Oz opens with several short improvised phrases before the conversation turns to harmony.
Improv Intro Tk1
Improv Intro Tk2
Improv Intro Tk3
Triad Harmony
Oz creates harmonic colors by superimposing triads from Mixolydian, altered, diminished, and whole-tone scales, emphasizing the importance of convincing resolution.
Improv Intro Tk4
Improv Intro Tk5
Triad Harmony
Triads Mixolydian Tk1
Triads Altered
Triads Diminished
Triads Whole Tone
Triads Across The Fretboard
How Oz chooses playable triad and arpeggio shapes, tests them for right-hand fluency, and connects vertical and horizontal views of the fretboard.
Arpeggio Major Ascending
Arpeggio Major Descending
Arpeggios Major Ascending Descending
Triads Mixolydian Tk2
Triads Mixolydian By Strings
Two-String Practice
Oz demonstrates Jim Hall’s two-string exercise for developing horizontal fretboard knowledge, melodic phrasing, and connections between positions.
Autumn Two-String
Autumn II-V Position Lick
Core Picking Technique
Oz contrasts conventional jazz fingerings with symmetrical three-note-per-string scales, discusses his technical background, and repeats the scale at moderate, allegro, and fast speeds while the picking motion changes above a speed threshold.
Scale Major 3nps Moderate Tk1
Scale 3nps Modes
Scale Major Jazz Shape Moderate
Arpeggio Augmented Scale
Arpeggio Augmented Shifts
Scale Major 3nps Moderate Tk2
Scale Major 3nps Allegro
Scale Major 3nps Fast
Four-Note-Per-String Picking
Slow and fast four-note-per-string demonstrations reveal downstroke escape, upstroke escape, and two-way escape examples as Oz explains how symmetrical patterns help him move horizontally across the neck.
Scale Major 4nps Ascending Slow
Scale Major 4nps Ascending Fast
Scale Major 4nps Downstroke Escape
Scale Major 4nps Descending Fast
Scale Major 4nps Upstroke Escape Ascending
Scale Major 4nps Downstroke Escape Ascending
Scale Major 4nps Moderate
Scale Major 4nps Two-Way Escape
Improv Horizontal
Scale Major 2nps Fast
Dominant Harmony
Oz applies his scale systems to major, melodic minor, whole-tone, diminished, and altered sounds, then explains treating a ii–V as a single dominant unit.
Scale Major 2nps Moderate
Scale Whole Tone 2nps
Scale Diminished 2nps
Altered Dominant Chords
Diminished Scale Fingerings
Oz compares three- and four-note-per-string diminished-scale shapes and explains why the horizontal four-note version feels easier to visualize and play.
Scale Diminished 4nps Moderate Tk1
Scale Diminished 3nps Shape I
Scale Diminished 4nps Moderate Tk2
Scale Diminished 3nps Shape II
Scale Diminished 3nps Shape II Fast
Finding Fluid Arpeggios
Oz uses speed and synchronization as tests for useful arpeggio shapes, comparing patterns and blending alternate picking with sweeping.
Arpeggio Dominant 3str
Arpeggio Min7 3str
Arpeggio 3str Diminished
Arpeggio Dominant Middle Shape Tk1
Arpeggio Dominant Middle Shape Repeat
Arpeggio Dominant Middle Shape Tk2
Arpeggio Dominant Index Shape
Autumn Leaves
A performance of “Autumn Leaves” followed by a discussion of its major and minor ii–V–I progressions and relative harmonic simplicity.
Autumn Warmup
Autumn Leaves
Octave Displacement And Pedal Tones
Oz revisits octave displacement and demonstrates a sustained upper note with moving harmony underneath.
Autumn Pedal
Practice And Improvisation
Oz explains how prepared concepts emerge unpredictably during improvisation and why methodical development remains central to his practice.
