Harris heavily utilized symmetrical patterns. If he practiced a pattern of a minor third up followed by a perfect fourth down, he would systematically move that exact geometric shape through all twelve keys, completely independent of a traditional key signature. How to Practice Intervallistic Patterns
Play an ascending major seventh, then drop down a half step and repeat. Example: Low C to Middle B →right arrow Low C# to Middle C →right arrow Low D to Middle C#. Exercise 3: Diatonic Interval Skipping
Wide intervals, particularly perfect fourths and fifths, do not immediately define a chord as strictly major or minor. This gives the improviser immense harmonic freedom. eddie harris intervallistic concept pdf
Intervals like perfect fourths sound less anchored to a specific chord, allowing the player to imply complex harmonies over simple vamps.
He advises against predictable sequences. Instead, vary interval direction, skip sizes, and note lengths to maintain spontaneity. Harris heavily utilized symmetrical patterns
: Specific sections dedicated to syncopation and creative rhythmic resources. Philosophy
Playing stacked fourths over a static minor chords (like a Dorian vamp) creates the classic "Modern Jazz" sound popularized by McCoy Tyner and Chick Corea. 2. Displaced Octaves and Sevenths Example: Low C to Middle B →right arrow
Systematic breakdowns of four-note cells inverted and transposed through every key.
An "intervallistic concept" in the context of jazz saxophone typically refers to the improvisational and technical approach popularized by legendary multi-instrumentalist Eddie Harris, characterized by wide interval leaps (like fourths, fifths, and sevenths) played at high speeds.
At its core, the Intervallistic Concept is a systematic method of practicing and thinking in wide, non-diatonic intervals rather than traditional scales or arpeggios.
Syncopated exercises that break the monotony of continuous eighth-note lines. The Three Volumes of Intervallic Mastery