Randy Rhoads

(1)

Carlos 111, n.g 1 - Tel.: 541 30 07/8 28013 MADRID

Original

Randy

Rhoads

Wolf Marshall

'-Amsco PubJications

New YorkJLondonlSydney

(2)

Page 4

Foreword

Randy Rhoads

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Introduction

Page 8

Legend 01:Musical Symbols

Page6

~

Olad

AII Over

Page 12 Page 14

I Don't

Know

'

_.

.

_.~

_.

.""

...!

,

(3)

Page 20

Crazy Train

~

Goodbye

lo Romance

Page 24 Pag~)26

Dee

Page 30

Mr. Crowley

No

Bone

Movies

Paga 37

-81eal AWa

r

(The Night

. Page 41 Page 44

Over

the Mountain

Page 49

Flyi~g High

Agaln

8.A.T.0.

Page 52 ~ --~

--,

Discography

Page 56

(4)

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

"metal-classical 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.

~

(5)

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.

(6)

-

"-\

-R

,

v

fi

Legend Of Musical Symbols

T A B

The sixclines of the

tablature

staff represent the six strings of the

guitar with the top line representing high E. The numbers

designate the frets to be played. A zero indicated an open string. 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.

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.

~ _Downstroke Upstroke

:::> Accent: An accent above or below a note tells you to play the

note louder.

f

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

(7)

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

... A Blues Scale: A e D D~ E G ... 8 1\

_,.

... !'I> --... ...₄

..

1 3 1 3 1 3 1 4 1 4 1 '" "" .... _'" _"" .L "7 f\. _... _"7 ti _...

..

.

...

-

-v

1\ - _,.

ti#

-! ...

"

+t';

3 1 3 ... 4 1 1 3 4 1 4 1 4 1 ,.. -... v u ... .L ,.. "7 .. . u f\. _... "7

-

-ti ,..

-

.

,.. ft U I ""

(8)

A Minar Arpeggia: A e E .L

.... ....

A Pentatanic Majar Scale: A B c~ E F~

.L

#---A Majar #---Arpeggia: #---A c~ E

#....

....

A Minar Scale (natural minar ar Aealian made): A B e DE F G

.L .... :; .... '\

.

....

v

-

-'. 1) .... .... 3 4 2 1 3 2 1 4 1 4

.-

---

.

..

.

_-

_.

.v

1\

_.-

"

..-B

-

.-

,v

-

.

,... II v " .iJ, .... v ::: 1) ....

-

_{Tl 1} -iJ- T 4 4 1 3 1 3 1 3 .( 2 4 1 .

.

,

-

n - v , '" .

_.

_-

..,

,

-rt A

-

u ti

-..

-

.

"

""

-u

-

_í .... 4 4 3 2 1 .( 2 n

-.-

--"

--}\ 9 B

.

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.

11 H . .- ,

,

-

.

....

-

.

-) ....

"

-'o .... T 1 3 4 1 3 4 1 3 1 2 4 1 3 4 1 3 4

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,-

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..

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'" v v 1\ - _.. _- _- '"

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(9)

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id

il 1I 11 I¡I . !I

A Minor Scale(harmonicminor): A B e DE F G#

A DirninishedArpeggio: A e E¡' F#

~.

...

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.

10

'\ _+1-. ... ..IIL.

-IJ ! 0 _T """ " 3 4 2 3 1 2 4 2 3 1 2 4 ... 1 1 3 4

.

-I!!

...

.

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L A '"

-A

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ft ...

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f\ _L _,¡,¡.- ...

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1) ... ... v 1 114 1 4 1 4 3 ' 1 4 1 4

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(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.

Solo

J

= 152 C~ F e F '" ~~. ~ @J 3 B B B B B p p ~ ~ ~ --- ...--... TI e _{3 --.} ~ ~ B p B p B H s "-3 -J 6 "" ;-.. ~ ...--... 12

(11)

:::> :::>

.

/"?

B B B B R B R B R B R p B (2-11

e

~

e

:::> ...._.. (slow sUde) p p p p p I

S

...-.

G ---. ---.

.

_G 1-<- G-::=::::

(12)

...-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. ::::> ::::> muted sim. C(no 3rd)/ A G(no 3rd)

"

D(no3rd)

i1

::::> -j

~

r

---

(#r>

B muted sim.

s

::::> ~ 14

(13)

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 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 straight-ahead 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-range-boosted 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.

Solo G(no 3rd) 8va- - - --'"- ---.. B B /7"'-8v~ ~---( L

~

--

-- [7.fL.) :(.L. .fII--- - ..:. - -- - -- "'--

-

~ " ...

--

P H P H P

s

---

B

...

~

(14)

Bva- - - -

-

- - - :;.- - - : - - - -~ ~

-

~ ~ ~

t-6 (hold half step bend)

H P HP H E

6 6

(bend another half step)

loco "<!

s

---

~

H P H P H P bend neck to lower pitch

(or dive with trem. bar).

,,~

s

B B ~ ~ r-;-.. ,,;; ~uted

s

P P

~---~.~

15-~ ~. ~ ~ loco B B R B R B B B muted-~ ~ ~ ~ ~

*Hammer on upper notes with pick edge at 16th fret. (Higher TAB numbers are shown because string is bent.)

(15)

(muted)

B p p p SI """"'3--'

---~.

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 ~ B R

----~

p p p p ,---... ,---... O 1 O ---..

.

... ft ---..

(16)

A(no 3rd) D(no 3rd)/ A G(no 3rd)/A

*B B

~ ....--....

B

---A(no 3rd) D(no 3rd)/ A C(no 3rd)/A

#

muted 1 *B

s

B

R

----~ ,

B

'--'"

A(no 3rd) D(no 3rd)/ A G(no 3rd)/ A

(echo)

*Strike notes with strings aIready bent.

~8 p p p p ..--...

_.

..--..._" _"

,

/ I

I

I ¡

I

.

:¡

_.

:¡

_.

"--.. ---'-"

muted---.J

*B S S ..

--,

..

...

ft l\._. _1:)

-

_:.

_:

..;

-

I 'VI '

.

-

l.

V V _'-, _{\ --1,}

(17)

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.

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

20 3 times

.

.. D(no 3rd) i1 E i1 J

(18)

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 _E/A _D/A A muted 1 muted

---1

s

---.

muted

J

E/A

D/A A ~ 3-, r--3 -. 3-.

n ~_.

-L.

::::> ::::>~ _' _{,..: 4:-.-...}-.. . :'

'---pp

pp

p p

..---.... B --- _{Z :' ..} '---"

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 (bars9through 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

(19)

Solo 6 TP TPPH ~ /7: !!l. *TP R TP TP TP B TP TP R T P B R **T P B P ....---.. ,.--...

---'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- - - .

F#m(no 3rd)

E(no 3rd) D(no 3rd) C#(no 3rd)

22 6 L-3--' TP TP P H TP P

B-- B-- B--

_"' -... ' ').w.

-

'*"---;.

-

-=

-

-I

,1"-

"ll =-:J

-

I

3-P

P P P B R R H H .. r-- T- T- . ..-. '" - - :::--:::... .

-

.. e.,..:> ,- ,

... " ... ." _{... .,} _- _r _'" _... _¡.'a_\ _{I_-} _{I_-} _":'...-'!¡

_....

..

f\. .. lO ,- ,- _,.-¡ _,,¡"" _{\' '¡}

- .u'. #!" H

(20)

8va- - - -

~

@)

p H P H P HP

H sim.--- - - (SL - - - --

~S) (sr

-B(no3rd) A(no3rd) G~(no 3rd) F~m(no3rd)

8va- - - -1 loco ~ ~ ...--...

..

!L P H P SHP

~

B B

-

~ ~

C'Cno 3ro}

~ ~ ~ ~ ~ ~ . " @J A(no 3rd) G#(no 3rd) B(no 3rd) r-:,¡ 1

-f

~

s

HH

HH 6HH

6

l-3.-J HH HH H

s

B

s

~ ~ *iL-~ ~ ' / ~' ' / .~ f

...,.

~

*T = tap (play note by harnrnering on with index finger of right hand). Tap at 14th fret. (Higher TAB number is shO\\'Ilbecause~

is bent.)

-**Tap 12th fret (bent).

:"'t E(no 3rd)

::>- ::>- ::>-

::>-'-3-' '-3-' '-3-' '-3

(21)

Goodbye to Romance

Words and Music by John Osbourne, Rooert Daisley & Randy Rhoad:

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 W

=

hole) 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 Solo D F#m/C# Bm Bm/A Bva- - - -: - - -

----

~~

----

_..---.. -. H H S H p H P P P B

---

~

----<!!15

-

~-:- ?7---r-;--.. ---...----... P H P ~ P H P P P P P H P H H H P H P ~ P H P ~

---!

- -

(22)

--- A7 A 7sus4 - - -- - - - -- -- --- - - - -- I 8va- - - -.- ) ~ (.,11.-)-. D

m

loco

F#m/C#

.

~ \~ .L~

.

B R P ~ P B R B B B[ ~ ~ ~ ó""! ;-... Bm/A G :---. ~ '-3 ~ '- 3 ---J 3 P mutedj ~ A 7sus4 ~v:- - - ~- - - - - -~ - - - ,F #m/C# ~~ ~~ ~ '"' I,¡,j, . :>-

_-:::::

_-.,

..;..

-"

"

/ .

.

6 ti

H

6 H

P P

s

... .n .u .u .... -... "' _... _. _{.._} " 'u _",,- '-.;;. f\. .. 'u .u .... "'-B

.

(23)

-J

=48 G

1 ~1:

26 Dee

By Randy Rhoads

International Copyright Secured. Made in U.SA l~

Al! Rights Reserved Including Public Performance For Profit. Used by Permission

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

~

~~bYthese ehords). Bars 4 through 7 feature fingerpicking. Classical

plueking techniques (using thumb, index, middle, and ring fingers) should be applied here for best results.

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/bass-line 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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(24)

Bm

.

1,

~

f"

P

..---~ B7/D~ ... E" ~ J ~ r ~ ¡

~

G/B

m

A/C~

J

f

-¡

---s

..---G(maj7)

1

1 D/F~

l,

3r:::::::: D _A/C~ Bm G6

r

_r

_"fe

D/F~

H P P

~

Em

,\,¡,j.

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(25)

E7/G#

'--/j P ...---....

#f

p

¡---.. ,.--...

ID

A7 HP

¡-

P P P P P P ~ ~ ...---... ---.. ....----..

A/C#

~ Bm Bm/A A7

~~

A7/C

#

D6 1":\

D/P#

A7 (overdub) ..--....

r-

-¡

t

.

¡-

U

:

p p open harm. ~ 28 ,.--...

D

3 LL-

_-41

r-H P I

f-....---... HPP P P I'\,¡J,

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r

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_j'-p--r

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->1 "" " >1 ...- .... ₌

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(26)

I J = 108 Dm B~

e

30 6 B 6 6

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

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

well-articulated 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.

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(27)

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(28)

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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 P P P P v P 6 6 6 6 P p P .--.. ---. ---. ---. ---. ---. ---.

.

32

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m. ( -n. -/

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(29)

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.

.. p p P. 6 P P P P 6 P 6

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.

i

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-).

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"Outro" Solo

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--33

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(30)

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(31)

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(33)

No Bone Movies

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 _{A(no 3rd)} D(no 3rd) G(no 3rd)

p ...

_~

7(#---)

B

"--"

S P

'---"'

---...

----.

.

:-I

A(no 3rd) D(no 3rd) G(no 3rd)

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 '\.w.

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(34)

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38

(35)

-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.

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(36)

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(37)

Steal Away (The Night)

~

Words and Music by John Osbourne, Robert Daisley & Randy Rhoads

Al! R.ights Reserved including Public Performance For Profit. Used by Permission.

iIII

The intro riff

is

somewhat involved rhythmically. The syncopation

creates a powerful 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)

>-~--./.... H / f ~ ~ ' / 4"

(38)

Solo

--@J

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s

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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.

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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 ~ .:~ ~ ~ B

--GO H P H P P P 3 3 ₃ _.-3-. P3 P P ~P ..---... ..---... ..--.. ..--.. ..---...

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HP ,H P L-3-'HP H

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(39)

----B~

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.

(40)

Over the Mountain

Words and Music by Ozzy Osbourne, Randy Rhoads, 8ob Daisley

and Lee Kerslake

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 overlapped in 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)

::>-

. .

muted~ ,

-'.

[1,2,3,

][4.

E(no 3rd) A(no3rd)

E(no 3rd) - F# (no 3rd) ]

1 +rJ

::>-

.

muted l m u t ed ! pick sUde (overdub guitars) .Vi

*Tune all strings down one half step (D #, G #, q, F#, A#, D#).

(41)

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 _~

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) _[1. ~ P H A(no 3rd) B(no 3rd)] [2. * 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 Beckinspired 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.

G# (no 3rd)

>-(,

E(no 3rd) F; no 3nL P P J:5

(42)

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 - a rather remote key relationship,

Solo G#m(no 3rd) ~ '!I ~,

~

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=,

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s

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.

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B

Tacet 6 ~6 ~3--, P P P P P P P P P P P P P P H P trem. bar

s

P H P ~ ~. ----.. ~ ?=--. ~ Vi

*Bend (pull) string with right hand while hammering-on and pulling-off with left hand.

46

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,... vibrato with trem. bar 6 6 - -P S H-PSH-PSH-P S HPS~PPHPP~PP B o 6 3 e 7 4- 9 I 'v

#~

slow bend (~) (hold bend) pick sUde ~

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

(44)

---G#m E )~

.

muted

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B

s

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8va- -- - -- - - -- - - -- - - -- - - E(no 3rd)

...IL.(~~-

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A(no3rd)G#m(no3rd)

~ R P

~

, , B

-4-

::=o-~ 48 ,¿¡

(45)

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.

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 **SB

P

SB l~_l' _{. :...} _T _T =--S H --- -'"""'"' "7 D(no 3rd) 8v , ,-~:::

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(46)

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8va----

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muted

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s

H

, ---

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---/' A(no 3rd) F(no 3rd) . 8va- - - . - - - -1 -'\ 4-~ ' 6pH

***TP TP

.--... :--..

TP TP PH

----..

s

TP

T1>P H ';

*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 I'\,¡,j,

-

---... ;.. 1"" H P 6 H P H P 6 _H _P _H _P 6 _H P H P 6 H P 4".A ' 4A A A

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(47)

] 6 T~ TP~ TP

6 TP P H

~ A(no 3rd)~ F(no 3rd) r:;~ '\.

...,

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6 TP TP P H TP _Tí _{P H} pick sUde .. ...: '" """, ,, 11 11 11 f\. " I"

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(48)

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=

148

So~

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---S Tacet

S.A~T.O.

Words and Music by Ozzy Osbourne, Randy Rhoads, Bob Daisley and Lee Kerslake

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 shuffle (implied 1: meter). This is a device well known to exponents of blues music from Chuck Berry to Stevie Ray Vaughan.

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 19through 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). ~. ~

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(49)

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(50)

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¿

Discography

G lad 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