Eddie Harris | Intervallistic Concept Pdf

Technical Mastery 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.

Ear Training The method is not just physical; it is aural. To play an interval like a Major 7th accurately, the player must hear it internally before executing it. By practicing these intervals in all keys, the player internalizes the sound of "vertical" harmony while playing "horizontal" lines.

Breaking Patterns A common pitfall in jazz improvisation is "muscle memory" playing, where the hands automatically run familiar patterns. The Intervallistic Concept disrupts this. Because the intervals change constantly, the player cannot rely on automated muscle memory; they must actively think and hear, leading to more conscious, melodic improvisation.

Eddie Harris always carried a notebook the size of a cassette case. It was worn at the corners, the pages soft from a thousand late-night fingers tracing figures, arrows, and shorthand that meant something only to him. Musicians called it eccentric; scholars called it inscrutable. To Eddie, it was a map.

He wrote the Intervallistic Concept on a rainy Tuesday when the city smelled of wet saxophone. It began as a single line: intervals are not merely distances but conversations. From that seed sprouted diagrams where whole tones leaned toward semitones like old friends, where augmented fourths argued with minor seconds, each interval given a personality and a place in a grammar that could bend time in a solo.

Word spread in whispers. Some claimed the concept could turn any mechanical run into speech. One drummer said it let him hear melody in his left foot. A pianist swore the charts taught her to color chords like stained glass. Eddie laughed and kept writing, loving the way a pattern revealed a new route through a solo the way a city alley revealed a mural at its end.

Then the PDF happened.

Eddie digitized the notebook because he wanted the Intervallistic Concept to be portable, searchable, eternal. He scanned pages at midnight, refining scans into a single PDF that pulsed with annotations: margin notes in green, tempo sketches in blue, a page where he'd taped a concert ticket and labeled it "Proof." He uploaded it to a small academic server run by a friend and sent a single email linking to the file: for collaborators only, he wrote.

The link leaked.

At first it was harmless—students downloading, a few comments in online forums debating a lesson. Then musicians from distant cities began quoting Eddie in interviews, using his interval-dialogue to structure entire sets. A producer remixed a track with an Intervallistic bassline and turned Eddie's diagrams into synth arpeggios. The PDF circulated like a rumor, copied and recopied until pixels blurred and the odd margin note acquired a footnote no one had ever written.

Eddie watched the spread with something like pride and something like alarm. His concept was being bent in ways he hadn’t intended—intervals traded like merchandise, hooks carved out of conversations. He could have chased the copies down, but he remembered nights of improvisation when not knowing what would come next was the point. Instead, he began to annotate again.

New pages appeared at the end of the PDF: clarifications, counterexamples, playful traps. “Beware the Thematic Octave,” he scrawled. “Not every interval wants to speak. Some prefer silence.” He added exercises—small, mischievous prompts that required reading between lines, instructions that could only be solved by listening. The concept became less a manual and more a living test.

People adapted. Some mastered the grammar and published treatises that read like architecture. Others used the PDF as a starting point for new languages—saxophonists who tuned to micro-intervals, electronic artists who routed intervals into LFOs until resonances formed landscapes. The Intervallistic Concept had become a shared dialect.

Years later, a graduate student named Mara found an older scan—one missing Eddie’s last pages. She contacted him from a city three time zones away, saying she’d been haunted by a half-remembered diagram. Eddie invited her over for coffee and an old tape he’d labeled “Practice, 2 AM.” They played through the diagrams, arguing gently about a diminished chord that should have been louder, about whether silence counts as rest or statement. Mara recorded their session and, with Eddie’s blessing, added her notes to the PDF: footnotes that were themselves questions.

The PDF no longer had a single author. Its margins read like a conversation across time: a saxophonist in a basement, a classical theorist in a university office, a young producer in a studio with LED lights. Each added a twist, an interpretation, a refusal to let the concept fossilize. Eddie liked that—his intervals had always been about exchange.

On a quiet evening, he opened the notebook-sized PDF and found, tucked between two pages, a photograph of a mural: a wall painted with concentric intervals, colors bending into one another. Someone had photographed it outside a subway and uploaded it. Beneath the image, a single comment: "We played it here."

Eddie smiled. The Intervallistic Concept had become less a doctrine than a gathering. It existed now in the scans and the margins, in the hum of a rehearsal room and the crackle of an old recording, in the way two players could meet and find a sentence in sound. The PDF was only paper and pixels—yet it had done what music does best: brought people into the same conversation.

He closed his laptop and reached for his saxophone. The city outside murmured intervals of its own—horns, footsteps, the distant sigh of a train. Eddie leaned into the hum and answered, letting each interval speak its line, not as a distance but as a friend returned.

—

Intervallistic Concept by Eddie Harris is a comprehensive instructional series (often found in three volumes) designed to help instrumentalists and composers break free from traditional linear patterns and embrace an "interval-centric" mindset. Core Content & Topics

The material is structured to build technique alongside harmonic and rhythmic fluency. Key areas covered include: Stretta Music Shop Harmonic Studies

: Exercises in chord substitution, polychords, superimposed triads, and cycles. Melodic Development : Detailed focus on intervals, sequences, and modulations. Advanced Technique : Extensive studies in altissimo playing , which was a hallmark of Harris's own style.

: Specific sections dedicated to syncopation and creative rhythmic resources. Philosophy

: Includes Harris's unique outlook on improvisation and music theory, famously referred to as "Eddieisms". Jamey Aebersold Jazz The "Eddieisms" Philosophy

A significant part of the book's content is the mindset it instills. Harris famously argued that there are no "wrong" elements in isolation, only poor connections: "There are no wrong notes, only wrong connections". "There are no wrong chords, only wrong progressions". "There are no wrong intervals if played in succession". Charles Colin Music Product Details

Intervallistic Concept By Eddie Harris - Jamey Aebersold Jazz

The core material for Eddie Harris's "intervallistic concept" is documented in his multi-volume instructional book series. The Intervallistic Concept Books

The primary "piece" or resource you are looking for is titled " The Intervallistic Concept ", published by Charles Colin Music Publications.

Structure: It is a thorough 3-volume edition covering advanced topics like intervals, altissimo playing, chord substitution, and superimposed triads.

Purpose: Harris designed the series to teach instrumentalists how to play and improvise using wide, non-standard interval jumps, which became his signature sound. Related Material: "Skips"

If you are looking for a specific technical "piece" or sub-book from the concept, you may be thinking of " Skips: For the Advanced Saxophonist " (1972).

Focus: This is a smaller, portable "technic book" specifically emphasizing wide interval passages—or "skips"—to keep professional players in top condition. Availability : A digital preview or PDF of " " is often hosted on platforms like Scribd. Where to Find the PDF/Book

Official Purchase: Physical and digital versions are available through major jazz sheet music retailers like Jamey Aebersold Jazz and Sheet Music Plus.

Digital Previews: You can often find study excerpts or partial PDF uploads on academic or document-sharing sites like Sheet Music Library or Scribd. Eddie Harris - Skips | PDF - Scribd

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:

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.”

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

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

The Intervallistic Concept is a comprehensive instructional manual written by legendary jazz saxophonist Eddie Harris. 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

The work is typically presented as a three-volume set, often found today in a single compiled edition:

Volume 1 (Foundations): Covers the basic mechanics of intervallic playing, focusing on moving beyond simple major and minor scales into wider, more athletic melodic leaps.

Volume 2 (Advanced Techniques): Expands on these concepts with complex applications, including altissimo playing, chord substitutions, and syncopated sequences.

Volume 3 (Composition & Application): Provides practical examples of solos and original compositions that utilize the intervallic system. Key Technical Focus Areas

Harris’s manual is famous for its rigorous and often physically demanding exercises. Key topics include:

Intervallic Leaps: Moving in fourths, fifths, and larger "skips" to create modern, angular melodies.

Harmonic Sophistication: Extensive studies on polychords, superimposed triads, and unconventional modulations.

Instrumental Mastery: While popular among saxophonists, it is designed for all single-line wind instruments (flute, trumpet, etc.) and is widely used by guitarists and pianists for developing new harmonic vocabulary. "Eddieisms"

A distinct feature of the book is the inclusion of "Eddieisms"—witty, philosophical quotes from Harris about the nature of music. These insights reflect his belief that there are "no wrong notes, only wrong connections," encouraging players to focus on inflection and the "beauty of life" in sound rather than strict academic rules. Where to Find it

The manual is available through specialty jazz retailers such as Ejazzlines, Charles Colin Music, and Stretta Music. While archival copies are sometimes hosted on platforms like the Internet Archive, official physical and digital copies remain a staple in advanced jazz education. INTERVALLISTIC CONCEPT: Eddie Harris: - Ejazzlines.com

Elias was a technical wizard on the tenor sax, but he felt trapped. He could run scales until the pads of his fingers bled, but his solos felt like predictable lines on a map. He’d heard the legends of Eddie Harris—the man who didn't just play jazz, but electrified it. People called Harris a "mad scientist" for his wide-interval leaps that defied the physics of the reed.

He double-tapped the screen. The PDF opened to a dizzying array of Fourth-based patterns and geometric jumps.

"Don't play the notes," a voice seemed to echo from the grain of the 1970s scans. "Play the space between them."

Elias blew a low Bb, then tried to snap up a perfect eleventh, just as the manual dictated. The note cracked. It sounded like a bird hitting a window. He tried again. And again. For three hours, the room was filled with the sound of "intentional dissonance."

Around midnight, something shifted. His fingers stopped thinking in "do-re-mi" and started thinking in "here-to-there." He began to see the fretboard of his mind not as a ladder, but as a series of portals. He played a lick that bypassed the melodic "safety" of the scale, jumping from a low resonant growl to a shimmering altissimo skip.

It was angular. It was jagged. It was exactly what Eddie Harris had promised—a way to break the circular handcuffs of traditional bebop.

Elias looked at the PDF one last time before turning off the screen. He didn't need the digital map anymore. He had finally learned how to jump. eddie harris intervallistic concept pdf

Harris’s Intervallistic Concept was originally a self-published method book (often listed as The Intervallistic Concept for Saxophone). It’s out of print, but you may find:

If you want a practical 1‑page PDF guide summarizing the exercises and philosophy, I can generate that for you. Just let me know.

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

: 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

Intervallistic Concept " by Eddie Harris is a comprehensive three-volume pedagogical work that revolutionized how wind players approach improvisation

. Below is an essay exploring the core principles and impact of this method.

The Architecture of Modern Jazz: Exploring Eddie Harris’s Intervallistic Concept

In the landscape of 20th-century jazz, few figures bridged the gap between commercial success and avant-garde experimentation as seamlessly as Eddie Harris. While often celebrated for his hits like "Exodus" or "Listen Here," Harris’s deepest contribution to the academic and practical study of music lies in his seminal work,

The Intervallistic Concept for All Single Line Wind Instruments

. This 321-page treatise offers a radical departure from traditional scale-based improvisation, proposing instead a framework built on the geometric and mathematical relationships of intervals. A Departure from Scalar Thinking

Traditional jazz pedagogy often prioritizes "running the scales"—matching specific modes to chord changes. Harris’s "Intervallistic Concept" challenges this by focusing on intervals as the primary building blocks of melody. He famously posited that "there are no wrong intervals if played in succession," suggesting that any note can function within a harmonic context if the intervallic logic remains consistent. This philosophy encourages musicians to think in wide leaps—fourths, fifths, and beyond—rather than stepwise motion, a technique central to his masterpiece "Freedom Jazz Dance". Structural Breakdown of the Method

The concept is traditionally divided into three volumes, each advancing in complexity: Volume I: Foundations:

Focuses on the basics of intervallic patterns and their application to standard harmonic progressions. It introduces students to "superimposed triads" and basic "intervallic cycles". Volume II: Advanced Intricacies:

Moves into polytonality and asymmetrical meters. Harris uses this section to explain how a single-line instrument can imply complex chords through carefully chosen intervals. Volume III: Stylistic Application:

Bridges theory and performance, demonstrating how these concepts apply to blues, Latin, and funk. This volume emphasizes rhythmic variations and melodic development across diverse genres. Technical Mastery and "Eddieisms"

Intervallistic Concept By Eddie Harris - Jamey Aebersold Jazz

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 Technical Mastery Musicians who utilize this method often

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

While I cannot directly send or download a PDF file to you, I can point you exactly to where you can find it and provide a comprehensive breakdown of the "Eddie Harris Intervallistic Concept" so you can start using it right away.

Eddie Harris was not just a legendary jazz saxophonist (famous for Exodus and his electric Varitone sax), but also a brilliant musical theorist. He disliked the rigid, academic way scales and modes were being taught, so he developed the Intervallistic Concept to focus on the space between notes rather than the notes themselves.

Here is how you can find the PDF, followed by a summary of how the concept works.

Harris outlined specific ways to practice this. You can start these today on your instrument:

Exercise 1: The "Skips" Approach Take a standard scale (like C Major: C-D-E-F-G-A-B). Instead of playing it in order, play it using specific intervals:

Exercise 2: Random Interval Jumping Pick a starting note. Without thinking about a key, force yourself to jump a specific interval away.

Exercise 3: Chord Tone Interpolation Instead of running scales over a chord, Harris recommended outlining chords using wide intervals. Over a Cmaj7 chord, instead of playing C-D-E-F-G, play the chord tones (C, E, G, B) but connect them with wide intervals. For example: C (jump up a major 7th to) B (jump down a minor 6th to) E (jump up a perfect 4th to) G.

Eddie Harris's own playing is the best case study for this book.

As of 2025, no legal, high-quality PDF of the original Eddie Harris Intervallistic Concept book exists for free. The jazz community holds its breath for a reprint or a digital release by Hal Leonard. Until then, the search for the "eddie harris intervallistic concept pdf" remains a digital ghost hunt.

But perhaps this is fitting. Eddie Harris was an inventor who believed music lived in the mind and the fingers, not just the page. While you search for the file, build your own intervals. Cycle your own thirds. You might just discover that the PDF you were looking for was the pattern of intervals you generated yourself.

Action Step for the Musician: Don't let the lack of a PDF stop you. Take a C Major scale. Remove the 4th and 7th. Play in leaps of 4ths only. Chromatically alter one note per bar. Congratulations—you have just entered the Intervallistic Universe. Eddie would approve.

Introduction

Eddie Harris was a renowned American jazz saxophonist, composer, and arranger. His intervallic concept, which he developed in the 1960s, is a unique approach to improvisation and composition that emphasizes the use of specific intervals to create melodic lines. This concept has been influential in jazz and continues to inspire musicians today.

The Intervallic Concept

Harris's intervallic concept is based on the idea of using specific intervals to create melodic lines that are both coherent and unpredictable. He identified a set of intervals that he believed were particularly effective in creating tension and release, and he used these intervals to construct solos and compositions.

The concept involves using a range of intervals, from small (e.g., minor seconds, major thirds) to large (e.g., perfect fifths, octaves), to create melodic lines that are both lyrical and dissonant. Harris believed that by using these intervals in a specific way, musicians could create solos that were both spontaneous and logical.

Key Features

Some key features of Harris's intervallic concept include:

Influence and Legacy

Harris's intervallic concept has had a significant influence on jazz and continues to inspire musicians today. Many musicians, including saxophonists like Wayne Shorter and Joe Henderson, have been influenced by Harris's approach to improvisation and composition.

Criticisms and Limitations

Some critics have argued that Harris's intervallic concept can be overly rigid or formulaic, limiting the musician's ability to respond spontaneously to changing musical situations. Others have noted that the concept can be difficult to apply in different musical contexts, such as in ensemble playing or in different styles of music.

Conclusion

Eddie Harris's intervallic concept is a unique and influential approach to improvisation and composition that continues to inspire musicians today. While it has its limitations and criticisms, the concept remains an important part of jazz history and a valuable tool for musicians looking to expand their melodic vocabulary.

References

If you're looking for a PDF of Eddie Harris's intervallic concept, I couldn't find a specific document that outlines the concept in a single PDF. However, some of Harris's articles and interviews have been published online or in jazz journals, and these may provide insight into his approach.

The Intervallistic Concept is a comprehensive instructional series by legendary jazz saxophonist and innovator Eddie Harris

. Designed for all single-line instruments (saxophone, trumpet, flute, etc.), the method moves beyond traditional chord-scale approaches to focus on the mathematical and creative use of intervals. Overview of the Method

The concept is structured to help musicians develop a "piano-style" approach on monophonic instruments, emphasizing leaps and non-linear melodic movements over standard stepwise scales. It is often sold as a three-volume collection or a single massive edition (approximately 192 to 321 pages depending on the publisher). Volume I (Foundations):

Covers basic interval exercises and foundational concepts to help players internalize and "hear" various leaps. Volume II (Advanced Techniques):

Introduces complex applications such as superimposing intervals, polytonality, and asymmetrical meters. Volume III (Application):

Provides examples of compositions and solos showing how to apply these intervallic ideas across genres like blues, funk, and Latin jazz. Key Technical Focus Areas

The book provides a "thorough workout" for both technical and harmonic resources, featuring hundreds of studies on: Advanced Harmony: Chord substitutions, polychords, and superimposed triads. Technical Mastery: Altissimo playing, modulations, sequences, and cycles. Rhythmic Precision: Complex syncopation and rhythmic variations. Stretta Music Unique Features Eddie Harris Intervallistic Concept Pdf - Facebook

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): Interval Cycles He practices cycles of a fixed interval (e