Eddie Harris, an American jazz saxophonist and composer, was a key figure in the development of modern jazz in the 1960s. His innovative approach to improvisation, known as the "intervallic concept," transformed the way musicians thought about melodic construction and paved the way for future generations of jazz musicians.
The Eddie Harris Interverlistic Concept for All Single Line Wind Instruments
However, Harris wasn't just a performer; he was a deep thinker about music. Frustrated with the limitations of conventional practice routines, he developed his own system, which would eventually become his life's work in music education: the Intervallistic Concept . As one product description notes, the book is filled with "Eddieisms"—unique insights that make you reflect with a smile of recognition. These aphorisms reveal his philosophy, including core tenets like "There are no wrong intervals if played in succession" and "There are no wrong notes, only wrong connections" . These aren't just catchy phrases; they are the philosophical bedrock of his entire method.
Eddie Harris’s intervallic innovations heavily influenced generations of forward-thinking musicians, from modern saxophonists like Chris Potter and Michael Brecker to avant-garde theorists. By turning music into a study of pure intervals rather than restrictive scales, Harris provided a roadmap to total harmonic freedom. eddie harris intervallistic concept pdf
The Intervallistic Concept is a comprehensive instructional manual written by legendary jazz saxophonist . Originally published to codify his unique harmonic and technical approach to improvisation, the book is a foundational text for musicians looking to break away from traditional scalar and chord-based soloing. Core Philosophy and Structure
Traditional jazz improvisation often relies on linear motion—moving from one scale degree to the next adjacent note (seconds) or outlining chords via thirds.
You do not need to wait until you find a rare copy of the book to start integrating Harris's philosophy into your practicing. You can apply his concept right now with these three steps: Eddie Harris, an American jazz saxophonist and composer,
Musicians who utilize this method often report a significant increase in technical facility. Because the exercises force the player to use "awkward" finger combinations (e.g., jumping from a low note to a high note involving many keys), it equalizes the dexterity of the fingers. It eliminates the "weakness" of specific digits.
For decades, a holy grail has existed for advanced improvisers: the . This document—originally a self-published booklet by Harris in the 1970s—outlines a radical method for improvisation based not on scales, but on the mathematical and sonic relationships between two notes.
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. These aren't just catchy phrases; they are the
Look for clean, high-resolution scans. Low-quality PDFs can make the complex, tightly packed notation and specialized altissimo fingering charts incredibly difficult to read. How to Practice the Intervallistic Concept
For horn players, the intervallic concept is deeply tied to mastering the altissimo register. Large interval leaps force the player to rapidly adjust their voicing, embouchure, and airstream. Harris’s exercises serve a dual purpose: building a cutting-edge melodic vocabulary while developing flawless physical technique across the entire range of the instrument. How to Practice Intervallistic Improvisation