Eddie Harris challenged this paradigm by prioritizing larger intervals—specifically —as the foundational building blocks of his melodic lines. Instead of running up a scale, Harris would zigzag across the register of the saxophone. Key Characteristics of the Concept
Because original physical copies of Eddie Harris’s instructional materials are incredibly rare and highly collectible, modern musicians frequently search online for digital PDF versions. If you locate a copy of his pedagogical work, expect to find a rigorous, no-nonsense workout consisting of:
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.
Apply wide intervals strictly within a single key signature to make the concept usable over standard jazz chord progressions. C to A →right arrow →right arrow →right arrow 4. The Benefits of Intervallistic Studying eddie harris intervallistic concept pdf
Unlike standard scale books, Harris does not just run intervals up and down. He presents specific, difficult permutations:
Given that the original PDF is rare, here are legitimate pathways for the serious student:
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. Eddie Harris challenged this paradigm by prioritizing larger
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.
Create a simple four-note pattern based on perfect fourths. For example, over a chord, play:
Though Harris was a saxophonist, his intervallistic system is entirely applicable to trumpet, flute, guitar, and piano. If you locate a copy of his pedagogical
The concept is traditionally divided into three volumes, each advancing in complexity: Volume I: Foundations:
Musicians who track down a digital or physical copy of the manuscript will find a dense, highly structured exercise manual. The curriculum typically breaks down into several rigorous components: 1. Systematic Interval Permutations
To understand the book, you must understand the man. Eddie Harris (1933–1996) was a virtuoso who refused to be boxed in. He possessed a flawless classical technique, an astonishing altissimo range that rivaled a flute, and a deeply rooted blues sensibility.