Scales studies

for
saxophone

Harry Sparnaay
(2014/2015)
Jazz lines: Julio Kobryn

For my 70th birthday, I got a great gift from Buffet Crampon. My first love: a tenor sax. When was 14 years
old I started to play this instrument, and I have never forgotten it. For years I played difficult and VERY
difficult music, and didn't need to practice scales. I needed all my time to study and control all the difficult phrases.
And now?
Now with my first love I play another kind of music in which scales are certainly essential. So I started, in the
first place only for myself, to write these studies and writing, writing... I enjoyed it more and more. Here is the result.
And, if you enjoy it as much as I did when I wrote it, I will be very happy.
Translation: Harry Sparnaay and Roderik de Man

Por mis 70 cumpleaos recib de Buffet Crampon un gran regalo. Mi primer amor: un saxo tenor. Cuando
tena 14 aos comenc a tocar este instrumento, y nunca lo he olvidado. Durante aos toqu msica difcil y
MUY difcil, y no tuve necesidad apenas de practicar escalas. Necesitaba todo mi tiempo para estudiar y
controlar todas las frases difciles.
Y ahora?
Ahora con mi primer amor toco otra msica en donde las escalas son ciertamente esenciales.
As que empec, en primera instancia solo para m mismo, a escribir estos estudios, y escribiendo, escribiendo
tdisfrutaba cada vez ms. Aqu, por lo tanto, tenis el resultado..Y, si disfrutis como yo
Y, si disfrutis como yo cuando los escrib, ser muy feliz.
Translation: Silvia Castillo and Nino Daz

Pour mes 70 ans, la maison Buffet Crampon me fit un immense cadeau! Mon premier amour : un saxo
tnor !Adolescent, je devais avoir alors environ 14 ans, jai commenc jouer de cet instrument que jai du
abandonner par la suite, mais que jai toujours port dans mon cur durant toute ma carrire de clarinettiste.
Des annes durant, jai interprt des uvres complexes, difficiles et mme dextrmes difficults et je nprouvais
pas le besoin de faire des gammes ; qui plus est, je devais occuper tout mon temps tudier de longues heures
afin de contrler les passages et phrases si difficiles, propres certaines uvres modernes.
Et maintenant ?
Maintenant, ayant rejoimt mon premier amour, je joue un autre genre de musique qui moblige travailler ces
fameuses gammes, si essentielles lapprentissage dun tel instrument.. Dans un premier temps, jai commenc
inverter et crire des exercices seulement pour moi-mme, puis, me prenant au jeu, je me suis mis crire avec
avec enthousiasme, ces tudes, afin peut-tre den faire profiter dautres commenants.
Vous en dcouvrirez ici el rsultat.
Et si vous y trouvez le mme bonheur que celui que jai prouv en crivant ces pices, jen serai rellement trs
Translation: Jean- Pierre Dupuy

Page 2

1.Mayor scales
a. scales studies.............................................................................................................10-59
b. chords......................................................................................................................... 60-90
c. preparing scales for Jazz lines 1.................................................................................91-96
d. Jazz lines 1................................................................................................................. 97-99
e. preparing scales for Jazz lines 2.............................................................................. 100-105
f. Jazz lines 2 ...............................................................................................................106-108

2.Melodic Minor scales

a. scales studies.......................................................................................................... 109-157
b. chords...................................................................................................................... 158-188
c. preparing scales for Jazz lines 1.............................................................................. 189-191
d. Jazz lines 1............................................................................................................... 191-195
e. preparing scales for Jazz line 2............................................................................... 196-199
f. Jazz lines 2................................................................................................................ 200-202

3.Harmonic Minor scales

a. scales studies...........................................................................................................203-259
b. chords.......................................................................................................................260-288
c. preparing scales for Jazz lines 1.............................................................................. 289-291
d. Jazz lines 1............................................................................................................... 292-296
e. preparing scales for Jazz line 2............................................................................... 297-299
f. Jazz lines 2................................................................................................................300-303

4.Gipsy scales
a. scales studies.......................................................................................................... 304-360
b. chords...................................................................................................................... 361-389
c. preparing scales for Jazz lines 1............................................................................. 390-393
d. Jazz lines 1...............................................................................................................394-399
e. preparing scales for Jazz lines 2.............................................................................. 399-401
f. Jazz lines 2................................................................................................................402-404

5.Diminished scales

(also called: Octotonic scale)

a. scales studies 5/1.............................405-423

b. preparing scales for Jazz lines 1........... 424
c. Jazz lines 1.......................................425-429
d. preparing scales for Jazz lines 2...... 429-430
e. Jazz lines 2.......................................431-435

a. scales studies 5/2..................................436-453

b. chords....................................................454-462
c. preparing scales for Jazz lines 1................. 463
d. Jazz lines 1............................................464-469
e. preparing scales for Jazz lines 2................. 470
f. Jazz lines 2.............................................471-474

6.Blues scales
a. scales studies...........................................................................................................475-524
b. preparing scales for Jazz lines 1...............................................................................525-527
c. Jazz lines 1............................................................................................................... 528-529
d. preparing scales for Jazz lines 2...............................................................................530-532
e. Jazz lines 2...............................................................................................................533-534

7.Whole Tone scales

a. scales studies...........................................................................................................535-544
b. chords.......................................................................................................................545-547
c. preparing scales for Jazz lines 1...............................................................................548-549
d. Jazz lines 1...............................................................................................................550-552
e. preparing scales for Jazz lines 2...............................................................................552-556
f. Jazz lines 2................................................................................................................556-560

8.Chromatic scale
a. scales studies.......................................................................................................... 561-570
b. variations................................................................................................................. 571-584

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The scales are used in 7 different ways:

A:triplets and in three different combinations
B,C and D:
16th and in 2 different combinations

A 1
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A 2
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A 3

ALSO:

C1

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FOR THE STUDIES WITH TRIPLETS

B 2

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D 2

FOR ALL THE STUDIES WITH 16th NOTES,

USE ALSO THESE RHYTHMICAL CHANGES:

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I use a three octave range for

all scales and studies

( )

( )
8va

But when you only want to go up till the F/F#

or till the high Eb (or even higher), it is very easy
to quit the high note bars or go on
with the patterns.

Because I wanted to avoid page turns at any time

there are sometimes more (or less) notes on a page than
on other ones!
Only in Chapter 8 (Chromatic scale) some page turns were inevitable

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1 - Mayor scale

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2 - Melodic minor scale

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5/1 - Diminished scale

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ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

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FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
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FOR ALL 16th SCALES AND STUDIES

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1a - C

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1b - Eb
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1a - F

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1a -F#

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1c - F#

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1a -G

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1c - Ab

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1d - Bb
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Chords 1
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Chords 2
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Ch ords 3
Here some articulations and variations examples for the following chords studies:

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Chords 4

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Page 89

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Page 90

Preparation scales for Jazz Lines 1

= =

3
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2 3 3

%3

= 3 3
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Page 91

= =

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Page 92

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Page 93

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Page 95

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Page 96

Jazz Lines 1
Julio Kobryn
(see page 99)

%3
%

for all the jazz lines:

=
3

%
%

Page 97

%
%

Page 98

Julio Kobryn, Argentinian saxophonist and clarinetist, is a graduate of the

Universidad Nacional de Rosario, Argentina, where currently he is professor of
Saxophone, Clarinet and Chamber Music. He also is a graduate of Berklee
College of Music, Boston, USA and an experienced performer in the areas
of jazz and classical music. Julio has been very active in his homeland as a
performer and giving workshops. At the moment he is also director of the
Escuela Municipal de Msica de Rosario

Page 99

Preparation scales for Jazz Lines 2

with chromaticis m s
3
%3

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Page 100

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Page 101

 = =

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Page 102

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Page 103

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Page 104

%

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Page 105

Jazz Lines 1
with chromaticis m s

%3

%

%

%

=
3

for all the jazz lines:

Julio Kobryn

Page 106

Page 107

%
%

Page 108

2 - Melodic minor scales

3
3

% 3
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Page 109
3
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(see page 111)

%

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Page 110

ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

% 3

%

%



%

%
%

Page 111

%
%

Page 112

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 113

2a - C

3
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%
3
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3
3
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% 13

3
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%

3
3

you can add this variation:

=
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etc.

3
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%
3
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( )

you can add this variation:

=
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etc.
Page 114

3
3
3
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%
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%
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%
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%

3

you can add these variations:

% 3

2b - C

% 3

%
()

%
()

Page 115

2c - C

possible variation:

etc.

Page 116

simile
=
=

=
=

2d - C

Page 117

2a - C#
1
%
3
%

3
3
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( )

3
%
3

you can add this variation:

=
=
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etc.
Page 118

3
3
3

( )

%
3
3
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3
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3
3
( )
3
3
3
3
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%


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%
%
%
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you can add this variation:

= =
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etc.

3

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3 3

%
3

you can add these variations:

Page 119

2b - C#
1

%
3

%
()

()

%


%
%

Page 120

2c - C#

()

possible variation:

etc.

simile
=
=

=
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%

%
%

Page 121

2d - C#

2a -D

3
3
3
3
3
3
3
3

% 3

3
3

%
3
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3


%

%
3

you can add this variation:

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etc.
Page 122

3
3
3

3
3

%
3
3
3
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%
3
3
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( )
3
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%
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= =

etc.

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%
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%
you can add this variation:

you can add these variations:

Page 123

2b - D

% 3

%
()

( )

%
( )

Page 124

2c - D

%
%

possible variation:

etc.

=
simile
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%
%

Page 125

2d - D

%
%

Page 126

2a -Eb
3
3

1 3

% 3
3
3
3
3
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3
3

3
3
3
3


%

3
3

you can add this variation:

= = =

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etc.

3 3

%
3
3
3
3
3
3

%
3
3
3
3
3
3
3
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( )

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3

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3
3
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%

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3

= = =

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= = =
you can add this variation:

etc.

Page 127

3
3

3
3

%
3
3
3
3

3
3
3
3
3

3
3

3 3
3 3 3 3



%

you can add these variations:

2b - Eb

% 3

()

%
()

Page 128

2c - Eb

% etc.
=

= simile

=
=

%
possible variation:

Page 129

2d - Eb

2a -E

3
3
3
3
1

% 3
3
3
3
3

3
3

%
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you can add this variation:

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etc.
Page 130

%
3
3
3
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3

%
3
3
3
3
3
3
3
3

(
)

( )

%
3

%
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you can add this variation:

etc.

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3

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3
3
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3

you can add these variations:

Page 131

2b - E

% 3

%
( )

%
( )


%

2c - E

%
%

possible variation:

etc.

Page 132

=
=
simile

=
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2d - E

Page 133

2a - F

1 3

% 3
3
3
3
3
3
3

%
3
3
3
3 3 3 3

%
3

%
3

you can add this variation:

= = =

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etc.
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3

3
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3
3
3
3
3
3
3

3
3

%
3
3
3
3
3
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(
)



%
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%
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=
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you can add this variation:

etc.

you can add these variations voor a3 on the next page:

Page 134

3
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%
3
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%
3

2b - F

% 3

%
()

%
()


%

Page 135

2c - F

%

possible variation:

etc.

= = = simile

%

%

2d - F

Page 136

2a -F#

3
3
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1

% 3
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%
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%
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( )

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Page 137

%

3
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3

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2b - F#

% 3

%
( )
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%

Page 138

2c - F#

possible variation:

etc.

= simile

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2c - F#

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etc.
possible variation: %

Page 139

%

%

2a - G

% 3
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Page 140
3

%
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2b - G

% 3

%
( )

Page 141

etc.
possible variation: %

= simile

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2c - G

2d G

Page 142

2a -Ab

1
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you can add these variations voor a3 on the next page:

Page 143

%
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2 b - Ab

( )

Page 144

2 c - Ab

possible variation: %

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2 d - Ab

Page 145

2a -A

3
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% 13

%
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you can add this variation:

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3

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Page 146

 3
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%

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1

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you can add these variations:

2b - A

( )

Page 147

2c - A

%



%

possible variation: %
etc.

=
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%
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simile

2d - A

Page 148

2a - Bb

3
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%
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% 13

%
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you can add this variation:

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%
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3
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you can add these variations:

1
% 3

2b - Bb

()

()

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%

Page 150

2c - Bb

%
possible variation:

etc.
Page 151

simile
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%

2d - Bb

Page 152

2a - B
1
% 3

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you can add this variation:

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Page 153

3
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%
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you can add these variations:

Page 154

 1
% 3

2b - B

%
()

%
()

%
%

%
%

( )

%




%

Page 155

2c - B

possible variation:

etc.

simile
=
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Page 156

2d - B
%

%

%

Page 157

Chords 1
3
%3

= = =

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%
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%
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5
%3
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Page 158

Chords 2
three different articulations
1

= = =
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%

1
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Page 159

%
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Page 160

Ch ords 3

3
3
3
3

Here some articulations and variations examples for the following chords studies:

It's clear you can add yourself a lot more.

% 3

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3

33
% 32

%
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Page 161

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% 3
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Page 166

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3
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Page 170

% 3

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Page 171

 3
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Page 172

Chords 4

% 3

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Page 174

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Page 175

 =
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Page 176

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Page 177

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Page 178

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Page 180

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Page 181

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Page 182

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Page 183

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Page 184

3
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Page 185

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Page 186

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Page 187

 3
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Page 188

Preparation scales for Jazz Lines 1

% 3

%

%

Page 189

%

%

Page 190

Jazz Lines 1 *

Julio Kobryn

% 3

for all the jazz lines:

%
* In

the melodic minor lines Im using only the "ascending" melodic minor scale,
in the way is used in jazz for minor chords containing major sixth and seventh.
Page 191

Page 192

%
%
%

Page 193

%
%

Page 194

%




%

Page 195

Preparation scales for Jazz Lines 2

with chromaticis m s
3
% 3

%
%
%

%
%

Page 196

Page 197

%
%

%
%

Page 198

%
%

%
%

Page 199

Jazz Lines 1
with chromaticis m s

3
% 3

%

for all the jazz lines:

%
%

=
3

Julio Kobryn

Page 200

%
%

Page 201


%
%

%
%

%

%

Page 202

3. Harmonic minor scales

3
3 3

% 3

3
3
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3
3

%
3 3
3
3

3
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3

%

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Page 203

3
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3 3


%
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3 3

3
3
3
3
3
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3
3
3
ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

Page 204

% 3
%

%
%

Page 205

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 206

3a - C
3
3
3
3
3

% 3
3
3
3

%
3
3
3
3
3
3
3
3

%
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3
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3
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you can add this variation:

% 3
= = = = = =

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3
3
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3
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% 3
3
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%
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3
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%
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%
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you can add this variation:

1
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= = =
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etc.
Page 207

%


3
3

%
3
3
3

3
3

%
3
3

%
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3
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3
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3
3
3
3
3

3
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you can add these variations:

% 3
1
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3b - C

Page 208


%
%

3c - C

%

possible variation:

etc.
Page 209

simile
=
=

%




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%
%

3d - C

Page 210

3a - C#

3
3
3
3
3
3

%
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3
3
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%
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3
3
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3
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3
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3
3

you can add this variation:

= =
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=

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you can add this variation for a2 on the next page:

= =
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etc.
Page 211

3
3
3
3
3
3
3
3
3

%
3

%
3
3
3
3
3
3
3
3

3
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%
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3 3 3

%
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%
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%
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you can add these variations:

Page 212

3b - C#

1

%
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%

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%
%
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Page 213

3c - C#

%

possible variation:

=
=

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%

%

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etc.

Page 214

3d - C#
%

%

%
%

%
%

Page 215

3a - D
3
3
3
3
3

% 3

3
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%
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3
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3
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you can add this variation:

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Page 216

%
%

3
3
3
3
3
3
3

3
3
3
3
3
3
3

3 3 3


3

you can add these variations:

3b - D

1
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%


%

%
%

Page 217

%
%
%

3c - D

%


%


possible variation:

etc.
Page 218

%
%

=
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%
%
%

3d - D

Page 219

%
%

3a - Eb

3
3
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you can add this variation for a2 on the next page:

etc.
Page 220

3
3
3
3
3
3
3
3

3

3
3

%
3
3
3
3
3



%
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3
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3

%
3
3
3
3
3
3

you can add these variations:

Page 221

3b - Eb
1

% 3

Page 222

3c - Eb

%

%
possible variation:

etc.

=
simile
=

%


=
=

Page 223

3d - Eb










%














%

Page 224

3a - E

3
3
3
3
3
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3 3
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3 3
3

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3
3
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3

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you can add these variations for a3 on the next page:

Page 225

%

3
3

%
3

%
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3b - E
1

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%
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Page 226

%
%

3c - E

possible variation:

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Page 227

=
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=

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3d - E
%

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Page 228

%
%

3a - F
3
3

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3
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Page 229

%

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= = =

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etc.

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3b - F

1

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3c - F

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%
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Page 232

3d - F
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3a - F#

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you can add this variation:

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Page 234

3




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3b - F#

% 3

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%
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%
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etc.

Page 236

simile
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%

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Page 237

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3

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Page 238

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Page 239

3b - G
1
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%
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Page 240

3c - G

%
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possible variation:

=
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%

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3d - G

%
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Page 242

3a - Ab

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3

you can add this variation:

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etc.

%
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%
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=
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%
you can add this variation:

etc.

you can add these variations for a3 on the next page:

Page 243

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3b - Ab

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Page 244

3c - Ab

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%

possible variation:

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Page 245

3d - Ab

%

%

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%3
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etc.
Page 246

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= = = = = =

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Page 247

3b - A

1
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possible variation:

etc.
Page 248

=

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simile

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%
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3a - Bb

3
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%
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you can add this variation:

=
= =

= =
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etc.

3
3

%
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Page 250

3
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1
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3b - Bb

%



%

Page 251

3c - Bb

possible variation:

etc.
Page 252

=
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Page 253

3d - Bb

Page 254

3a - B

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you can add this variation:

etc.

=
= =
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3
3 3
%
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%
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=
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= = =

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you can add these variations for a3 on the next page:

Page 255

3
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%




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%
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Page 256

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%

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Page 257

simile
=
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3d - B

Page 258

%

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Page 259

Chords 1

3
3
3
3

Here some articulations and variations examples for the following chords studies:

It's clear you can add yourself a lot more.

% 3


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 3
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Page 268

3
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Page 270

 3
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Page 271

Chords 2
articulation examples for the following chords studies:

= = = = = =

=
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= =

% 3

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Page 272

%
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Page 273

%






%

Page 274

% 3

Page 275

Page 276

Ch ords 3

% 3

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Page 277

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Page 278

% 3

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Page 279

% 3

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Page 280

% 3

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Page 281

= = =

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Page 282

% 3

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Page 283

% 3

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Page 284

3
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Page 285

3
%3

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Page 286

%
3
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Page 287

%
3
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Page 288

Preparation scales for Jazz Lines 1

3
% 3

3
3
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3


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%



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Page 289

%
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Page 290

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%

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Page 291

Jazz Lines 1
Julio Kobryn

3
% 3

for all the jazz lines:

3

Page 292

%
%
%
%

Page 293

%

%
%

Page 294


%
%

%
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Page 295

%
%

Page 296

Preparation scales for Jazz Lines 2

with chromaticis m s

3
3
3

%
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%

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Page 297

3

%
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Page 298

3

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3 3

=
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%
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%

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Page 299

Jazz Lines 1
with chromaticis m s

%
%

%
%

=
3

for all the jazz lines:

Julio Kobryn

Page 300

%
%

Page 301

%
%

%
%

%
%

Page 302

%
%

Page 303

4. Gipsy scales

3
3 3

% 3

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%
3 3
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%

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Page 304

3
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3 3


%
3

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3 3 3

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3 3

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3
ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

Page 305

% 3
%

Page 306

%
%

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 307

4a - C
3
3
3
3
3

% 3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3
3


%

3
3
3

you can add this variation:

1
% 3
= = =
= = =

etc.

%
3
3
3
3
3
3
3
3

%
3

3
3


%
3

1
% 3
= = =
= = =
you can add this variation:

etc.
Page 308

3
3
3

%




3
3
3

%
3
3
3
3
3

%
3
3
3
3
3 3 3

3
3

%
3

3 3
3 3

%




3
3
3
3
3

you can add these variations:

% 3

% 13

4b - C

%

Page 309

4c - C

%

possible variation:

etc.
Page 310

simile
=
=

%


=

=

4d - C

%
%

Page 311

4a - C#
3
3
3
3
3
3

%
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3

3
3
3
3
3
3

you can add this variation:

= = =
= = =

etc.
Page 312

3
3
3
3
3
3
3
3
3

%
3

3
3

3
3

%
3
3
3

%
3

3
3
3
3
3
3

%

3
3

you can add this variation:

= =
=
=
=
=

etc.

%




3
3
3
3

3

%
3
3
3
3
3
3
3

%
3

%
3
3
3
3
3
3
3
3

3
3

%
3

%
%

you can add these variations:

Page 313

4b - C#

%
3

%



%


%

Page 314

4c - C#

etc.
possible variation: %

simile
=
=

=
=

%

%
%
%

Page 315

4d - C#
%

%

%
%

%
%

Page 316

4a - D

3
3
3
3
3

% 3

3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3

%

3
3
3

you can add this variation:

= =

etc.
= = =
=
3
3
3
3
3
3
3
3

% 3

%
3
3
3
3
3
3
3
3

%
%

3
3
3
3

%

3

you can add this variation:

= =

=
=
=
=

etc.

you can add these variations for a3 on the next page:

Page 317

3
3

%



3
3
3

%
3
3
3
3
3
3
3

%
3
3
3
3
3 3 3

%
3

%
%

4b - D

1
% 3

%


%

%
%

Page 318

%
%
%
%
%

4c - D

possible variation:

etc.
Page 319

=
=
simile

%


=
=

%
%
%

%
%

4d - D

Page 320

%
%

4a - Eb

3
3
3

3

% 3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3


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3
3
3
3
3

= = =

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you can add this variation:

etc.

you can add this variation for a2 on the next page:

=
= =

= =
=

etc.

Page 321

3
3
3

%
3
3
3
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3
3

%
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%
3

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%
3
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3

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3
3
3
3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

you can add these variations:

Page 322

4b - Eb
1

% 3

Page 323

4c - Eb

%

possible variation:

etc.

=
= simile

%


=
=

Page 324

4d - Eb






%



%

Page 325

4a - E

3
3
3
3
% 3

%
%

3
3
3
3

%

3
3

you can add this variation:

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%
= = =

etc.

3
3
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4a - Bb

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Page 360

Chords 1

3
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Here some articulations and variations examples for the following chords studies:

It's clear you can add yourself a lot more:

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Page 372

Chords 2
articulation examples for this and the following chords studies:

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Page 377

Ch ords 3

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Preparat ion scales for Jazz Lines 1

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Page 393

Jazz Lines 1
Julio Kobryn

6
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87

Preparation scales for Jazz Lines 2

with chromaticis m s

% 3






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Page 401

Jazz Lines 1
with chromaticis m s
Julio Kobryn

% 3

Page 402

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Page 403

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Page 404

Diminished scales - 5/1

A diminished scale or octotonic scale consists of alternating whole and half steps. It is an eight-tone
scale; that is, eight tones are required to fill in the octave. The diminished/octotonic scale has only
two modes. Mode 1 (here called 5/1) begins with a whole step. The scale is very often used by
famous composers such as Igor Stravinsky. Mode 2 (here called 5/2) begins with a half step and is
very popular in modern jazz improvisation because it provides very colorful tensions (b9,#9,#11
and 13). Both scales are symmetrical, so you have only three possible transpositions.
When you reach a minor third from the original scale the structures begin to repeat.

3
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% 3

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Page 405

Diminished scales - 5/1

% 3

Page 406

5/1a - Bb

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Page 407

3
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Page 408

5/1b - Bb
1
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Page 409

%
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Page 410

5/1c - Bb

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5/1d - Bb
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Page 412

5/1a - B

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Page 413

3
3

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Page 414

5/1b - B
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Page 415

%
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Page 416

5/1c - B

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Page 417

5/1d - B
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Page 418

5/1a - C

3
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Page 419

3
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Page 420

5/1b - C

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Page 421

5/1c - C

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Page 422

5/1d - C





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Page 423

Preparation scales for Jazz Lines 1

% 74

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7

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67

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Page 424

4
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Jazz Lines 1

47

Julio Kobryn

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4
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67

2
%7

2 6
%7
7

2
6
% 7 7

% 74

2
7

27

27
Page 427

4
% 7
%

4
7

% 27 67

Ab

% 74

2
%7

27

74

2
7

% 74

2
%7

2
7

2
7

2
6

%7 7

Bb

%7
%

2
7

27

27

2
7

Page 428

4
%7

4
%7
%

2
7

% 27

4

7

%
% 27

74

2
7

2
7

27

Preparation scales for Jazz Lines 2

with chromaticis m s
32 57

5
2

%3
7


2
2
5

%
3
7
3
5
% 7

% 7

1.

2.

Page 429

32 57

2
5
%3
7
%

2
3

5 2
7
3

% 57

1.

2.

2 5
7
3

57

% 32
%

23

57

1.

2.

Page 430

5
%7
%

C#

%
% 57

% 57
%

% 57
%

2
3

32

32

32

2
3

57

23

23

Julio Kobryn

5
7

2
3

Eb

5
% 7

Jazz Lines 1
with chromaticis m s

57

57

57

57

5
7

5
7

Page 431

5
%7
%
%
5
%7
%

%
5
%7
%

2
3

5
7

2
3

2
3

2
3

5
7

5
7

5
7

32

5
7

5
7

2
3

5
%7
%

2
3

2
3

5
7

57

Page 432

F#

5
%7
%
%
5
%7

5
%7

%
%
5
%7
%

2
3

5
7

2
3

5
7

2
3

2
3

2
3

2
3

2
3

2
3

5
7

5
7

5
7

5
7

5
7

5
7

Page 433

Ab

%
5
%7

%
%
5
%7
%

5
%7

2
3

2
3

2
3

2
3

5
7

5
7

5
7

5
7

5
7

2
3

2
3

5
7

Page 434

Bb

5
%7
%

5
%7
%

2
3

2
3

2
3

5
7

32

5
7

5
7

57

Page 435

Diminished scales - 5/2

semitone-tone

%
%

3
3




3

3
3

3
3
3
3
3
3

3
3
3

%

3
3
3
3
3

3
3
3
3
3


3
3
3

%

3
3
3
3
3

ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

Page 436

Diminished scales - 5/2

%
%

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 437

3
%3

5/2a - Bb
3

%
3
3
3
3

3 3 3 3

%
3

The two variations for a1 and a2

you'll find on the next page

3
3
3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3


%
3
3
3
3
3
3
3
3

%

3
3

Page 438

Variation a1:

Variation a2:

= = = = =
=

= = =
=
=
=

3
3

%
%

%
%
%

%
3

etc.

3


%

3
3

etc.

you can add these variations:

% 33

Page 439

5/2b - Bb
1
%3

%
%
%

Page 440

%
%
%
%
%

Page 441

5/2c - Bb

%



%
1
%3

possible variation:

etc.

simile
=
=




%

Page 442

5/2d - Bb

%
% 13

%
%

Page 443

5/2a - B

3
%3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3 3 3 3

%
3

3
3
3
3
3
3

3
3
3
3

you can add this variation:

= = = = =
=
3

etc.

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3
3 3 3 3

you can add this variation:

=
=
=
=
=

etc.

you can add these variations for a3 on the next page:

Page 444

3
3
3

3
3
3
3
3

%


3
3
3
3
3

%
3
3
3
3
3
3
3
3






%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

%
1
%3

5/2b - B

%


%


%


%
%

Page 445

%






%



%



%

5/2c - B

1
%3
%
%

possible variation:

etc.
Page 446

=
=
=

%




%
%

%
%
%
%
%

1
%3

=
simile

5/2d - B

%
%

Page 447

%
%
%

5/2a - C

3
3
3
3
3
3
3

% 3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3


%
3

3
3
3
3
3

%

3
3
3
3

%
=
=
= = =
=

you can add this variation:

etc.

you can add this variation for a2 on the next page:

%
= = =
=
=
=

etc.
Page 448

3
3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

3
3
3
3

%

3
3
3
3

3
3
3

3
3
3
3
3

3

%

3
3
3
3
3
3

%
3
3
3
3
3
3
3
3






%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

3







%
3
3
3
3
3
3
3
3
3
3 3

3
3
3
3
3

variations for a3 you'll find on the next page:

Page 449

variations for a3:

1
% 3

%
%
%
%
%

5/2b - C

Page 450

%
%
%
%
%

Page 451

1
% 3

%

%

5/2c - C

possible variation:

etc.

=
=
simile
=
=






%

%


%

Page 452

5/2d - C

1
% 3

%




%

%
%
%

%
%

Page 453

Chords
three different articulations
2

=
=
=

=
=
=
=

%
1
%3

%
%
%

Page 454

three different articulations

1

=
=

=
=
= =
=

%
%
%
%
%

Page 455

three different articulations

= =

=
=

=
=
=

%
1
%3

%
%

Page 456

three different articulations

=
=

=
=
=
=
=

%
%
%
%

%
%

Page 457

three different articulations

1
% 3
=
=
=
1

= = =

=
=
3

%
%
%

Page 458

three different articulations

=
=
=
=
=

= =
=

%
%
%
%

Page 459

Chords 2

three different articulations

3
%3

2
3
3 3

= = = =

33
3
2

3

3
3
2 3

3
% 3
3
1

= = =
=
=
2 3
%3

3
3

2
3

3
3
3
3
3
3
3
3
3
3

33
% 32
32
3
3
3
3

3
2
3
%3
3
3
3
3
3
3
3
3
3
3

2
3
2
%3
3
3
3
3
3
3

2 3
3

%3
3
3

2
3
%3
3
3
3
3
3

3
2
%3
3
3

2 3 2
3
3

%3
3

3
2
3
% 3 3 3
3

2
% 3

Page 460

three different articulations

3
%3

2
3

= =
= =
= = = = =
=
3 3
3

2
3

% 3 3
3
1

3
% 3
3
3

3
2
2
3
3
%3
3
3
3
3

3
3
2
%3
3
3
3
3
3
3
3
3
3
3

3
2
2
3
3
%3
3
3
3
3

3
2
%3
3
3

% 32

3 2
3
3
3

3
%3
3

2 3
3
3
3

3
2 3
2
%3
3 3
3

3 3
2
% 3 3

Page 461

three different articulations

1

3
2
3
% 3 3 3

= = = =
= = = = = =
3
3 3

2 3 2
%3
3
3

3
% 3
3
3
3
3
3
3
3
3
3

3
2
2
%3
3
3
3
3
3
3

3
2
3
%3
3
3
3
3
3
3
3
3
3
3

3
2
2
3
3
%3
3
3
3
3

3
2
3
%3
3
3
3
3
3
3
3
3
3
3

33
32
% 32
3

3 2 3
%3
3
3
3

2 3 2
3
3

%3
3

2
3
% 3
3

3

Page 462

Preparation scales for Jazz Lines 1

%3

3
3

3
3
3

3
3
3

3
3

%
3

3
3
3

Page 463

Jazz Lines 1
Julio Kobryn

3
%3

%
%

C#

%
%
%

=
3

for all the jazz lines:

Page 464

%
%

%
3

%
%

%
%

Page 465

Eb

%
%

%

%
%

%
%

Page 466

%
%

Page 467

F#

%
%
%

%
%

%
%

Page 468

Ab

%
%
%

Bb

%
%

%
%

Page 469

Preparation scales for Jazz Lines 2

with chromaticis m s

% 01
7

%

%

Page 470

Jazz Lines 1
with chromaticis m s
C

01
% 7

%
%

Db

%
%
%

Julio Kobryn

Page 471

%

%

Eb

%
%

%
%

Page 472

%
%
%

F#
%

%
%

Page 473

Ab

Bb



%

%
%

Page 474

6. Blues scales

1 3

% 3
3
3
3
3
%

3
3
3

3
3
3
3

3

3
3

3
3
3
3
3
3
3
3

3
3

3
3
3
3
3
3
3
3

3
3
3

3
3
3
3
3
3
3
3

3

3

Page 475

3
3

3

%

3

3
3

%

3

%
3

3
3


3
3
3

%

3
3
3
3
3
3
3

3 3

3
3
3
3
3
3
3
3

3

3
3
3

3
3
3
3
3
3
3
3

ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

Page 476

% 3
%

Page 477

%

%

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 478

6a -C

3

% 3

3
3
3

%
3
3
3
3
3
3
3
3

%
3

3
3
3
3
3

3
3
3

you can add this variation:

1
% 3 = etc.
= =
=
=
=
3
3
3
3
3
3
3
3

3

3 3
%
3
3
3 3 3

%
3

3
3
3

3
3
3

1
%3

= =

=
=
=
=
you can add this variation:

etc.

you can add these variations for a3 on the next page:

3
% 3

Page 479

3
3

%
3

%
%
%

6b -C

%



%

%
1
%3

Page 480

%
%
%
%

6c -C
%
%

%
possible variation:

3
% 3

etc.

Page 481

=
=
simile

=
=

6d -C
%

%
%

Page 482

6a - C#
3
% 3
%
%

%
3

you can add this variation:

= =
=
=
=
=

etc.

Page 483

%
3
3
3

%

3

% 13

= =

= =
=
=

%
3

%
%
%
%

3




3

you can add this variation:

etc.

you can add these variations:

Page 484

6b - C#
%

%
%
%

%
%

Page 485

6c - C#

%
%

%
possible variation:

3
% 3

etc.

=
=
simile

%




=
=

%
%
%
%

Page 486

6d - C#

%
%

1
% 3

%
%

Page 487

6a - D

3
% 3
%
%

3

%

3

you can add this variation:

= =

etc.
%
=
=
=
=
3
3
3
3

%
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3

you can add this variation:

= =

%
=
=
=
=

etc.
Page 488

3
3
3

%
3
3
3
3
3
3

%
3
3
3
3
3
3

%
3

%
%

6b -D

% 13
%

you can add these variations:

3


3

Page 489

%
%

6c - D

%
%

possible variation:

etc.

Page 490

=
=

simile
%


=
=

%
%
%

%
%

6d - D
%
%
%

Page 491

%
%
%

6a -Eb

% 3
3

%
%

3


%
3

= = =
%
=
=
=

you can add this variation:

etc.
Page 492

3 3
3

%
3
3
3
3
3
3
3
3


%
3

you can add this variation:

3


%

3
3

%
3
3
3
3

%
3
3
3
3

%
3

3
3
3

you can add these variations:

etc.

Page 493

6b -Eb

1

% 3
%
%

%



%

Page 494

6c -Eb

%




%
%

possible variation:

etc.

=


simile

%
=
=
=

%

%
%

Page 495

6d -Eb
%
%
%

%
%

Page 496

6a -E

3
3
3
3

3

% 3
3
3
3

%
3
3
3

3


%
3
3
3

= = =

you can add this variation: %
etc.
=
=
=
3
3
3

%
3
3
3
3
3

%
3
3
3
3
3
3
3
3

3
%

3
3
3
3
3
3
3

=
= =
etc.
you can add this variation: %
=
=
=


3

3

3


% 3
3
3
3
3

3


3

%
3
3
3
3
3
3

%
3

variations for a3 on the next page:

Page 497

you can add these variations for a3:

1
% 3
%
%
%

%
%
%
%

6b -E

Page 498

6c -E

%
possible variation:

etc.

=


simile

%
=
=
=

%

%

Page 499

6d -E

%
%
%

%
%

Page 500

6a - F

3
% 3
3

3
3 3

%
3

= = =
=
% =
=
you can add this variation:

%
3

etc.

3
3

3
%

3
3
3
3
3

=
=
=

%
=
=
=
you can add this variation:

etc.

you can add these variations for a3 on the next page:

Page 501

%
3
3
3
3
3

%
3
3
3
3
3
3 3

%
3

1
%3

%




%

%


%

6b - F

Page 502

6c - F

%



%

possible variation:

= simile
= =
=


%

%
%

%
%
%

6d - F

etc.

Page 503

%
%

% 3
3
3
3
3
3
3

%
3

6a - F#

3
3

3

%

3
3
3
3
3
= = = =

you can add this variation: %

etc.
=
=
3
3

3
3

%
3
3
3
3

%
3
3
3
3
3
3
3
3
3
3
3

%
3
3
3

you can add this variation:

=
=
=

%
=
=
=

you can add these variations for a3 on the next page:

etc.

Page 504

3
3

3
3

%
3
3
3
3
3
3
3
3

3







%
3

1
% 3
%
%

6b - F#

%






%

Page 505

6c - F#

possible variation:

simile
=
= =

%
%

%
%

6d - F#

etc.

Page 506

%
%

3
3
3

6a - G

3
%3

%
3
3
3
3
3
3
3
3
3

3
%

3

= =
=
=

you can add this variation: %

etc.
=
=
3
3
3
3

3
3
3
3

%
3
3
3
3
3
3
3
3
3
3

%

3
3
3
3
3
3
=
=

=
=

etc.
you can add this variation: %
=
=
3

you can add these variations for a3 on the next page:

Page 507

 3
3
3
3
3
3
3

3
3

%
3
3
3
3
3

%
3

1

% 3
%
%

6b - G

Page 508

%


%
possible variation:

6c - G

=

= = = simile

%
%

6d - G

etc.

Page 509

%
%

6a - Ab

3

% 3
3
3
3
3
3
3
3
3

%
3

%
3

= = = = = =
%
you can add this variation:

etc.

%
3
3
3
3

%
3

%
3

etc.

you can add these variations for a3 on the next page:

= = = =
%
3

you can add this variation:

Page 510

%
%

6b - Ab

1
% 3
%

%
%

%
%

Page 511

6c - Ab

%
%

possible variation:

=
=

%



%

%


%
%

simile

6d - Ab

etc.

Page 512

6a - A

3
3
3

%3
3
3

%
3

3

3

%

3
3
3
3

= = = = = =
etc.
%

3
3
3
3

%
3
3
3
3

3
3




%
3
3
3
3
3
3
3
3
3

%

3
3
you can add this variation:

=
= = = = =
%
3

you can add this variation:

etc.

you can add these variations for a3 on the next page:

Page 513

%
3
3
3
3
3
3
3
3

%

3

%
%

%
%

6b -A

%
%

% 13

Page 514

%
%

6c - A

= = = simile

%
%
%
%

%
%
%

6d - A

1
%3

possible variation:

etc.

Page 515

%
%

6a - Bb

3
3
3

3
%3
%

3
3
3
3
3 3

%

3
3

= etc.

= =
=
=
=
3
3
3
3
3
3
3

3
3
3

%
3
3
3
3
3

%
you can add this variation:

3
3
3
%

3
3
3
3
3

you can add this variation:

%
=
=

=
=
=
=

etc.
Page 516

3
3

3
3
3

%
3
3
3
3
3
3
3

%
3
3
3
3
3
3 3 3

%
3
3
3
3
3
3
3
3

3


3

%
3

you can add these variations:

6b - Bb

1
%3

%
%

Page 517

6c - Bb

%
%

%
possible variation:

1
%3

etc.

Page 518

=
=
=
=

%
%

%
%

6d - Bb
%

%
%
%

Page 519

%
%

6a - B
3
3

3
%3
%
%

3
3
3
3
3


%

3
3
3

you can add this variation:

=
= = =
= =

etc.
Page 520

%
%
%

3
3
3

you can add this variation:

=
=
= =
=
=

etc.

3
3

3
3
3

3

%
3
3
3
3
3
3
3

%
3

%
%

3
3
3

3
3
3

you can add these variations:

Page 521

6b - B

1
%3

%
%

%
%
%

Page 522

6c - B

%
%
%

3
%3

possible variation:

etc.

=
=
=
simile
=

%
%

Page 523

6d - B
%

%
%

%
%

%
%

Page 524

Preparation scales for Jazz Lines 1

3
3 3 3 =
% 3

%
3

%
3

3
3

=

=
=
3
=
=

3
=

%

=

3
3
3

=
=

=
=

=
3

Page 525

=
%

=
3

%
3

%
3

%
3

%
3
3

=

=

=
=

3
3

=
=

=
%
3

%

=
3

=
3

Page 526

%
3
3

=
3

=
3

=


=
%

%
=

Page 527

Jazz Lines 1
Julio Kobryn

]
3

%3

=
]

%
3

for all the jazz lines:

%
3

%
3

3
]

%
3

3
3
3
]

3
]

3
3

Page 528

%3
3
]

3
]

%
3
3
3
3
3
]

] 3

3
]

%
3
3

%
3
3

3
]

%
3

3
]

Page 529

Preparation scales for Jazz Lines 2

with chromaticis m s
2
%3

3
3
3
=

3
3
3
3
3
3
3

% 3
3
3
3
=

%
3
3
= 3


%

=
3

%
3
3
3
=


%

3

Page 530

%
3
3
3
=

3

%
3
3
3
3=

3
3

%
3 =
%
3

=
3

=
3
3
3

%
3
3
3
3
=

3
3

%

3
3
3
3

=
3

=


3

Page 531

%
%
%

3
3

3
3

3
3

=
3

3
3
3

3

%

=


3

=
3

Page 532

Jazz Lines 2
with chromaticis m s
%
%
%
%
%
%
%
%

3
3
3

3
3
3

Julio Kobryn

Page 533

%
%
%
%
%
%

3
3
3

Page 534

7. Whole tone scales

1
%3

3
3

3
3
3
3
ALSO:

FOR ALL SCALES AND STUDIES WITH TRIPLETS

FOR ALL TRIPLET SCALES AND STUDIES

3
3



3
3
3
3

ARTICULATION:

3
3

= = =
3

2
% 3

FOR ALL THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 535

7a - Bb

3

% 3

3
3
3
3
3
3
3

3
3
3
3

3
3
3
3

you can add this variation:

1
%3

=
= =
=
=
=

etc.

3
3
3
3
3
3

%
3

3
3
3

%


3
3
3
3

1
%3

you can add this variation:

= =
=
= =
=

etc.
Page 536

%
%

3
3

3
3 3 3 3

3
3

you can add these variations:

3
%3

7b - Bb

%
%

%
%

Page 537

%
%
%
%

7c - Bb

% 32

%


%

possible variation:

% 13

ect.
Page 538

=
=
=
simile
=

%
%

%
%

7d - Bb
%

%
%

Page 539

%
%

7a - B

3
% 3

3
3
3
3
3
3
3

3

3
3
3


%

3
3
3
3
3
3

you can add this variation:

=
= = =
=
=

etc.

Page 540

3
3
3
3
3
3
3

%
3

3
3
3
3

3
3
3
3
3
3

you can add this variation:

%
%

=
=
= =
=
=

etc.

%

3

3 3

3
3
3 3

%




3
3
3
3

you can add these variations:

Page 541

7b - B

%
%

%



%

Page 542

7c - B
% 32

%

possible variation:

% 13

ect.

%



=
=

=
=

%
simile

%
%

Page 543

7d - B
%

%
%

%
%

Page 544

Chords
Here some articulations and variations examples for the following chords studies:

3
3
3
3

It's clear you can add yourself a lot more.

3
%3

%
3

%
3

Page 545

%
%
%

%
3

%
3

Page 546

Chords 2

three different articulations

1
%3

=
=

%
%

=
=

= =

%
%

Page 547

=
3

Preparation scales for Jazz Lines 1

%

3
3



%

3
3


%

=

%
3
3


%

=

%
3
3

based on the whole tone scale of Bb

%

=

%
3

%
%

Page 548

6
% 3

%


%

=

based on the whole tone scale of B

%
=

Page 549

Jazz lines 1

6

% 3
3

%
%

3
3

3
3

Julio Kobryn

Page 550

%
%

%
3
3

3
3

Page 551

%
%

Preparation scales for Jazz Lines 2

with chromaticis m s

%3

%
3

based on the whole tone scale of Bb

Page 552

%
%

%


%

%


%
%

Page 553

%



%

=
3

based on the whole tone scale of B

%



%

Page 554

%
%

%


%
%

%



%

Page 555

%



%

Julio Kobryn

Jazz lines 2
with chromaticis m s

=
2
%3

3

Page 556

%


%

%



%
%

%
Page 557

%
%

%


%
%
%

%


%

%
%

Page 558

%
%

%
%

%


%

%


%

%


%

Page 559

%
%

%
%
%

Page 560

8. Chromatic scale
3
%3
%

3
3
3
3

3

3
3
3
%


3
3
3
3

ALSO:

FOR SCALES AND STUDIES WITH TRIPLETS

ARTICULATION:
FOR ALL TRIPLET SCALES AND STUDIES

= = =
3

2
%3
%

%

FOR THE SCALES AND STUDIES WITH 16th NOTES, USE ALSO THESE RHYTHMICAL CHANGES:
3

ARTICULATION:
FOR ALL 16th SCALES AND STUDIES

Page 561

8a
1
%3

%
%
%
%

%
3

you can add this variation:

= = = =
=
=

etc.

Page 562

%
%
%
%
%
%

%
3

you can add this variation:

= = = =
=
=

etc.
Page 563

%
3

3





%
3
3
3
3







%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3
3
3

%
3
3
3
3
3
3 3 3






%
3
3
3
3
3
3
3
3








%
3

you can add these variations:

Page 564

8b
%

%
%
%
%

%
%
%

Page 565

%



%

%
%
%
%
%

%
%
%

Page 566

8c
%
%
%

possible variation:

ect.

Page 567

=
=
=
=
simile

%





%

%
%
%
%
%

%
%

Page 568

8d
%

%
%
%
%
%

Page 569

%
%
%
%

Page 570

Variations

3
%3
%

%
%
%

%
%
%
%

page turn

Page 571

%
%
%
%
%
%
%
%
%
%

Page 572

3
%3
%
%
%
%
%
%

%
%
%
%

Page 573

%
4
%3

%
%

%
%

Page 574

6
%3
%

%
%

%

%

page turn
Page 575

%



%



%

%
%

Page 576

3
% 3

%











%








%








%

Page 577

2
%3
%

%
%
%
%
%

%

%
%
%

Page 578

3
%3

%
%
%
%
%
%
%

page turn

Page 579

%

%

%
%

3
%3

%


%

%
%

page turn

Page 580

%
%
%
%
%

%
%
%



%

Page 581

1
%3

% 13
%
%

Page 582

3
3

% 13
%
%

3
3

%
3

%

3

% 13

%



3

%


3

%

3

%
3

page turn

Page 583

%
3
3
3
3

%
3
3
3
3

%
3
3
3
3



%
3
3
3
3




%
3
3
3
3

%

3

%
%
%

3
3

3 3

3 3




3

3
3

3
3
3

%
3

Page 584