Eddie Harris Intervallistic Concept Pdf

The Intervallistic Concept by jazz legend Eddie Harris is a monumental pedagogical work designed to break the linear habits of improvisers. This method focuses on wide-interval jumps and non-traditional melodic paths to expand a musician's harmonic and technical range. Overview of the Method

Harris’s approach challenges the standard "bebop" style, which typically relies on scale-wise, linear movement. Instead, his concept emphasizes:

Intervalic Phrases: Melodic patterns built on skips and leaps rather than scalar steps.

Logical Progression: Materials are presented in a straightforward way to develop both improvisational and compositional skills.

Technical Versatility: Designed primarily for single-line wind instruments but applicable to any soloist looking to modernize their sound. Key Components and Exercises

The book (often sold as a three-volume collection) contains hundreds of studies covering a vast range of advanced jazz theory:

Altissimo Mastery: Extensive exercises to increase the range of the saxophone.

Harmonic Superimposition: Lessons on polychords, superimposed triads, and chord substitutions.

Rhythmic Innovation: Deep dives into syncopation and complex rhythmic sequences.

Structural Devices: Use of cycles, modulations, and interval-based sequences to create unexpected melodic curves. The Philosophy of "Eddieisms"

The text is peppered with Harris's unique musical philosophies, which encourage a mindset of creative freedom:

On Mistakes: "There are no wrong intervals if played in succession" and "no wrong chords, only wrong progressions".

On Musical Beauty: Harris viewed musical sounds as a universal language that should not be overly "chastised" or restricted by rigid categorization. Access and Availability

Physical Editions: The book is available through specialized music publishers like Charles Colin Music and Jamey Aebersold Jazz.

Pricing: The complete 321-page version is typically priced around $90.00.

Digital Copies: While "PDF" is a frequent search term, the book remains under copyright. Official digital versions are rare, and users are encouraged to purchase from EddieHarris.com to support his estate.

If you'd like to dive deeper into a specific part of the method: Wide-interval leap exercises (e.g., fourths and fifths) Altissimo fingerings and techniques Chord substitution theories used in his compositions Tell me which area to focus on for your next section. INTERVALLISTIC CONCEPT: Eddie Harris: - Ejazzlines.com

The Intervallistic Concept by Eddie Harris is more than just a technique book; it is a revolutionary philosophy of sound that redefined the boundaries of modern jazz improvisation. Spanning nearly 200 pages (and often found in a massive 3-volume compilation), this method provides wind players—particularly saxophonists—with a rigorous framework for navigating complex harmony through wide, non-linear intervals rather than standard scalar patterns. The Core Philosophy: "No Wrong Intervals"

Eddie Harris’s approach was built on the belief that musical beauty lies in the connection between sounds rather than the notes themselves. His famous "Eddieisms" from the book highlight this mindset: "There are no wrong intervals if played in succession." "There are no wrong chords, only wrong progressions." "There are no wrong notes, only wrong connections."

By shifting the focus from "right" notes to the logic of movement, Harris empowered musicians to break free from the "be-bop" clichés of the era. Key Exercises and Content

The Intervallistic Concept is known for being extremely challenging, demanding high levels of technical facility and theoretical knowledge. Most versions of the Intervallistic Concept at Charles Colin Music or Jamey Aebersold Jazz cover:

Altissimo Mastery: Harris was a pioneer of the altissimo register, and the book includes dozens of studies for extending the saxophone’s range.

Superimposed Triads & Polychords: Exercises for playing one chord structure over a different bass note to create "outside" sounds. eddie harris intervallistic concept pdf

Cycles and Modulations: Systematic patterns that move through all 12 keys, forcing the player to internalize wide leaps (4ths, 5ths, 7ths) as fluently as scales.

Syncopation & Rhythmic Freedom: Complex rhythmic sequences designed to make intervals feel like "fresh expressions" rather than static patterns. Impact on Modern Jazz

Harris's most famous composition, "Freedom Jazz Dance," is the ultimate practical application of this concept. Built primarily on intervals of a fourth, the tune challenged the standard bebop approach of "running up and down scales" and became a staple of modern jazz after being recorded by Miles Davis . Where to Find the Book

While many search for an "Eddie Harris Intervallistic Concept PDF," the work remains a copyrighted publication. Physical copies and legitimate digital versions are typically available through:

Eddie Harris Official Site: Offers the complete method for all single-line wind instruments.

Charles Colin Publications: The primary publisher for the saxophone-specific editions.

Sheet Music Plus : A reliable source for the spiral-bound 3-volume sets.

Intervallistic Concept By Eddie Harris - Jamey Aebersold Jazz

Packed with hundreds of studies in altissimo playing, intervals, syncopation, chord substitution, polychords, superimposed triads, Jamey Aebersold Jazz

Eddie Harris (1934–1996) was a jazz saxophonist known for his innovative approaches to improvisation. His Intervallistic Concept focuses on using intervals (rather than chord changes or scales) as the primary basis for melodic improvisation.

Here’s a text summary you could use as content for a self-made PDF or study guide:

Title: Eddie Harris – The Intervallistic Concept (Overview)

Core Principle:
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.

Key Components:

  1. Twelve-Tone Interval Matrix
    Harris organizes all 12 chromatic pitches into interval families:

    • Minor 2nd (half step)
    • Major 2nd (whole step)
    • Minor 3rd
    • Major 3rd
    • Perfect 4th
    • Tritone (augmented 4th/diminished 5th)
    • Perfect 5th, etc.
      Each interval is practiced ascending and descending from every starting pitch.

  2. Interval Cycles
    He practices cycles of a fixed interval (e.g., ascending major 3rds: C–E–G#–C) without regard to key center. This builds "intervallic ear training" and fingerboard/vocabulary freedom.

  3. Non-functional Harmony
    The concept works over static vamps, modal tunes, or standard changes. The player superimposes interval patterns, creating tension/release based on the distance between notes, not the chord scale.

  4. Rhythm & Articulation
    Harris stresses that intervals must be played with strong jazz articulation (swing, accents, ghost notes). Even abstract intervals can sound idiomatic if phrased correctly.

  5. Avoiding Pattern Repetition
    He advises against predictable sequences. Instead, vary interval direction, skip sizes, and note lengths to maintain spontaneity.

Practical Exercise (from Harris’s approach):
Pick a pitch (e.g., C). Improvise using only major 3rd intervals up and down (C–E, E–G#, G#–C, C–Ab, Ab–E, etc.). Do this over a blues or modal tune. Gradually introduce different intervals (4ths, tritones, minor 7ths).

In Harris’s own words (paraphrased):

“The chord tells you where you are, but the interval tells you where you’re going. If you can hear and execute any interval from any note, you’re free.” The Intervallistic Concept by jazz legend Eddie Harris

To find an actual PDF of Eddie Harris’s original instructional material, try searching:

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):

3. Contrary Motion Intervallic Lines

Harris loved lines where the left hand (or lower register) moves in one interval while the right hand moves in the opposite.

What is the Intervallistic Concept?

To understand the Eddie Harris method, you must forget the key signature.

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 Intervallistic Concept is defined by three core tenets:

  1. The Cycle of Intervals: Harris organized the 12 tones of the chromatic scale not by scales, but by specific intervals (Minor 2nds, Major 3rds, Perfect 4ths, etc.).
  2. Chromatic Equality: No note is inherently "wrong" if approached via a logical interval. Flat 9, sharp 11, natural 13—these are not "tensions" to be resolved; they are just colors on an intervallic palette.
  3. Triadic Chromaticism (The "Harris Grid"): This is the most copied element. Harris would take a simple triad (e.g., C-E-G) and move it by a specific interval (e.g., a minor 3rd) repeatedly until he returned to the starting note. This creates a "spiral" of sound that is neither tonal nor atonal, but pan-tonal.

Part 2: What is "The Intervallistic Concept"?

If you cannot find the original PDF (a notorious rarity), the theory can be summarized by its central mechanism: Cycle Patterns.

A standard scale has a specific order of whole-steps and half-steps (W-W-H-W-W-W-H). Harris throws that away. Instead, he would take a specific interval—say, a Major 3rd (4 semitones).

The Exercise: Start on a note (C). Ascend by a Major 3rd (to E). Ascend by a Major 3rd from E (to G#/Ab). Ascend by a Major 3rd from Ab (to C). You have landed back on C after 3 leaps. That is a closed cycle.

But what if you use a descending minor 2nd (1 semitone) followed by an ascending Major 3rd?

The Harris Formula: Harris would map these patterns onto a chromatic circle. The "Intervallistic Concept" PDF is rumored to contain hundreds of these "line generators." By following the sequence of intervals strictly, you produce a melody that has no tonal center. It sounds "outside," modern, and deeply intellectual, yet it is purely mechanical.

Part 1: Who Was Eddie Harris? Why Not Just Scales?

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.

In the 1970s, frustrated by the limitations of diatonic (seven-note) scale theory, Harris wrote a book. It wasn't a songbook; it was a philosophy. He posited that most improvising musicians are trapped inside "the box"—the major scale and its modes. The Intervallistic Concept was his explosive escape hatch.

The core premise is deceptively simple: Abandon the scale as the primary unit of melody. Replace it with the interval.

Harris argued that if you can measure the distance between any two notes (an interval) and apply that pattern cyclically across the chromatic scale (all 12 tones), you will eventually hit every note in Western music. This creates a "non-tonal" or "pan-tonal" line that sounds incredibly complex but is generated by a simple, child-like arithmetic formula.

Conclusion: Do You Need the PDF?

If you can find the PDF, treasure it. It contains handwritten diagrams, specific "Harris Licks" mapped out by interval number, and a unique humor (Harris claimed the concept came to him in a dream about a clock).

However, if you cannot find the PDF, you are not lost. You now understand the concept:

  1. Break out of diatonic scales.
  2. Pick an interval (3rd, 4th, 5th).
  3. Cycle a chord or cell through that interval.
  4. Improvise on the resulting shape.

Eddie Harris wanted musicians to stop thinking about keys 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.

Search smart, practice harder, and play intervalistically.

Keywords: eddie harris intervallistic concept pdf, eddie harris jazz theory, triadic chromaticism, symmetrical improvisation, chromatic jazz exercises, outside playing techniques.

Eddie Harris's The Intervallistic Concept is a comprehensive instructional method designed to expand the harmonic and rhythmic vocabulary of improvisers and composers. Originally written for saxophone but applicable to all single-line wind instruments, the book focuses on non-traditional melodic movement and advanced technical facility. Core Philosophical Principles

Harris based the method on a set of "Eddieisms" that encourage musical freedom and the belief that there are no "wrong" choices if played with the right intention: Charles Colin Music Succession over Correction : "There are no wrong intervals if played in succession". Connection & Inflection Keywords: eddie harris intervallistic concept pdf

: Harris emphasized that "wrong" notes or chords are actually just issues of connection, progression, or inflection. Music as Life

: He viewed musical sounds as a universal language that should be felt rather than overly over-analyzed or "chastised". Charles Colin Music Method Structure and Content

The book (often found as a 192-page spiral-bound edition or a multi-volume 321-page version) covers a wide array of technical and creative studies: Jamey Aebersold Jazz Interval Studies

: Exercises focusing on wide leaps and non-diatonic interval patterns to break away from standard scalar playing. Harmonic Expansion

: Includes hundreds of studies on chord substitution, polychords, superimposed triads, and modern cycles. Rhythmic Resources : Lessons on advanced syncopation and rhythmic modulations. Altissimo Mastery

: Harris provides numerous fingerings and exercises for the saxophone's altissimo range (e.g., specific fingerings for high

) to help players navigate the upper register with the same ease as the standard range. Practical Application Versatility

: While written by a saxophonist, the logic is "straightforward" and can be applied by flute, clarinet, trumpet, and trombone players, as well as pianists and guitarists. Flexibility

: The material is designed to be practiced either systematically from start to finish or randomly to spark immediate creativity. The book is published by Charles Colin Music Publications and is available through retailers like Jamey Aebersold Jazz EddieHarris.com specific interval exercise from the book or more information on his altissimo fingering charts Eddie Harris Intervallistic Concept Pdf - Facebook

The Intervallistic Concept by Eddie Harris is a renowned instructional method designed to expand the harmonic and rhythmic vocabulary of jazz musicians, particularly those playing single-line wind instruments like the saxophone. The concept is best known for moving away from traditional stepwise "linear" improvisation toward a style based on wide intervals and unique technical challenges. Overview of the Method

The method is available as a comprehensive book, often sold as a combined 3-volume edition published by Charles Colin Music Publications.

Format: Typically a paperback or spiral-bound book ranging from 192 to 321 pages depending on the edition.

Target Audience: Originally designed for saxophone, the exercises are applicable to all single-line wind instruments and are used by intermediate to advanced players seeking a "thorough and creative workout". Key Technical Focus

The book is "packed with hundreds of studies" that challenge conventional playing styles. Key areas include:

Wide Intervals: Shifting away from standard scales to focus on larger leaps (like 4ths and 5ths), similar to Harris's famous composition "Freedom Jazz Dance".

Altissimo Playing: Specialized exercises to master the highest register of the instrument.

Harmonic Concepts: Exploration of chord substitutions, polychords, superimposed triads, and complex modulations.

Rhythmic Variety: Intense focus on syncopation, sequences, and cycles to build rhythmic independence. The "Eddieisms" Philosophy

Throughout the text, Harris includes philosophical reflections known as "Eddieisms," which offer a unique perspective on the mindset of a musician: "There are no wrong intervals if played in succession." "There are no wrong chords, only wrong progressions."

"A good musician plays well when he's happy... Overplays when he is angry, and plays nothing when he's mad." Availability and Purchase Options

While finding a free "Eddie Harris Intervallistic Concept PDF" online can be difficult due to copyright, the physical and digital editions are available through several specialty retailers: INTERVALLISTIC CONCEPT: Eddie Harris: - Ejazzlines.com