Original Randy Rhoads

Carlos
111,n.g 1 - Tel.: 541 30 07/8
28013 MADRID
Original
Randy
Rhoads
Wolf Marshall
'-
Amsco PubJications
New YorkJLondonlSydney
Page 4
Foreword
Introduction
Page 8
Randy Rhoads
Page 5
:P8blieations
'Ii!!I"~nlSydney/Cologne
BdIsiIeDislributors:
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1Ii; Imk Copyright@ 1986
by ÑI1SCOPublications,
ISIIH: 0.8256.1 065.6
0nIer No. AM 63850
Legend 01:Musical Symbols
Page 6
Page 14
ÑBIged and compiled by Woll Marshall
f:died ~ MarI<Phillips and Peter Pickow
ibJk~
by Marga Dittmer
IDa desigÍ1ed by Alisan Fenton
l'í:IIIIe research by Valerie Boyd
~supplied
by:
PaIiI NafD1IStar Rle, Fin Costello, and
I Don't Know
Já ReconIs.
l1o:í
¡ni
back CDVer photos
by Fin Costello.
"~reseIWd.
Nopar!ofthis book
:mrbemproduced
in anylorm
¡ja;j¡¡g¡i:
or mechanica.l
ÍIIiIIIiIaIÍJfI
sIorage
1IiII:Jutpllllissioo
¡DjistJer
1JIIIIe!IB
eII:ept
means
or by any
including
and retrieval
systems,
in wriIing from Ihe
by a reviewer who may
¡msages
in a revíew.
PIDa! illlIIe United Slates 01 America by
i.tiIs l.iIm!Japh and Printing Corporation
~
Olad AII Over
Page 12
'..~..""...!
,
Page 49
Page 20
Crazy Train
Flyi~g High
Agaln
~
Goodbye
lo Romance
Page 24
Pag~)26
Dee
-
81eal AWa
(The Night r
8.A.T.0.
Page 52
~ --~
----
.
Page 41
Page 44
Over
the Mountain
Page 30
Mr. Crowley
No
Bone Movies
Paga 37
,
--
Discography
Page 56
Foreword
Words alone can never sufficiently describe the essence of añ artist.
This ultimately must be aone-on-one experience with what he
creates and expresses. This is particularly true of an artist as
emotional and compellingas Randy Rhoads. Beyond the obvious
- facade of
exceptional guitar facility, exotic colorations and tangents,
and highly individualized treatments of extant rock and classical
clichés, there existed a soul and persona that defies categorization.
Randy Rhoads's music combined elements of traditional rock, blues,
and heavy metal with classical and ethnic influences and picturesque
and evocativesound effects - electric, electronic, and acoustic. His
taste and sensibilities judiciously balanced and molded what may
seem to be diverse and precarious components into a cohesive and
visionary guitar style.
Randy was continually refining and revitalizing his musicality
(throughout his all-too-brief career) with daring ideas and an eclectic
openness fueled by an insatiable appetite for knowledge and a
perfectionist attitude toward his own playing. His preoccupation and
fascinationwith classical music and theory produced a "metalclassical fusion" approach to rock which began a "Bach Rock"
renaissance in the eighties, spawning dozens of spinoffs and hybrids
in the process. His giving nature and innate love of music, combined
with a flair for communication, mainfested itself in his rapid growth
and skill as a musi.cian, composer,and performer. He is sorely.
missed.
~
ff.
Randy Rhoads
Randy Rhoads had become one of rock's most influential and
beloved guitarists at the time of his death (in a private planecrash on
March 20,1982).
Born in Santa Monica, California, on December 6,1956, Randy's
earliest musical experiences began at about age six with the help of
his mother, Delores Rhoads, a music teacher. From the start, he had
an inclination for music. He took acoustic guitar lessons and soon
surpassed his teacher! His abilities increased throughout his subteen
and early teenage years as he started playing rock, inspired by
guitarists like Leslie West and Mick Ronson. Randy joined the local
L.A. rack band Quiet Riot in the mid seventies and recorded two LPs
for Japan's CBS Sony labe!. In 1980, he become the guitarist fQr Ozzy
Osbourne's Blizzard of Ozz band, and it was then that he truly
realized the beginning of his musical potentia!. Utilizing electric and
acoustic guitars, traditional, modern and exotic harmonic/tonal
vocabularies; and a compositional/virtuosic
approach to guitar
soloing, Randy attained guitar-Iegend status in the short span of two
years. His enormous contributions continue to shape the course of
rack and metal music to this day.
-
Legend Of Musical Symbols
T
A
B
The sixclines of the tablature staff represent the six strings of the
H~
Hammer-on: Play the first note normally, then strike the second
(higher) note with a finger of the left hand.
P
Pull-off: Play the first note normally, then pull off the left hand
finger from the string to sound the second (Iower) note, which
should already be in position.
B
Bend: Finger the lower note indicated, then bend the string until
you achieve the sound of the higher note.
-R
Reverse Bend: Finger the lower note indicated, but before
striking the string, bend it so that the higher note will soun'd.
After striking the string, release the bend and the'lower note will
sound.
,UB
Unison Bend: A unison on adjacent strings is produced by
fingering the note indicated on the lower string and then
bending that string to the pitch of the unbent note played on the
higher string.
~s
Slide: Play the first note normally, then slide the left hand finger
to the second note.
guitar with the top line representing high E. The numbers
designate the frets to be played. A zero indicated an open string.
"-
\
,
~
Downstroke
v
Upstroke
:::>
Accent: An accent above or below a note tells you to play the
note louder.
f
-
fi
Staccato: A dot above or below a note tells you to play the note
short.
Vibrato: Quickly move the string back and forth with a finger of
the left hand.
Introduction
It should be emphasized that Randy Rhoads remained truly original
while assimilating and expanding upon the sounds he embraced. He
was a music teacher, as well as a performer and composer, using his
knowledge and myriad techniques to develop a novel yet accessible
style that was immediately recognizable and ingratiating.
In this spirit, the reader/student of this book would be well advised to
be acquainted with some basic music theory in order to fully
appreciate Randy's efforts. This should include pentatonic and blues
scales, diatonic arpeggios, modal scales, harmonic minor scales, and
diminished arpeggios. These should be learned and understood in as
many fingerings as possible on the fretboard. Furthermore, a grasp of
fundamental music terminology and chord construction is
recommended. To this end, a brief summary of the main melodic
materials mentioned now follows.
A Pentatonic Minor Scale: A e DE G
1\
,.
--
!'I>
..
...
...
3
1
4
1
1
3
1
3
....
.L
1
4
'"
""
..
-...
-
v...
...
...
1
...
4
"
1
+t';
3
,.
1
3
1
,..
f\.
,..
""
8
'"
""
.
.L
ti
4
"7
A Blues Scale: A e D D~ E G
1\
!
1
"7
f\.
ti
...
...
,..
ft
U
I
...
.
"7
3
"7
4
1
-
...
..
.
4
...
u
-ti#-
1
,..
v
...
4
-
u
A Minar Arpeggia: A e E
.L
.
'\
v
1)
-
....
....
4
1
2
.
1\
B
-.
-
....
....
-'.
3
4
1
....
.,...
-.v
.
-"
.,v
2
3
..-
1
4
..
..-
II
v
A Pentatanic Majar Scale: A B c~ E F~
-iJ2
....
1 .
T
4
Tl 1
4
.
rt
ti
-.
-
..
1
..,
-
.
-
A
1
3
3
1
3
.(
-
-
v
-
n'"
,
,
u
A Majar Arpeggia: A c~ E
.
,
-
....
"
u
#--:::
-4
v
1)
.L
....
.iJ,
"
#....
""
-
-4
....
4
í
3
2
1
.(
.--
n
--
2
-"
-}\
.
B
9
-.
..-
11
,
H
A Minar Scale (natural minar ar Aealian made): A B e DE F G
-
,
)
....
1
T
3
....
4
"
1
..
K
4
1
3
4
3
1
1
2
..
'"
-v
-"
-
-
-
.
-v
....
.L
....
4
1
3
4
-
...
-'o
3
'"
1\
- .
-
-,
-
U
..'"
.
-
-'"
'"
-.
v
- ,-. ....
:;
....
A Minor Scale(harmonicminor): A B e DE F G#
'\
IJ
!0
+1-.
......
1
"""
T
4
3
"
1
3
4
2
1
3
L
A
R
-
ft
-
...
-.
..
..
2
A
-.
4
2
3
'"
'"
I!!
1
2
4
.
...
-.
-
'"
A DirninishedArpeggio: A e E¡' F#
f\
L
-
-;'.
.IJ
1)
......
1
......
4
v 1
114
1
4
lo
f\.
B
1>
-..
ft
u
...
-..
.
.ft
1
..
...
,¡,¡.-
......
4
3
.."
..-
..IIL.
......
......
' 1
~.
4
-
..
The use of these building blocks of style will be further delineated
and discussed in the annotations of the examples within this volume.
.The sounds Randy Rhoads left for us are-an inspiration - a model
and yardstick for all musicians con cerned with reaching new levels
and mediums of expression while maintaining a strong relationship
with the rich heritage of music history and tradition, be it rack and
roll, classical, or heavy metal.
'1
id
il
1I
11
I¡I
.
!I
10
Glad AII Over
Words and Music by Dave Clark and Mike Smith
Copyright
@
1963by Ivy MusieUd.
AII rights U.S.A. and Canada eontrolled by Campbell Connelly Ine., London, England
AII Rights Reserved. International Copyright Seeured.
A very early Randy Rhoads guitar solo from Quiet Riot 1,circa 1977.
In it, Randy basically stays within the standard rock vocabulary of
Jimmy Page and Leslie West: blues and pentatonic-based ideas. The
vibrato is extreme at times, and there is sufficient deviation from
equal temperament in the wide bends of a major third. Some
sequential patterns can be found inthe faster sections - a concept
that Randy went on to refine in later solo work.
J=
Solo
'"
152
e
F
C~
~
F
~~.
@J
3
B
B
~
B
B
~
B
p
p
------
...--...
~
TI
e
3 --.
~
6
"-3 -J
B
p
~
B
p
B
H
s
""
;-..
12
~
...--...
:::>
B
.
:::>
B
/"?
B
B
R
B
R
B
R
B
R
p
B
(2-11
e
e
:::>
~
(slow sUde)
p
p
....- .
G
p
p
S
p
I
-----.
_G
-----.
1-<-
G-
::=::::
...-
......
I Don't Know
Words and Music by Ozzy Osbourne, Randy Rhoads and 8ob Daisley
Copyright@
1981 Blizzard Music Limited, 12 Thayer St., London W1M 5LD England.
This arrangement
Copyright
@1986 Blizzard
Music Limited.
l,
International Copyright Secured. Al! Rights Reserved. Used by Permission.
The main riff (the driving sixteenths and the aggressive,punchy
chords)is what most of the fans (and admirers) of the Blizzard of Ozz
first associated with Randy Rhoads. The solid rhythm-riff with the
muted, constant pedal A string has become a heavy metal staple.
This particular chord progression and approach really sums up
Randy's heavy rock direction.
~
= 136
Main Riff
A(no 3rd)
B(no 3rd)/ A
::::>
muted
::::>
sim.
sim.
muted
G(no 3rd)
"
C(no 3rd)/ A
D(no3rd)
i1
::::>
::::>
muted
sim.
-j
s
~
r
B
~
14
(#r>
--------
Another stylistic device often used by Randy to decorate a song is
this fill - a briskly executed series of pulloffs and hammerons. It was
always derived from the tonal center of the progression (in this case,
A minor) and appeared in many other forms throughout Randy's
output ("Crazy Train" and "Yo u Can't Kill Rock and RolI" are further
examples). Here, the effect is colored by the discreet use of wah-wah
pedal, wliich is applied as an EQ filter.
Fill
G(no 3rd)
D(no 3rd)
:::o>
:::o>
t)
p
H
p
H
p
:::o>~
p
H
p
p
H
p
The first section of the guitar solo is played against a droning G (no
3rd) chord and borrows liberally from Randy's blues and straightahead rock heritage. His feropious blues/pentatonic
runs are
delivered with a screaming, sustaining~one;
his Les Paul going
through an MXR Distortion + fuzz, and the distinctive, mid-rangeboosted EQ setting, into blazing Marshalls. A tasteful sprinkling of
eccentric guitar tricks (including bent-neck vibrato, pick-edge
hammerons, muted timbres, and chromatic sequences) is
interpolated into the more standard' blues/rock vocabulary.
G(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --'"- -----
Solo
..
B
B
/7"'-
8v~
---
~----L ~
-- ( [7.fL.)
:(.L.
~ .fII---
-
..:. - --
P
H P
- -- "'--
H
P
-~
s
-----
" .........
B
........
~
-
-
Bva- - - - - - - - - - - - - - - - - - - - :;.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~- - - - - - - - - - - - - - - - - - : - - - - - -~ - - ~
~
~
t-
6
(bend another half step)
6
6
(hold half step bend)
H P
HP
H E
"<!
loco
s
--H
P
P
H
H
,,~
bend neck to lower pitch
(or dive with trem. bar).
P
s
B
~
B
~
~
r-;-..
,,;;
P P
~---
~uted
s
15-
~.~
~
B
B
R
B
B
B
R
~
~
~.
B
~
~
~
~
~
*Hammer on upper notes with pick edge at 16th fret. (Higher TAB numbers are shown because string is bent.)
16
loco
muted-
(muted)
p
B
p p
SI """"'3--'
B
R
----
-------
~
~.
The recap section of the solo modulates to A (tonic key return) and
maintains further interest through a question-and-answer
(antiphonal) phrase structure. The rhythm chords pose the musical
question, and Randy answers by retorting with lead guitar ad lib
statements. The segment is very concise and is cleverly constructed
(a "composed" approách) to convey the deliberate musical effect of
periodicity. Notice the characteristic legato (pulloff) sequence again
and the trademark Rhoads scale combination of Aeoliarí mode and
blues scale (both in A) in the second phrase. The interaction of the
notes F, E, Eb;and D (within the A minor tonality) creates some
un usual chromatic twists typical of Randy's expansion of the
standard modes and scales.
Recap A(no 3rd)
D(no3rd)/A
C(no 3rd)/A
!L
muted-.J
*B
p
p
,---......
.
~
p
p
,---......
O 1
O
---..ft
...
---..
A(no 3rd)
D(no 3rd)/ A
G(no 3rd)/A
*B
B
....--....
~
B
p
p
p
..--...
...--..."
p
"
-------
A(no 3rd)
C(no 3rd)/A
D(no 3rd)/ A
#
muted
s
1 *B
~
B
,
'--'"
B
A(no 3rd)
D(no 3rd)/ A
,
.
:¡.
/
G(no 3rd)/ A
I
I
I
¡
"--.. ---'-"
.
:¡
..
--,
..;
V
-V
I
S
1:)
'VI
..
-'
*Strike notes with strings aIready bent.
~8
(echo)
I
muted---.J *B
l\..
R
..
:..
...
:..
S
ft
:-
l.
'-,
\ --1,
----
Crazy Train
Words and Music by Ozzy Osbourne,
Randy Rhoads and Bob Daisley
Copyright@ 1981 Blizzard Music Limited, 12 Thayer St., London W1M 5LD England.
This arrangement Copyright @1986 Blizzard"Music Limited.
International Copyright Secured. Al! Rights Reserved. Used by Permission.
The intro riff is unmistakably Randy Rhoads. The rock and roll feel
(solid eighths) and the thick overdriven guitar tone are applied to a
melody line which is dark and somewhat classical in nature-notice
the use of the pedal point technique (the constant reiteration of the
F# bass note between scale pitches). The classical, minor quality is
reinforced by the F# minor (Aeolian mode) key center.
J= 140
Intro Riff
No chord
3 times
.
..
D(no 3rd)
i1
20
E
i1
J
A move to the relativa major (A) is established in the verse riff and
, recalls the heavy-handed rock intent of "1 Don't Know" (the main riff).
Though the chords are simple (A, D, and E triads superimposed over
the thundering A pedal tone), a great deal of music is created. Notice
the familiar Randy Rhoads legato (pulloffs) run used to bring in the
verse.
A
muted
A
D/A
E/A
muted
1
---1
s
---
E/A
D/A
A
~ 3-, r--3 -.
n
L.
.
muted
~
::::>
::::>
'
pp
J
~_. -
3-.
-..
,..: 4:-.-...
'---
pp
. :'
p p
..---....
B
--------
Randy's solo in "Grazy Train" is perhaps his most visible guitar work
(due largely to the popularity of the early Ozzy material). The solo is
logically laid out and develops several interesting themes: a series of
double-handed pyrotechnics (bars 1 through 4), melodic scalar
playing (bars 5 through 8); and the unifying motive of trills following
the harmonic progression, then a rapid pentatonic riff combined with
that inevitable Aeolian/pentatonic/blues scale overlapping that so .
well depicts Randy's concepts of melody (bars 9 through 14). The
final flourish of the ascending scale, a combination of varióus minor
modes (Aeolian/Dorian and pentatonic), concludes the proceedings
decisively (bars 15 and 16). The overall tonality for the solo is derived
from chordal components
of F~ minor (Aeolian mode)
-
F~(no 3rd)
to D(no 3rd) to B(no 3rd) to F~(no 3rd), connected by a solid walking
bass line descending through the changes.
Z :' ..
'---"
Solo
TP
6
TPPH
TP
-...
R
TP
TP
,.--...
....---..
B
TP
TP
R
T P
TP
L-3--'
TP P
B-
- ' - - "'
/7:
~
*TP
6
TP P H
!!l.
R
**T P
B
P
B
--------
'E(no 3rd)
D(no 3rd)
,
CHno 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
~
-.
B
B
~
~~
~
"'"
B(no 3rd)
A(no 3rdf
G#(no 3rd)
F#m(no 3rd)
-
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .
').w.
-
-
'*"-----;.
-
-
I ,1"-
- -=-
"ll
=-
:J
P
..
..-.
r-- '"
...
f\.
P
P
P
R
B
T-
-
- :::--:::...
" ... ." ... .,
..-
.
r
lO
,-'"
.....,-
-
-
I
R
T..
¡.'a\
,.-¡
I_-
,,¡""
I_-
\' '¡
e.,
..:>
":'...-'!¡
....
- .u'. #!"
H
F#m(no 3rd)
22
E(no 3rd)
D(no 3rd)
H
H
C#(no 3rd)
,-
3,
..
.
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
@)
p
H P H P
HP
B(no3rd)
H sim.--- - - (SL - - - --
A(no3rd)
G~(no 3rd)
~
~S)- - - - - - - - - - - - - - - - -(sr - - - - -
F~m(no3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
~
1
loco
..
.....--......
!L
-
P
H
P SHP
B
B
~
~
~
::>-
::>-
E(no 3rd)
::>-
~
::>-
'-3-'
PH
'-3-'
PH
'-3-'
P H
~
'-3
PH
I HP
C'Cno 3ro}
H P H P
~
~
~
~
".
A(no 3rd)
@J
G#(no 3rd)
r-:,¡
B(no 3rd)
1
s HH
f~
HH 6HH
6
HH
HH
l-3.-J
H
s
B
s
B
~
~
~
*iL-~
~'
'
'
/
/
f
.~
...,. ~
*T = tap (play note by harnrnering on with index finger of right hand). Tap at 14th fret. (Higher TAB number is shO\\'Il because
is bent.)
**Tap 12th fret (bent).
~
-
:"'t
Goodbye to Romance
Words and Music by John Osbourne, Rooert Daisley &Randy Rhoad:
TRO- @Copyright 1981 and 1984 Essex Music International, Inc.
and Blizzard Music, New York, N.Y.
International Copyright Secured. Made in U.SA
Al! Rights Reserved Including Public Performance For Profit. Used by Permission.
Randy's outing here is moody and melodic and displays the mar
facets of his bailad style. In a very slow and stately tempo, Rand)
constructs another logical and compositional guitar solo utilizin~
elements of classical melody, blues scales, bends, and pyrotechr
passagework alternating between smooth simple-tilT!eand intricé
double-time feels. Notice, again, the interesting motion of the
background chord progression: D to F#m/C# to Bm to Bm/A to (
The fast technical sections are classical in their sequential
approaches: the first is an ascending trilled line (bar 3), the secon
a set of scalar triplets (bar 6), and the last is a rapid arching scale
contour (bar 8). Sequential melody is also explored in descending
thirds (bar 7).
=
The solo (as a Whole) is guided by the thoughtful use of the variou
major modes (D lonia. , B Aeolian, G Lydian, and A Mixolydian) fo
harmonic/melodi
ontent.
J=70
F#m/C#
--
Solo
D
H
H
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Dee
By Randy Rhoads
TRO- @ Copyright
1981 and 1985 Essex Music International, Inc., New York, N.Y.>
International Copyright Secured. Made in U.SA
Al! Rights Reserved Including Public Performance For Profit.
Used by Permission
l~
This beautiful though brief character piece is played on solo acoustic
guitars (nylon- and steel-string textures were combined for a thicker
sound). "Dee" (an affectionate reference to his mother, Delores
Rhoads) is meditative and subdued in delivery with a smooth and relaxed fingerstyle performance resulting, no doubt, from Randy's
fascination and familiarity with classical guitar. Randy Rhoads was
known to seek out classical guitar tutors on the ro'ad, while touring,
to deepen his understanding of the art of nylon-string playing. Here
is a short analysis:
The first motif of G to D6 (bars 1 and 2) is harmonically altered in
bars 8 and 9 (Gmaj7 to D/F#) to push toward the cadence of A7/E to
D to A/C# to Bm to G6 (notice the diatonie walking bass line implied
plueking techniques (using thumb, index, middle, and ring fingers)
should be applied here for best results.
~~bY
these ehords). Bars 4 through 7 feature fingerpicking. Classical
~
The first overdub harmony is added on the third beat of bar 15 for a
strengthening of the turn ornament (hammeron, pulloff). This sets up
the transition (through B7/D# and' B7) to the E minor tonality (bar
18). The allusion to Bach's Bourree in E minor (a well-known
baroque pieee) is unquestionable on beat three of bar 17 - notice
the contrary motion (counterpoint) of the bass line and melody line.
Remember, Randy studied the classieal guitar literature voraeiously.
The figure in bar 22 leading in to the return to D major is a familiar
Randy Rhoads fill, though here it sounds Spanish (flamenco)
because of the nylon-string timbre.
The ending begins at bar 27 with a flowing deseending ehord/bassline passage reealling the eadenee of bars 11 through 13. Notiee, it is
slightly varied (D to A/C# to Bm to Bm/A to A7) to enhance the
elosing statement in bars 31 through 33. In this final phrase, the
overdubbing is truly exploited to ereate independent melodic parts.
AII the harmonics in this eomposition are natural (open ~tring),
octave or twelfth (oetave plus fifth) harmonics.
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Mr. Crowley
\
Words and Music by Ozzy Osbourne, Raridy Rhoads and Bob Daisley
Copyright @1981 Blizzard Music Limited, 12 Thayer St., London W1 M 5LD England
This arrangement Copyright @1986 Blizzard Music Limited
International Copyright Secured. Al! Rights Reserved. Used by Permission.
The first solo combines elements of burning hard rock, blues, heavy
metal, and classical to a unique end. The first series of blues riffsis .
obviously pentatonic (an old quote associated with the Hendrix/Pag-e
school of hard rock), as is the triplet sequence which follows. But
what follows that is definitive Rhoads: a line exploiting climbing
chromatic fragr:nents and wailing bends. Notice the interplay of wellarticulated modal scales (D Aeolian and pentatonic minor) with the D
.
minor blues scale in the second half of the solo. Randy was a master
at "scale combining" (or permutation) in the hard rock genre.
J = 108
Dm
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Interestingly enough, Randy úsed to teach his pupIIs an exercise to
develop the "harmonic spelling" technique which is used to begin the
"outro" solo from "Mr. Crowley." The exercise is presentedhe,re
(transcribed from a lesson tape of,Randy's) !o aid the student/
,
musician in building facility and accuracy. The tones of the chordS\
fbrm melodic units and convey a strong sense of motion.
.
'
Randy Rhoads' Exercise for Arpeggios
Am
6
6
P
.--..
.
32
P
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------.
6
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p
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The outro is an extended guitar solo continuing through the fade.
Many intricacies and details deserve attention: the use of
hannonically related tremolos - first in arpeggio form and then in
scalar form (bars 6and 7); the long, winding F major scale played
with distinct legato phrasing (bars 13 and 14); the use of harmonic
minor with C# as a crudal note (bars 7 and 15); and th53unusual
chromaticism created by rapidly moving down the fretboard using
similar fingering patterns (bar 21-).
"Outro"
\
Solo
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No Bone Movies
Words and Music by John Osbourne, Robert Daisley, Randy Rhoads and Lee Kerslake
TRO- @Copyright 1981 and 1986 Essex Music International,
Inc.,
Kord Music Publishers and David Paramor Music, New York, N.Y.
International Copyright Secured. Made in U.SA
Al! Rights Reserved Including Public Performance For Profit. Used by Permission.
The main riff is almost traditional rock and roll in its simplicity and
impact. The overall "major-blues" sound (A) is tempered cleverly with
bits of C-natural (implying minor tonality). It is a classic case of
taking the rock heritage and legacy one step further.
J= 128
Main Riff
D(no 3rd)
A(no 3rd)
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The solo is a rare example of Randy Rhoads on slide guitar (though
he used it at times with Quiet Riot). The personality of the solo
fluctuates among ce1nventional bluesiness (from the bottleneck
tradition of Jimmy Page and Billy Gibbons), soaring portamento
sound effects (8 FaMick Ronson and Jeff Beck), and wobbly slide
vibrato deepened by.the heavy EO boosting of the guitar tone.
r
s
s
s
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...--...
A
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s
s
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s p
.----..
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---
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8va- - -- - - - - - - - - - -
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- - - - - -- - ...------....
-------
1
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loco
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/.-
s
--
38
s
s
s,
7
-- -
s
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s
The outro dissolves into a mix of overdubbed, overlapped guitar
antics. The guitars interact with each other, each leaving holes for
the other to fill. The mood is straight-ahead rock and rol! with an
almost "live, in-concert" looseness on the final éadence. Notice the
use of feedback, double stops, triads on slide guitar, and pentatonic
flurries. The closing A Mixolydian phrase is saved from sounding
clichéd by the odd, humorously unresolved Gi as tge last note.
B
B
B
B
B
B
~
;-....
17
~,
f
17 20 (22)
20 (22)
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20(22)
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w
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Steal Away (The Night)
~
Words and Music by John Osbourne, Robert Daisley & Randy Rhoads
TRO- @Copyright 1981 and 1986 Essex Music International,
International Copyright Secured. Made in U.SA
Al! R.ights Reserved including Public Performance
Inc. and Kord Music Publishers, New York, N.Y.
For Profit. Used by Permission.
iIII
The intro riff is somewhat involved rhythmically.
creates a powerful
.
The syncopation
driving motion but requires a certain dexterity and
coordination to perform. Notice the accents (for double stops) versus
the active (not droning) bass part. The E chord pattern (riff) is moved
symmetrically to e, and a surprising F# to B (ii to V) progression,
uncommon in heavy metal, ends the phrase.
~
= 180
Intro Riff
E(no 3rd)
:::>
>-
>-
>-
s
C(no 3rd)
F#(no 3rd)
B(no 3rd)
>/
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/
4"
Randy Rhoads was one 01the 1irst guitarists in heavy rock to
success1ully incorporate the diminished arpeggio into his playing
style. In the 10urth measure 01the solo an excellent example 01this
sound can be heard. It is served up cadenza style in the 1ashion 01a
classical concert violinist or pianist who would exploit the angularity
01the arpeggio as a dramatic e11ect,descending and ascending
along the chord tones in a crablike contour.
The move to B (1rom G) is more evidence 01 Randy Rhoads's
compositional sophistication applied to solo background chords.
This is another uncommon modulation in heavy metal and signals a
return to the tonic tonality 01 E. Notice the di11erentcharac,ter 01the
second hal1 01the solo which, by contrast to the classical/diminish~d
sound 01the opening measures, is bluesy and 1illed with bends,
vibrato bar diving, and pentatonic scale work.
Gm
Solo
1
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J3
Over the Mountain
Words and Music by Ozzy Osbourne,
and Lee Kerslake
Randy Rhoads, 8ob Daisley
Copyright @ 1981 Blizzard Music Limited, 12 Thayer St., London W1 M 5LD England.
This arrangement Copyright @1986 Blizzard Music Limited.
International
Copyright Secured. Al! Rights Reserved. Used by Permission.
This song is played in 0# tuning. Note that every string must be
tuned down one half-step (one fret distance). This is 0# tuning as
opposed to Eb.There is a difference in color (timbre). 0# relates
more closely tothe keys of G# minor, C# minor, and E major (which
are the tonal centers of this piece).
The main riff is sol id and heavy with a throbbing sixteenth-note pulse
(slightly muted for a percussive effect). Randy's practice was to make
the guitar sound as thick as possible by multitrack overdubbing. Th8
riff here is the main part but others are overlappedin the mix to
double (and triple) the G#m power chord (notice the whole notes
superimposedover the main riff - this indicates a chord sustaining
through the sixteenth notes).
~ = 132
Main Riff
*
E(no 3rd) A(no 3rd)
G#m(no 3rd)
::>-
,
-'.
[1,2,3,
E(no 3rd) A(no3rd)
::>-
.
muted
. .
muted~
l
E(no 3rd) - F# (no 3rd)
][4.
1
m u t ed
!
pick
sUde
(overdub
guitars)
.Vi
*Tune all strings down one half step (D #, G #, q,
44
F#, A#, D#).
+rJ
]
This instrum~ntalinterlude has another sixteenth-note riffas its
motive. The move to the key of 0# minor is a standard harmonic
gesture (to the dominant) employed in baroque and classical sonata
forms (which are alluded to here). This time, tricky double-stop
pulloffs and hammerons are added to the sixteenth-note pulse for
some extra complexity.
Interlude Riff
D#m
G# (no 3rd)
~
~
P H
P H
>-
P H
The ensemble line which serves as an introduction to the guitar solo
is classic Randy Rhoads. Again the concept is baroque (with a heavy
rock intent) in its intricate sixteenth-note scalar contours, Aeolian
modality, and concerto grosso (as in Vivaldi) effect. The overdub
guitar doubles the theme an octave higher, further reinforcing the
impression of a baroque string-ensemble part. ~~
Ensemble Une
C#m(no 3rd)
*
P
P
E(no 3rd) F; no 3nL
A(no 3rd) B(no 3rd)] [2.
[1.
P
(,
P
P
P
P
*2nd guitar overdub doubles one octave higher.
This solo is a masterpiece of Randy Rhoads's guitar playing style. In it,
Randy has taken rock and roll/metal tricks - the use of tremolo'-bar
diving and vibrato, string pulling with the pick hand(an old blues
trick; remember "The Lemon Song" by' Led Zeppelin?), and Jeff
Beck-inspired pulloffs in cascading triplets (a la "Jeff's Boogie") and combined them with chromaticism (one of his favorite devices
for simple motivic development), the Aeolian mode (in the first break
in E), and a variety of un usual bends.
J:5
'!I
~,
~
The recap to the tonic (G # minor) is more evidence of the classical
sonata procedure at work in Randy's compositional style. A strong
return to the tonic was mandatory after the development section
moved to E minor -
Solo
~J---S
'-".
B
~I
aij'
!'
;,
a rather remote key relationship,
G#m(no 3rd)
s
É'
;
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~
H P
ti
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.~.
~
~
=,
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- - .. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ;?-;-
~
~
/'7'
~
I
~
1
loco
i
~
.
Ijii
*B
P
P H P
~.
I
I~
"'"
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---=-------
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--,
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.
muted
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.:=
~
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s:
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iE
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=
&.
i"
El
Tacet
P P
P P
6
~6
P P P P
P P
~
~'
~'
11
~3--,
P P
P PH P
trem. bar
s
P H P
~.
----..
~
?=--.
~
Vi
*Bend (pull) string with right hand while hammering-on
46
i'
~
~
~
~I
~
'E
;~
~
and pulling-off
with left hand.
6
P S HPSHPSHP
vibrato with
trem. bar
B
,...
6
-
-
S HPS~PPHPP~PP
o 6 3 e 7 4- 9
I
'v
#~
(~)
slow bend
pick
sUde
(hold bend)
~
The outro solo begins with the "ensemble line" played in G# minor
(instead of the subdqminant C# minor as in the first statement) to
maintain the finality of the tonic tonal center. A brief two-bar coda in
a typical Aeolian chord progression (standard in rack from "Walk,
Don't Run" to "AIIalong the Watchtower" to "Stairway to Heaven" to
"Stray Cat Strut") gives Randy the last word with some interesting
scalar playing - notice the muted form ascending - in G# minor
(Aeolian mode). The final bend is given an extremely deep vibrato
whichis characteristically Rhoads.
"Outro" Solo
G#rn(no 3rd)
E(no 3rd)
B .~ 3rc
~
P
.....--...
P
P
P
."
--
P
.....--...
;;;
.
.....--... ---
.,
-,
r
---
E
G#m
)~
.
B
HPHPHP
muted
s
"V
~
c#
8va- -- - -- - - - - - -- - - - - - -- - - -- - -
...IL.(~~-
~
,
R
- ~l
P
B
~
E(no 3rd)
A(no3rd)G#m(no3rd)
-4::=o-
,
~
48
,¿¡
Flying High Again
Words and Music by Ozzy Osbourne, Randy Rhoads, Bob Daisley and Lee Kerslake
Copyright@ 1981 Blizzard Music Limited, 12 Thayer St., London W1M 5LD England.
This arrangement Copyright @1986 Blizzard Music Limited.
International Copyright Secured. Al! Rights Reserved. Used by Permission.
A beautiful example of "compositional" guitar work, this solo is a
Randy Rhoads signature. The solo is carefully constructed and
performed in the tradition of a classical piece. The first segment (bars
1 through 8) is a vehicle for phrase development. Notice the four
contrasting phrases which reflect the underlying F#m-to-D chord
progression. The first phrase (made of quick, repeated pentatonic
scale fragments) descends smoothly into a diatonic ascending
sequence (second phrase). The third phrase is separated texturally
by the muted timbre (palm mute) and echoes the ascending
sequence idea of phrase two. The fourth phrase is another ostinato
.
(in D, though) red'llling the opening riff.The "bookend" structure is
well conceived: riff, scalar sequences, riff; adding a subtle symmetry
to the first half of the solo.
The closing section (bars 9 through 16) has a massive guitar,orchestra effect (produced through multitracking) and thematically
exploits the constant use of double-handed arpeggios, following this
unusual root movement: Ato F to D to Bb; E to e to Ato F (which
seems to outline"majorseventh chords in the broadest harmonic
sense, Bbmaj7to Fmaj7,backcycling to the original tonal cénter of
A). It is precisely this sort of barmonic convolution which contributed
to Randy's uniqueness as.a composer/musician.
J = 128
F #m(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - -"- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
~
P
P **SB
-----
l~l'
SB
. :...
T
T
=-S H
-'"""'"'
"7
D(no 3rd)
8v
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,
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........
.
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loco
muted
5
HPHPHPHPHP
H P H
J
L--J~
H P
.!t
I'\,¡,j,
8va----
~
~
...--
D(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
-
;..
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....
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-----.............
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'
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4ft
....
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6
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-...
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.-
....
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'...
6
P
....
H
-----
4ft
....
P
44
...
':.A
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15
8v~
H
~
~--------
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6
H P
H
~
P
6
H
P
s
H
, ---
P
H
P
L---J
H P
'
-----
/'
A(no 3rd)
F(no 3rd)
. 8va- - - - - - - - - - - - - - - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
-'\
4-~
'
6pH
.--... TP
***TP
:--..
TP T1>P H
TP TP PH
s
----..
';
*Tune all strings down one half step (E¡', A¡', D ¡" G¡', B ¡" E¡').
**SB = slight bend (less than a half step).
***T = tap (play note by hammering on with index finger of right hand).
se
]
T~
6
TP~
6
TP P H
TP
~
F(no 3rd)
'\. A(no...,3rd)~
i'I-----I,
TP
..
f\.
ti
6
TP P H
...: '"
""",
TP
"
,,
11
I"
l
.
,
pick sUde
Tí P H
11
11
.", .'" .- .....
.....
'-:""';V ''V
)V
-
""".-
",
--...-
-.
...............
"
r:;~
S.A~T.O.
Words and Music by Ozzy Osbourne, Randy Rhoads, Bob Daisley
and Lee Kerslake
Copyright
@
1981 Blizzard
Music Limited,
This arrangement Copyright
International
Copyright
@
12 Thayer
St.,
London W1M 5LD England.
1986 Blizzard Music Limited.
Secured.
Al! Rights Reserved. Used by Permission.
This solo has an unusual blend of sophistication
(in the use of
various scales and modes) and basic rock and roll energy. The ~
rhythmical approach to the playing is a calculated triplet feel,
resulting
in a blues-based
well known to exponents
Ray Vaughan.
shuffle (implied
1: meter). This is a device
of blues music from Chuck Berry to Stevie
The opening pickup phrase is straight E major pentatonic. Cleverly,
the next phrase is in the relative minor (C# minor), allowing E major
thinking to go on into the background key change. (Randy was no
stranger to music theory and put much of what he studied into
practice.)
The solo is divided into three distinct sections, giving it a composed
(rather than "jammed") structure. The sections are marked by
modulations to new tonal areas and, appropriately, each new area
has its own personality.
Inthe first section, in C# minor (bars 3 through 10), the mood is dark
and semiclassical with predominant use of Aeolian mode (C# natural
minor). Muting techniques, chromaticism, and pick harmonic squeals
further color the section.
In the second section, in E major (bars 11 through 18), the mood is
brighter and happier due to the major tonality. Randy creates ar;1
uplifting feeling in the first phrase with a steadily ascending major
pentatonic scale. The use of a repeating figure (first on G#, then on
~D, finally on B) gives a motivic and unified quality to the proceedings
and foreshadows the aggressive drive of the final section.
'
"
The last section, in G Mixolydian (bars 19 through 26), is driving and
bluesy. Using the G blues scale and G pentatonic minor scale, Randy
borrows some Beckish riffs and gutsy double stops (definitely a blues
concession) to bring the solo home. The main point to béar in mind
about this solo is the fluidity of movemellt from section to section .
(one must be knowledgeable of the fingerboard to successfully make
the changes).
~
J= 148
~.
~
Tacet
So~
~
--S
-:1
H3
H
H
H
-----16
)
.
h'
'---"
--------
52
'----'
19
11
P
s
B
.
..,
.",.
3
3
p
p3
3p
3
B
.3
p
.---..
-----
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::>
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1:...:.:.:
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3
...
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m
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-,
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P
.:
---------
i',.\
'1
15mal
--'---
arto B
harm.
P
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...
-----u
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3
. ..
arto 3
harm.
3
p
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8v2 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
~
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B
B
B
B
B
B
¡, -Lo ('1'-)
--- .
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gradual release
3
3
B
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--------
3
~
R
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B
~
.
fP:
B
3
3
3
p3
3
B
3
~
55
¿
Discography
Glad AII Over
taken from Quiet Riot I
(out of print)
I Don't Know
Crazy Trai~
Goodbye to Romance
Dee
Mr. Crowley
No Sone Movies
Steal Away (The Night)
taken from Blizzard of Ozz
Jet JZ 36812
Over the Mountain
Flying High Again
S.A.T.O.
taken from Diary of a Madman
'JET FZ 37492
/
I
7\
56