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 ):
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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 . eddie harris intervallistic concept pdf
Whether you play saxophone, trumpet, guitar, or piano, the Intervallistic Concept is universal. Here is how to apply it without the PDF using Harris’s logic:
For musicians, especially wind players seeking to break free from linear, scale-based soloing, the Intervallistic Concept is a masterclass in developing a modern, sophisticated harmonic vocabulary. What is the Eddie Harris Intervallistic Concept?
Offers the complete method for all single-line wind instruments. Here’s a helpful feature summary of what that
The primary goal of Harris’s system is to build fluid technical mastery across non-traditional intervals. When you dive into the exercises found in an Intervallistic Concept text, you will encounter several foundational ideas: 1. Breaking the Tyranny of the Scale
In essence, this concept moves away from traditional chord-scale theory (thinking in modes and chord tones) and instead treats as the primary building blocks of melody and improvisation.
Instead of practicing your major scales linearly, practice them in intervals. Play your C major scale up in fourths: Once you can do this cleanly, reverse the direction or mix the intervals. Step 3: Emulate the Master Ascend by a Major 3rd from E (to G#/Ab)
To the uninitiated, searching for the "Eddie Harris Intervallistic Concept PDF" is a digital rite of passage. It is a quest that leads down rabbit holes of defunct forums, contradictory file-sharing links, and philosophical debates about what the "concept" actually entails. This article serves as a comprehensive guide to that search: what the concept is, why a PDF of it is so coveted, and—most importantly—how the system works to fundamentally change the way a musician views the fretboard or keyboard.
If you want a practical 1‑page PDF guide summarizing the exercises and philosophy, I can generate that for you. Just let me know.
Harris's Intervallic Concept is rooted in a deep understanding of music theory, particularly the study of intervals and their relationships. He drew inspiration from various sources, including classical music, jazz, and African-American musical traditions. By analyzing the works of composers like Stravinsky, Bartók, and Hindemith, Harris developed a keen awareness of the harmonic and melodic potential of intervals.
If a specific jump (like a minor 7th into the altissimo register) fails, loop just those two notes until the muscle memory locks in.
Here is a practical exercise known as a "Harris Cycle" that was transcribed by his student, bassist David Friesen: