First published in 1984 by C. Colin, The Intervallistic Concept is structured as a comprehensive three-volume edition, totaling 64 pages per volume or 192 pages overall. It is designed for "all single line wind instruments", but its demanding nature makes it a particular favorite among saxophonists. The book is not a collection of pretty etudes; it is a dense, creative "workout" packed with hundreds of exercises.
The is not a standard textbook. Here is why musicians scour forums and databases for it:
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
To truly understand how this concept sounds in practice, you must listen to Harris’s discography. Digital sheets and PDFs mean nothing without the context of his articulation and time feel. eddie harris intervallistic concept pdf
Connect that cell to the next one by a half step: Ab - A - D - G - C.
Harris's Intervallic Concept is evident in many of his compositions and improvisations. A prime example is his iconic recording of "Sankarumba," which showcases his mastery of intervallic relationships and melodic contour. Other notable examples include "Charging/Discharging" and "Minced Meat," which demonstrate his use of symmetrical and asymmetrical patterns.
Exercises specifically designed to voice wide intervals into the stratosphere of the saxophone. First published in 1984 by C
This is the most usable takeaway for bebop and post-bop players.
Jazz is heavily based on syncopation and rhythmic displacement. By breaking away from step-wise scale motion and adopting Harris's Intervallistic Concept, your lines will naturally become more angular, surprising, and melodic. It is the exact concept used by modern jazz giants like Mark Turner, Chris Potter, and Kurt Rosenwinkel, even if they don't explicitly call it by Harris's name.
Instead of playing a C major scale as C - D - E - F - G , play it in fourths. C - F - B - E - A - D - G The book is not a collection of pretty
His Intervallistic Concept flips traditional improvisation on its head. Instead of moving smoothly from one note to the adjacent scale tone, Harris focused on . By organizing the saxophone (or any instrument) around specific intervals—fourths, fifths, minor sixths, and major sevenths—he unlocked a highly modern, angular sound that broke free from standard bebop clichés. Key Core Principles of Harris's Method
Harris wanted musicians to practice manipulating intervals. For example, if you are playing a melody and the next note you hear in your head is a Perfect 5th away, you should be able to jump that 5th flawlessly, regardless of what key you are in or what scale the chord chart says you are supposed to be playing.
Solo over a ii-V-I progression (Dm7-G7-Cmaj7). Play only the intervals from Step 1. You are now playing "Intervallistically." You will hit "wrong" notes (like Ab over Dm7), but because they are generated by a strict 4th cycle, they will sound like calculated tension, not mistakes.
But what if you use a descending minor 2nd (1 semitone) followed by an ascending Major 3rd?
The is not just a collection of finger exercises. It is a philosophical manifesto: Melody is the horizontalization of vertical intervals.