, there is of this book authorized by the publisher or the Harris estate. The book remains under active copyright by Charles Colin Publications. Pirated copies do exist on obscure file-sharing sites, but these are often low-quality scans missing pages, and downloading them not only disrespects the artist's legacy but also potentially exposes your device to malware. eddie harris intervallistic concept pdf
Play ascending fourths, but move the starting note down or up chromatically. Example: C to F, then C# to F#, then D to G, and so on. Advanced: Stack them. C - F - Bb - Eb. Exercise 2: The Angular Seventh Zig-Zag
Before diving into the PDF hunt, one must understand the man. Eddie Harris (1934–1996) was a genius of pragmatic innovation. He wasn't interested in playing "licks" he had heard on a Charlie Parker record. He was interested in generating new music mathematically.
Traditional jazz education relies on the "diatonic system" (Do-Re-Mi-Fa-So-La-Ti-Do). When a traditional musician sees a Cm7 chord, they play a C Dorian scale. Harris argued that this creates predictable, "inside" playing. The Intervallic Concept, as conceived by Eddie Harris,
Eddie Harris wanted musicians to stop thinking about and start thinking about distances . Whether you find the original PDF or build your own intervallic system, the goal is the same: to free your sound from the tyranny of the scale.
Instead of thinking of chords (Cmin7, G7, etc.), Harris encourages players to think in terms of interval relationships from a chosen note. Any interval can be played over any chord as long as it is executed with rhythmic and melodic conviction.
For saxophonists, brass players, and improvisers seeking the elusive Eddie Harris Intervallistic Concept PDF , understanding the underlying theory is essential to unlocking its power. This comprehensive article explores the mechanics of Harris’s system, its practical applications, and how you can integrate these wide-interval patterns into your modern playing. Who Was Eddie Harris? Injecting just one or two intervallistic ideas into
Here’s a helpful feature summary of what that concept generally entails, based on references from his educational materials (like his book Intervallistic Concept for the Saxophone ):
Creating modern, jagged, and unpredictable melodic shapes that stretch the listener's ear.