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Soloing in the Oz Noy Style
BY MIKE SWICKIS
February 7, 2014
3

The following examples are all inspired by ideas in Oz Noys solo on Schizophrenic, the title track off his 2009 album. The goal here is to
introduce ideas that dip into jazz territory while staying in a funk/rock context. Some of the licks will include the use of whole tone, diminished,
chromatic, altered, and bebop scales, and well also discuss devices such as octave displacement and motific development.
The basis of the solo
is a C tonality. Think C
Mixolydian, C minor
pentatonic, or even a
C7#9 type of vibe.
Most of the solo is
over a C root, but it
moves to a C7-F7
progression later on.
Ex. 1 is based on a C
minor pentatonic with
familiar passing tones inside the typical box, but the three-note motif sets up a slightly outside direction before resolving back to a bluesy lick in
C. Each three-note motif moves from its starting note up two consecutive semitones. The first one begins on the b7, then the b3, natural 5, and
finally the b7. Its not a scale, but the clarity of the three-note motif holds the idea together.
Oz played bebop for years and
has a strong foundation in the
vocabulary of that style. The
next couple of examples will
touch on some bebop-type
sounds. Check out Ex. 2, which
takes the C blues idea and
stretches it with a C half/whole
diminished scale (C, Db , Eb ,
E, Gb , G, A, Bb ). This creates
more tension, leading to an
idea that uses the C# Dorian
mode with a b5. The idea resolves with a lick in the C bebop scale (C, D, E, F, G, A, Bb , B, C). Ex. 3 uses
the same C bebop scale but with a b5 passing tone (C, D, E, F, Gb , G, A, Bb , B).
The next few examples are played over the new C7-F7 progression as the structure moves away from

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The next few examples are played over the new C7-F7 progression as the structure moves away from
the static C tonality. These ideas stay inside the harmony with the exception of a few passing tones for
embellishment. Check out the use of motific development in creating clear phrases that connect
common themes. Ex. 4 uses a C minor pentatonic scale with a natural 3rd over the C7 and an F minor
pentatonic with a natural 3rd over the F7. Next, in Ex. 5, Oz uses a straight C major scale with one
chromatic passing tone (Eb ) over the C7 and moves to an F Mixolydian mode with a C# passing tone on
the F7. Sticking with a motif based on four-note groups, Ex. 6 stays in C Dorian (C, D, Eb , F, G, A, Bb )
with the exception of passing tones on the second note and a major 3rd (E) at the beginning of the
second bar. Ex. 7 begins with a simple C major triad before going off into a C altered scale (C, C#, D#,
E, F#, G#, A#), which really builds the tension.

The next idea uses one of Ozs favorite devicesoctave

displacementinspired by Pat Martino. While octave displacement
can be used with any scale, Oz goes with the chromatic scale in
Ex. 8. Notice how the F# on the high E string is followed by notes
two octaves lower, with the F, E, Eb , and D on the low E string. Its
still chromatic, but by jumping two octaves, a different effect is
achieved. This happens again with the G# on the high E string,
which moves to the descending pattern G, Gb , F, and E on the low
E string. The solo closes with a couple of very fast whole-tone
ideas in
F, one of
which is
illustrated
in Ex. 9.
There are
a couple
of
passing
tones that
embellish
the
beginning
and end
of the lick (Ab and Gb respectively) and there is a Bb on the and of two, but the sound is unmistakably whole-tone. Hopefully after hearing how Oz uses these concepts you can take your solos into
some new creative areas. If you are really ambitious, try learning the entire solo, which is available at guitarplayer.com.

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