Eddie Harris Intervallistic Concept Pdf Patched ((install)) Guide
Instead of thinking vertically (stacks of notes forming chords), Harris proposed thinking horizontally via intervals . He argued that any chord could be navigated not by its parent scale, but by the intervals created between the chord tones and the extensions.
– Provides examples of compositions and solos showing the concept in action.
Do not just download the patched PDF and let it sit on your desktop. Print it. Spiral bind it. Put it on your music stand next to your horn. eddie harris intervallistic concept pdf patched
Most music education teaches scales first (C major, G Dorian, etc.). You learn the "color" of the scale, then you learn to jump around inside it. Harris flipped the pyramid.
These leaps are awkward; prioritize tone quality over speed. Instead of thinking vertically (stacks of notes forming
Notice there is no scale. There is only distance. This is the Intervallistic Concept in a nutshell.
The genius of the Intervallistic Concept lies in its reduction of complexity. Harris proposed that the vast array of scales used in jazz could be distilled into two primary categories based on intervals: scales that resemble the Major scale (or Melodic Minor) and scales that resemble the Diminished or Whole-tone scales. Do not just download the patched PDF and
Download it. Print it. Bind it in a red cover. Stare at the interval cycles until your eyes cross. Then put down the PDF, pick up your horn, and play a C to an E-flat. That’s not a minor third. According to Eddie Harris, that’s “the color of a setting sun over Lake Michigan.” Now you’re getting it.
Eddie Harris's intervallic concept has had a significant influence on jazz and improvisation. Many musicians have adopted and expanded upon his ideas, incorporating intervallic playing into their own styles.
While theoretically sound, this approach often results in a "vertical" style of improvisation. The soloist sounds as though they are navigating a series of hurdles, switching scales every time the chord changes. The musical output can become disjointed, lacking the narrative arc that characterizes the playing of masters like Lester Young or John Coltrane. Harris identified this cognitive overload as a barrier to genuine expression. He sought to "patch" this system, creating a workaround that prioritized the melodic line over the vertical stack of chord tones.
If you are looking for the , you are likely seeking the "patched" or refined insights that distill his unique method for applying large intervals, parallel motion, and non-traditional phrasing across the horn.
