The Eddie Harris Intervalistic Concept For All Single Line Wind Instruments
Eddie Harris (1934–1996) was a pioneering jazz saxophonist known for his electric saxophone, his hit “Freedom Jazz Dance,” and his deeply original approach to improvisation. In the 1970s, he self-published a book and method titled The Intervallistic Concept , which lays out his personal system for jazz improvisation based on rather than traditional chord-scale theory.
If your solos sound like exercises, this concept forces you to break scale-based playing.
If you’re serious about studying Harris’s method, here are legitimate paths: eddie harris intervallistic concept pdf patched
Systematic exploration of moving intervallic patterns through various harmonic cycles and key centers. Rhythmic Innovation: Deep dives into syncopation and odd-meter navigation. Ejazzlines.com The "Eddieisms"
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This comprehensive article breaks down why Harris's method remains a holy grail of jazz pedagogy, what the "patched" PDF phenomenon means, and how to approach practicing this daunting material. Who Was Eddie Harris? The Eddie Harris Intervalistic Concept For All Single
Harris is often celebrated as the first prominent jazz musician to successfully amplify his saxophone, pioneering the use of the Varitone system, which allowed him to blend his acoustic sound with octave dividers and filters. This electronic exploration never overshadowed his profound harmonic sensibilities. His composition "Freedom Jazz Dance" remains a jazz standard, notable for its melody built prominently on Perfect 4ths—a hallmark of his interval-centric approach.
Mara built a rig around the idea. She routed a saxophone microphone through battered delay boxes, a broken ring modulator, and an old tape head she’d salvaged from a thrift-store reel machine. But she did more than chain effects: she made each effect respond to the silence between notes. The delay would slow when the phrase shortened; the modulator would thin the tone in places where no one expected a thinness. She tethered the circuit to an algorithm that measured micro-intervals—the tiny pitch distances Eddie had taught her to see—and used them to control filter sweeps. When the sax breathed, the machine learned to breathe with it.
The result? Atonal, angular, yet singing lines that sound like no one else. You can hear this concept in Harris’s own playing on tracks like "Freedom Jazz Dance" (though recorded before the book’s formal release) and his later 1970s recordings. If you’re serious about studying Harris’s method, here
The desire for a digital, "patched" version stems from several specific user experiences:
The book is structured to guide musicians through a rigorous series of exercises, but unlike many dry academic tomes, it leaves room for exploration and personal discovery. Here’s a breakdown of what you'll find inside the three volumes:
Because the material is massive, Harris suggested two main ways to approach it: