Professional Documents
Culture Documents
: 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:
-- Sales Corporalion
225PatAvenue South, New York, NY 10003
... Saleslimited
lJ9 f1jf SIreet, London W1 V 5TZ England
~ '..~..""...!
Olad AII Over ,
Page 12
Page 20 Page 49
Goodbye
lo Romance
Page 24
Pag~)26
Dee -
8.A.T.0.
81eal AWa Page 52
~ --~
----
(The Night r
Page 41
.
Page 44
Over
the Mountain
Page 30
Mr. Crowley
No , --
Bone Movies Discography
Paga 37 Page 56
Foreword
Words alone can never sufficiently describe the essence of a 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
clichs, there existed a soul and persona that defies categorization.
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).
-
Legend Of Musical Symbols
T The sixclines of the tablature staff represent the six strings of the
A guitar with the top line representing high E. The numbers
B 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.
"-
\ -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.
~s Slide: Play the first note normally, then slide the left hand finger
to the second note.
~ Downstroke
, v 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
the left hand.
fi
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.
!'I> --
... ..
... 4 1 3 1 3 1 3 1 4 1 4
1
'" ""
.... '" ""
.L
"7
f\. ... "7
.. .
ti
v... - -...
A Blues Scale: A e D D~ E G
1\
- ...
,. -ti#-
!
...
... "
1 +t';
-
3 1 3 1 3 4 1 4 1 4
4
1
,..
v
-
u
.L ... ...
f\. ...
.
"7
-
,.. "7
-
.. . u
ti
,.. ft
,..
U
-
I
""
8
A Minar Arpeggia: A e E .L
.
....
....
'\ ....
v
1) ....
-
3 4 2 1 3 2 1 4
-'.
.... 4
1
.-
. ..-
--
.v
. -" .
..-
1\ .-
B -. .-
,...
,v
-
v
II
..
A Majar Arpeggia: A c~ E
....
" ""
#....
-
u -4 4 3 2 1 .(
....
2
-"
.-- n --
-}\ 9
B . -. ..- 11
,
H
)
T .... " 3 4 1 3 4 1 3 1 2 4 1 3 4
-'o
.... 1
3 4
1
'" -"
.. -v - - ,-. ...-
...
.. -. '" v
1\
K
-
-v -, -
U
..'"
.
- -'"
'" .
-
:;
....
A Minor Scale(harmonicminor): A B e DE F G#
'\ +1-. ...... ..IIL.
-
IJ
!0 """ "
...... T 1 3 4 2 3 1 2 4 2 3 1 2 4
3 4
1
. ... -.
L
'"
'" -
I!!
A
'"
A
R -
...
-. ..
.. -.
- ft
A DirninishedArpeggio: A e E' F#
...... ~.
f\ L ,,.- ......
-;'.
.IJ -
1) ......
...... v 1 114 1 4 1 4 3 ' 1 4
4
1
-
lo
.-
.-
..
..
...
.."
f\.
B 1>
...
-.. . .ft
-.. ft
u
'1
id
il
1I
11
II .
!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= 152
Solo C~ F e
~ F
'" ~~.
@J
3
B B B B B p p
~ ~ ~
------ ...--...
TI
e 3 --.
~ ~
"-3 -J 6
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 p p p S
....- .
G
-----.
_G
-----.
1-<- G-
I
::=:::: ...-
......
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.
~ = 136
Main Riff
A(no 3rd) B(no 3rd)/ A
::::> ::::>
sim. sim.
muted muted
G(no 3rd)
" D(no3rd)
i1
C(no 3rd)/ A
::::>
::::>
muted
sim.
s
-j
~ r
--------
(#r>
B
~
14
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.
:::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.
G(no 3rd)
Solo 8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --'"- -----
..
B B
/7"'-
--
8v~ ~-----
L ~
-- ( [7.fL.) :(.L. ~ .fII--- - ..:. - -- - -- "'-- -~ " .........
-- P H P H P s ----- B
........
~
- ~ ~ -
Bva- - - - - - - - - - - - - - - - - - - - :;.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~- - - - - - - - - - - - - - - - - - : - - - - - -~ - - -
~
t-
6 6 6
(hold half step bend) (bend another half step)
H P HP H E
"<!
loco
--- ~
,,~ s B B
H P H P H P bend neck to lower pitch
~
(or dive with trem. bar). ~
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.)
16
(muted)
B p 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" approch) to convey the deliberate musical effect of
periodicity. Notice the characteristic legato (pulloff) sequence again
and the trademark Rhoads scale combination of Aeoliar 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.
!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 p p p p
~ ....--....
..--... ...--..." "
B -------
muted 1 *B
~
s
,
B R
----
B '--'"
"--.. ---'-"
:. :.
muted---.J *B S S
..
--, .. .. ... ft
l\.. 1:) -' :.. :.. :-
..;
V -V I 'VI l.
'-, \ --1,
~8
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) E
i1 i1
20 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 E/A D/A A
---
E/A
D/A A
~ 3-, r--3 -. 3-.
n
L. ~_. -
::::> ~
::::>
-.. . :'
. ' ,..: 4:-.-...
'---
muted J 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 (bars 9 through 14). The
final flourish of the ascending scale, a combination of varius 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.
Solo
6 6 L-3--'
TP TPPH TP TP P H TP P B-
-...
- ' - - "'
~ /7:
!!l.
R B R B R B
*TP TP TP TP TP TP T P P **T P
....---.. ,.--... --------
-.
B B
~
~~
~
"'"
').w.
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .
- '*"-----;. - - - - -=- -
:J
P P P
I ,1"- "ll
P B R
=-
-R
I
H H
3-
.. r-- '" T- T- .
.. ,
..-. - - :::--:::...
" ... ." ... .,
. - e.,
..:> ,- ..
...
..- r ,-'" .....,- .'a\ I_- I_- ":'...-'! ....
f\. lO ,.- ,,"" \' ' - .u'. #!"
H
22
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
@)
p H P H P HP H sim.--- - - (SL - - - -- ~S)- - - - - - - - - - - - - - - - -(sr - - - - -
~
!L
~
.....--...... ..
- P H
~
P SHP B B
~
~
~ ~ ~
".
A(no 3rd) G#(no 3rd)
@J r-:,
B(no 3rd)
1
-
6 l-3.-J
s HH HH 6HH HH HH H s B B s
f~ ~
*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.) -
:"'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 intric
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 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.
H H
r-;--..
- S H
-------
p
--- H P
~
P P
~-:-
B
?7---
---- <!! 15
P P P P H P H H H P H P P H P P H P P H P
~ ~ ........----... ~ ------
- - ----
- A7
A 7sus4 - - -- - - - -- -- --- - - - -- I
D F#m/C#
8va- - - - - - - -.- ~
)
m loco \~
(.,11.-)-.
. . ~ .L~
B R P P B R B B B[
~ ~ ~ ~ ""!
;-...
Bm/A G
~
:---.
H 6 H P P s s
.......
.u .u .... -... '-
.n " 'u
"' .._ ",,-
... . .;;.
f\. .. 'u .u .... "'-
B .
-
~
'"'
Dee
By Randy Rhoads
TRO- @ Copyright 1981 and 1985 Essex Music International, Inc., New York, N.Y.>
International Copyright Secured. Made in U.SA l~
26
Bm G/B
m A/C~
f
J -
---
s
..---
.
G(maj7) D/F~
,\,,j.
1, 1 3r::::::::
J "J 1 l, I
e
e e
CI
I H I
I
I
." "7 "7
-, "'--"..
..
4"
.-
.. -'
1\ --
K ,..
.- A
<1 -
D A/C~ Bm G6
r r "fe
D/F~
~
HP P
f" P ~
..---
~
...
B7/D~ Em
E"
~ - " ",-
-"""'!o"
J
~
e
r U re
-
.I
r --
~
~
E7/G#
'--/j ...-----....
P
#f p -----..
-
,.--........
D
3
HPP
LL- P P -41 r- H P I f-
....---......
,.--........
A7
ID
~
HP - P
~
P P P P
...------......
P
-----..
....----..
A/C# Bm Bm/A A7
~
I'\,J, J I 1 1 I r I I I ~~
I I
u r
-p
-- ... -... S j'-p--r S -
.. - - A
""
- - A-
...- ....
- >1
" >1
=
...
-
-..-
,
H - - -
"--- V V
A7/C # D6
(overdub) 1":\
D/P# A7
t
. - U p
:
r-
~
p
-
open
harm.
..--....
28
I
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 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.
J = 108
Dm
6 6 6
B B B
~ ,,-,....
B~
6
6 6
i,
6 6 6 p p p p
.-----.... ..-----..-..
30
B
~ .----- 3
~~ -- -- -- -- -- --- -- - --- - -- --- --- -- -- -- -- -- ---- --- - -- --- - --- - --- - --- -- ---- --- --
~ - -- ~ ~ = ~~.. '"
o L 3 ' L- 3 J
6-
H P P H H P P P p S p
....------..... :::--
..-.. .......--... ----.
Em7-5 A
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - "'
Q
~
'---' ------
-P
------ S B
.1LK
Dm
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - --
f\ - ---.... ---.... ---.... - :
I!) o- -
-
P 6 P 6 P 6 P 6
- -- -.-
.-
..... -
'V .. ..--::-,- .-
.... ,v ... ...----... - ......
'"
.. .-
.v -
'"
'v ...
...
,v ", ..v .-
...
-
.V
..
IV
...
-
.t\.
K
B~
8v~ : ~ ,
f\ ---.... ----..... -'-"""'" -----""
,
.!J
p .6 p 6 P 6 P 6
-
.....
IV .V ...
,v.
...
'v ...
IV ,..
...
'v
..--:....
,.. ,...
...
'v
..-
,.. IV
,...
,-
...
,-
.-
...
...
...
,..
'..
,..
'V
-
....
...
,..
... 4"
...
...
.V ...
...
J.
1\
B "
-
2""
e
loco
~ ~
6 6 ~
6
H S s s p H p3f H P
~
-------- --------
B~
:>- -- .--""
,( C'
B R P P P P P
--
------.
, ------.
~
Em7-5 A
#, /
H P
-:::"-4
S P P
>-
HP HP
U-* -9- dive with bar
I
P 1
m. ( -
/
n. -
v
- -'i. -
ti - .. -->.
... ... -.--..-
""" ...
-<:' -
"
- I \ ..
v
6 6 6 v 6
P P P P p P P P
.--.. ------. ------. ------. ------. ------. ------.
32
G
-
6 6 6
p p p p p p p p
jj' ...--... ...--... ...--... ...--... ...--... ...--... , ,
\.
..
E7
Am
1&
..
.
6 6 6
p p P. P P P P P
.
'"
"Outro" Solo
i Dm Gm7
8v~ ~---------------------------------------------------------
~
~
'"
'='
~ "" ..~ ,
E
I -
I
i'='
:;
~
~
'"'
= F
I==' 1\ 8;a-
..--""- - - -..--""
- - - - - - - - - - - - - - - - - - - - - - ,. - ,. - - - - - - - - - - - - - ....-"'"
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ;::. - - - - - - - --
;:'
..
~
= '/?
.
!iE !0
!iE
~ P 6 P P 6 P p-T-=--,
=
'Ei
- .::-" --
....-
~
.. -
." . -- .-. .... "'...." .. '-....., --- 4- -
II ft
ti
"
.1.1
"
.1.1
".
.1.1
"
.1.1
"
.1.1
...
-- .
I'Ei
3E
I 33
I
L
B~ -- -- -- -- -- - -- --- -- - --- -~~7=~ -- -- -- -- -- -- - -- -- -- -- - -- -- -- -- -- -- -- -
illSva-= ~ -
H P H H p H (tremolo picking)
~ ~ ~
A
Sva-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -~ --------
'\ ----- -- -=====----
. , /"
11'
4 ""
;"
6
HP H PH------
-
,:,. v,
.-
IV
' .- -
.
.- ,- .- .- .- - --
IV'"
--H
v
....
,. ....
.,. ....
,. ....
-,.
f\.
H
~
H P H6 P H H P H P H H P H P H
------------
m C
. fJOl G
Sva ' - -- - - - - - - - - - - - - -- - - - ~- - - - ~- - - - - - 1 loc o1..--.
f\
EJ
,,-- /' - .1
r -"'"
-r-- 1*-. -(!#-. --. --....
-./
@) ------
H H H B HP P P P
n ---::.. .- ... ....'--"'/ --:;----.. '"
-.. - IV .- ,"-, oJ -
'I "- ..
..ft - .. ,,-
- - ,,-..
-
-,,--... - '"
ft
K
IV oJ
..ft-- -
oJ ft
..
'J"o
F B~ 6 ~
6 ~
--
~' 6
p p p s HH HH6HH HHPP
t:.
--;;---
----... , --="-
- ..---..
B ~
~
34
"
Em7-5
;
'"
----- ----- fill Asus4 ~ ~
7:
- '-3--' 5 6
p p HP~PHSPHP HSP H P H SPHP H S
I
...:;;
[
"
I
- ~
i
~
~
,
S
A~
P H P H'
~
S P H P
.
H P H S P H P H P
.
~ B R
1!::.-
.
. ..
.
~.
.
..
I ~~ - - - - - - - - - - - - - - - - - - - - - - - ~~ - - - - - - - - - - - - - - - - - - - - - - - - - - ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - --
.r-
t ~ ~ ~ -~ ....
~
t H ~ HP
...---...
~ ...---....
7'
() 6
6
S s
.--.. ..-
-
--.. H -..
- .. ::t
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1......
-
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7
6
- ...:...-'v
- ----t ...
.- ....
sli5p - - S H
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f\
T
j
8 8 6 5 S - ...- - - - .. -
'
" .. -.:r
. ----....
lB u r -.--.
[ ... o "'J
.E
A ~Dm Gm
..........
~
e F B~ Fade out
f\ ----- ....",...
,...
. ...... ' I-
S H P P HP
If!:
--::---
.,-"i, WWWftW""
---- W W .,, .. W W W W
- W
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c"
:J)
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) G(no 3rd)
A(no 3rd)
---...
. :-
----.
.. - .. -- r
r
s s s muted l
/'
...--... /
A
:~ q
-
s s s s s
~
---.
B
E(no 3rd)
loco ~
@)
~
R s S P s p s s s
...---..... .----.. ---
/"
/.-
.0' s
s s s, s s
--
7
38
-- -
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 adence. Notice the
use of feedback, double stops, triads on slide guitar, and pentatonic
flurries. The closing A Mixolydian phrase is saved from sounding
clichd by the odd, humorously unresolved Gi as tge last note.
B B B B B B B
~ ~ ~
;-.... ~, 17 17 20 (22) 20 (22) 20(22) w
f f f ...
B ~~'r:::s~..
R
f
'~
,
r
~ s ...' '
f
i
I
~
i
5..
I
i
I 8va slide guitar ~ ..~.
- - - - - -- - - - - - - - - J - -~-
I
p s
~ -------
I ------------
i
I
;.
+-2:, 4-2
'---"
I
I
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i
11
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,--""U U ~I
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.1. ~I
A. ~
B ~,
~
= 12'"
'\
J 8va-- - - - - - - - - - - - - - - - - - 1 loco
.. .. ..
-
1'1 . 1'1. ~i~
------
. l1f
:
'---- .--/ \ 11
:!!:
<::::Feedback> <Feedback>- H S P H ~lo
- -
.., =
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- --
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... ... '" - i
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B - . ----- .--u ~,
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I
i
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e
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5
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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, Inc. and Kord Music Publishers, New York, N.Y.
International Copyright Secured. Made in U.SA
Al! R.ights Reserved including Public Performance For Profit. Used by Permission.
iIII
~ = 180
Intro Riff
E(no 3rd)
:::>
>-
/ ~--./....
H
~ ' /
4"
f
~
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
I
classical concert violinist or pianist who would exploit the angularity
f
01the arpeggio as a dramatic e11ect,descending and ascending
along the chord tones in a crablike contour.
1
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
i
return to the tonic tonality 01 E. Notice the di11erentcharac,ter 01the I
second hal1 01the solo which, by contrast to the classical/diminish~d
sound 01the opening measures, is bluesy and 1illed with bends,
I!
vibrato bar diving, and pentatonic scale work. ~
Gm 1
Solo ~ i
.:~ !
~
~
B
--
I
ff
-- GO
!
~
!
!
'""
~
@J
-- s H P H P
P P
~
~
~
jF
~
!
3
i
~
~
3 3 .-3-. ~
I
'
~
i!
~
p3 P3 P P P
-- ..---...
..---... ..--..
~
..--..
..---... ---
i
=
~
I
~
=-
I~
L-3-' ~
HP ,H P HP H s j
..---... ---- ~
~
~ ~
'- ...---... ---- ~
~
=
~
t'"
42 I
le ,
A.H.
'\ #
B~
() .".. --- - 8va,
L. . .
. . . . .
, I
'J'
----
B
-- ,... \
.,
.,.
A.H. muted I
""
- n
..
8va- - - --- - - - - - - - - - - - - - - - - - - - - - - - - - - 1
loco
~
-- s B R B R
s s
..--...
(I!
trem.bar
- - --...."
H S
..'
...... .-IV - /
L - - 1.. -' /
ft
B
-' '
..---"" '
o OT
r
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v
. . v -
'-
s P--H B R B
.-....
l.
./'"
8v~-------------------------------------------------------------------------------
.....-----.....
~- - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---------------------
- - - - - - - - - - - - - - - - - - - -- -- -- - - - - - - - - - - - - - - - - 1
, ,-~ ._~
"\ J,j # -
:J !
--- .-
B
.. \"1
R B R """"
.--:'i'..._,
.,
B
--..----...
.- lA;;"
S i'
......
L
'----.
............
ft "-
H
.
J3
Over the Mountain
Words and Music by Ozzy Osbourne, Randy Rhoads, 8ob Daisley
and Lee Kerslake
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 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)
::>- . .
muted~
, -'.
::>- .
muted l m u t ed ! pick (overdub
sUde guitars)
.Vi
*Tune all strings down one half step (D #, G #, q, F#, A#, D#).
44
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 >-
Ensemble Une
C#m(no 3rd) [1. A(no 3rd) B(no 3rd)] [2. E(no 3rd) F; no 3nL
*
P P P P P P P
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 ~"""
~I
return to the tonic was mandatory after the development section aij'
!'
moved to E minor - a rather remote key relationship, ;,
s H P
B '--3--' ti ~ I~
~
~ ~,
-
!'
I
I
8va;: - - .. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
~
;?-;-
loco
~ /'7' ~ ~
~i
.
*B Ijii
P H P P
~.
---=------- I
I~
"'"
Iai
i'
~
~
~
~I
r-.3 --, ~
'E
;~
~
~I
. muted HP
~
I~
~
~
~
~ ..,
.:=
s:
B
iE
~
E'
=
&.
i"
El
Tacet ~'
~3--, ~'
6 ~6 11
P P P P P P P P P P P P P PH P trem. bar s P H P
~ ~.
----.. ~ ?=--.
~
Vi
*Bend (pull) string with right hand while hammering-on and pulling-off with left hand.
46
vibrato with 6 6 - -
B trem. bar P S HPSHPSHP S HPS~PPHPP~PP
,...
o 6 3 e 7 4- 9 I
'v
(~)
#~ slow bend pick
(hold bend) 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
---
E
G#m
)~
.
muted HPHPHP B s
"V
c# ~
8va- -- - -- - - - - - -- - - - - - -- - - -- - - E(no 3rd)
...IL.(~~- - ~l A(no3rd)G#m(no3rd)
-4-
R P B
~ , ,
~
::=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.
J = 128
F #m(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - -"- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
~
l~l' . :... T T
P **SB P SB =--
S H
----- -'"""'"'
"7
D(no 3rd)
l.,,j.
8v
.. - -- """""". . ,
I
,
-.- ...
-
v
!J . ..JIII'_"- 1.
--""'-
P HH S S
.r'
H
"
---DI:
"'-
H
lA
,
...
-----
-..
S
........
..
.. 4 4"
. ..'-
"-
f-\ ." ..." lA" .
..
,-
~:::
F#m(no 3rd)
loco
~ 8va----
J
5 L--J~
muted H P H HPHPHPHPHP H P
.!t ~
...--
D(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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 - 'A
'... .... -----
.... 4ft
.... 'A r ......- .- .- 4A 4ft 44 ':.A
.-A .... IV .... .... ... ...,
J-\.
15
8v~ ~--------
L---J '
H P 6 H P H P 6 H P s H P H P H P
~ ~ , --- -----
/'
6pH TP TP PH
***TP
.--... TP :--..
TP T1>P H 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
]
6 6
T~ TP~ TP TP P H
~
F(no 3rd)
'\. A(no...,3rd)~ i'I------ l """.-
I, .
6
TP TP P H TP pick sUde
T P H
..
...: '" """, ,, 11 11 11
f\. " I" , .", .'" .- ..... .....
", --...-
ti '-:""';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, 12 Thayer St., London W1M 5LD England.
This arrangement Copyright @ 1986 Blizzard Music Limited.
International Copyright Secured. Al! Rights Reserved. Used by Permission.
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.
"
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 bar 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~
~ --- -:1
S H3 H H H P s B
------
16 11
) 19
. h'
'----'
'---"
--------
52
.",.
..,
3 3
p p3 3p B 3 .3
p
.---..
----- , .---..
m
'\+t ::> ::> ::> ::> ::>
. 3- 15ma
-, ,
,
0 1:...:.:.: I I I I I T I
3 3- 3 3 H P P arto B
harm.
"'----A
'" ,.----..
...
---------
...
t\ ..
.. ., " -
'"
-----u .: i',.\
f\. I \ I 1,.,\ 1_\. -' '1
B \" I \ ""1 \"' I \U I
15mal 3
1'\ +1' - --'---
.... . ..
U arto 3
I u
p3 p 3 p 3 P3
harm.
m
-... ,..---.....
... ", -----.. - .. -,.----..
.n.
... ...
-g .. """ .. ----....
"
., '" A
-B ...
., '"
...
3 3 3. 3~ [![]
@)
p H muted H s ~
~
~
::>
E
A/~
3 3
~ p ~ p
H H S3 p p
~
' ""
' ""
E
' ""
~
53 -
AlE
p B R p
~p
.....--....
AlE
@] E 3 .--------
@)
=--
H P3 p3 s p s H p H s p
.....--....
~
~.
E . AlE
8va- - -
(~) -"- -"- --- -3-,
--- - --- -- -- -- -- -- -- -- --- -- -- - -- - -- - ---- -- -- -- -- -- -- -- -- -- -- -- - -- -- -- -- -- -- --
~
"" .
@...
p p ,-p3" 3 s Pq
.... ~
-----
8v2 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
~ , -Lo ('1'-)
.
3 B
@) B B B B B B B 3 ~
--- . ..
~.
~
--------
~ - gradual release 3
~
~~!
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
I
7\
56