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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,
Saleslimited
England
I Don't Know
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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 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
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.
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.
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.
Bend: Finger the lower note indicated, then bend the string until
you achieve the sound of the higher note.
-R
,UB
~s
Slide: Play the first note normally, then slide the left hand finger
to the second note.
"-
Downstroke
Upstroke
:::>
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.
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A Blues Scale: A e D D~ E G
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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
C~
~~.
@J
3
B
B
~
------
...--...
TI
3 --.
~
"-3 -J
B
s
""
;-..
12
...--...
:::>
:::>
/"?
(2-11
:::>
(slow sUde)
p
....- .
G
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,
= 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
14
(#r>
--------
Fill
G(no 3rd)
D(no 3rd)
:::o>
:::o>
t)
:::o>~
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
/7"'-
8v~
---
~----L ~
-- ( [7.fL.)
:(.L.
~ .fII---
..:. - --
H P
- -- "'--
-~
s
-----
" .........
........
~
Bva- - - - - - - - - - - - - - - - - - - - :;.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~- - - - - - - - - - - - - - - - - - : - - - - - -~ - - ~
t-
6
(bend another half step)
6
(hold half step bend)
H P
HP
H E
"<!
loco
--H
,,~
~
B
r-;-..
,,;;
P P
~---
~uted
15-
~.~
~
~
~.
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 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" 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.
D(no3rd)/A
C(no 3rd)/A
!L
muted-.J
*B
,---......
.
~
,---......
O 1
---..ft
...
---..
A(no 3rd)
D(no 3rd)/ A
G(no 3rd)/A
*B
....--....
..--...
...--..."
"
-------
A(no 3rd)
C(no 3rd)/A
D(no 3rd)/ A
muted
1 *B
B
,
'--'"
A(no 3rd)
D(no 3rd)/ A
.
:.
G(no 3rd)/ A
"--.. ---'-"
..
--,
..;
V
-V
1:)
'VI
..
-'
~8
(echo)
muted---.J *B
l\..
..
:..
...
:..
ft
:-
l.
'-,
\ --1,
----
Crazy Train
Words and Music by Ozzy Osbourne,
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
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.
muted
D/A
E/A
muted
---1
---
E/A
D/A
A
~ 3-, r--3 -.
n
L.
muted
~
::::>
::::>
'
pp
~_. -
3-.
-..
,..: 4:-.-...
'---
pp
. :'
p p
..---....
--------
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
F~(no 3rd)
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
--------
'E(no 3rd)
D(no 3rd)
,
CHno 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
~
-.
B
~
~~
"'"
B(no 3rd)
A(no 3rdf
G#(no 3rd)
F#m(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .
').w.
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22
E(no 3rd)
D(no 3rd)
C#(no 3rd)
,-
3,
..
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
@)
H P H P
HP
B(no3rd)
H sim.--- - - (SL - - - --
A(no3rd)
G~(no 3rd)
~S)- - - - - - - - - - - - - - - - -(sr - - - - -
F~m(no3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
loco
..
.....--......
!L
P SHP
::>-
::>-
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)
s HH
f~
HH 6HH
6
HH
HH
l-3.-J
H
s
B
~
~
~
*iL-~
~'
'
'
.~
...,. ~
*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 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 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
H
r-;--..
Bm
Bm/A
----
Bva- - - - - - - - - - -: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -~~
..---..
-.
P P
---
H P
P P
?7---
~-:-
----
<!!
15
-------
H H
P H P
~
P H P
........----...
H P
P H P
------
- - ----
A 7sus4
8va- - - - - - - -.-
B
~
A7
- - -- - - - -- -- --- - - - -~
R P
F#m/C#
m loco
(.,11.-)-.
B R
\~
~
.L~
B[
~
""!
;-...
Bm/A
~
:---.
'-3
'- 3 ---J
3
mutedj
~
~v:- - - - - - - - - - - ~-
A7sus4
.
I,,j,
- - - - -~ - - - - - - - - - - - - - - - - ,F #m/C#
-:::::-., ~~ ..;..
:>-
f\.
.
ti
"
/
"
"'
~
~
...
..
.._
6 H
.n "
'u .u
P P
'u
.......
.u
.u
.... -...
.;;.
....
",,-
'-
"'-
~
'"'
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~
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.
J =48
G
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D6
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r -...i!
-.
-'
--
IZegato
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26
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{"
..
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...
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-.
p-.
open
,
@
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Is
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.....
'
ha.rill.
--
..:.
I
I
I
Bm
G/B
A/C~
---
..--.
G(maj7)
1,
,\,,j.
3r::::::::
J "J
D/F~
l,
e
e
CI
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.--
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"7
"7
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<1
A/C~
Bm
G6
"fe
D/F~
~
HP P
~
f" P
..---
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E"
Em
B7/D~
~
r
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re
--
E7/G#
'--/j ...-----....
P
#f p
-----..
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D
3
LLP
HPP
-41
r-
,.--........
HP
....---......
f-
A7
ID
~
H P
...------......
-----..
....----..
A/C#
Bm
I'\,J,
A7
Bm/A
~~
-p
--
..
D/P#
...
-...
j'-p--r
A
""
"
S
-
A...-
>1
"---
(overdub)
....
>1
=
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-..-
A7/C #
D6
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A7
U
:
p
..--....
28
r~
open
harm.
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
,,-,....
B~
6
i,
30
p p
.-----....
p p
..-----..-..
B
~
.-----
~~
-- -- -- -- -- --- -- - --- - -- --- --- -- -- -- -- -- ---- --- - -- --- - --- - --- - --- -- ---- --- --
- --
H
P
....------.....
~~..
'
L-
Em7-5
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6S
P
:::--
..-..
.......--...
----.
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - "'
Q
~
'---'
-P
------
f\
------
.1LK
Dm
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - ----....
---....
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IV
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IV
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,...
6
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6
IV
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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)
"--"
'---"'
S P
7(#---)
B
.....
---...
.
G(no 3rd)
----.
:-
'\.w.
f
....
..
ft
B
"--'
S P
..
"-
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::,..
G(no 3rd)
D(no 3rd)
A(no 3rd)
...,,--::'
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s
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---.
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E(no 3rd)
loco
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...---.....
s p
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D(no 3rd)
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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
iIII
The syncopation
driving motion but requires a certain dexterity and
= 180
Intro Riff
E(no 3rd)
:::>
>-
>-
>-
C(no 3rd)
F#(no 3rd)
B(no 3rd)
>/
~--./....
H
~
f
~
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/
4"
Gm
Solo
I
I!
1
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GO
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---
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----
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loco
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J3
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.
~ = 132
Main Riff
*
E(no 3rd) A(no 3rd)
G#m(no 3rd)
::>-
-'.
[1,2,3,
E(no 3rd) A(no3rd)
::>-
muted
. .
muted~
][4.
m u t ed
pick
sUde
(overdub
guitars)
.Vi
+rJ
Interlude Riff
D#m
G# (no 3rd)
P H
P H
>-
P H
[1.
(,
'!I
~,
moved to E minor -
Solo
~J---S
'-".
~I
aij'
!'
;,
G#m(no 3rd)
'
;
~"""
~
H P
ti
'--3--'
.~.
=,
\o
....
I~
~,
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I
8va;:
- - .. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ;?-;-
/'7'
I
~
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i
~
.
Ijii
*B
P H P
~.
I
I~
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---=-------
r-.3
--,
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muted
HP
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.:=
s:
iE
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E'
=
&.
i"
El
Tacet
P P
P P
~6
P P P P
P P
~'
~'
11
~3--,
P P
P PH P
trem. bar
P H P
~.
----..
?=--.
~
Vi
46
i'
~
~
~
~I
~
'E
;~
~
and pulling-off
6
P S HPSHPSHP
vibrato with
trem. bar
B
,...
S HPS~PPHPP~PP
o 6 3 e 7 4- 9
'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
.....--...
."
--
.....--...
;;;
.....--... ---
.,
-,
---
E
G#m
)~
HPHPHP
muted
"V
c#
8va- -- - -- - - - - - -- - - - - - -- - - -- - -
...IL.(~~-
~
,
- ~l
P
E(no 3rd)
A(no3rd)G#m(no3rd)
-4::=o-
48
,
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 cnter 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
-----
l~l'
SB
. :...
=-S H
-'"""'"'
"7
D(no 3rd)
8v
..
l.,,j.
v
!J
."
..."
lA"
H
.r'
4"
-.-
...
1.
H
---DI:
..
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HH
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f-\
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- --
..'"-
"
"'-
lA
...
----..
S
........
.
..
,~:::
F#m(no 3rd)
loco
muted
5
HPHPHPHPHP
H P H
L--J~
H P
.!t
I'\,,j,
8va----
...--
D(no 3rd)
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
;..
H
4".A
....
P
.-.
-----.............
1""
'
4A
...,
4ft
....
.-A
""
6
...,
H
A
'A r
-...
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.-
....
IV
H
'A
.-
....
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'...
....
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4ft
....
44
...
':.A
...,
J-\.
15
8v~
H
~
~--------
H P
H
~
H
, ---
L---J
H P
'
-----
/'
A(no 3rd)
F(no 3rd)
. 8va- - - - - - - - - - - - - - - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
-'\
4-~
'
6pH
.--... TP
***TP
:--..
TP T1>P H
TP TP PH
----..
';
*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"
pick sUde
T 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,
Copyright
12 Thayer
St.,
Secured.
in a blues-based
shuffle (implied
"
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~
~
--S
-:1
H3
-----16
)
.
h'
'---"
--------
52
'----'
19
11
..,
.",.
p3
3p
.3
p
.---..
-----
::>
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::>
1:...:.:.:
3-
3
...
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1'\
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m
-...
....
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\U I
-,
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---------
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'1
15mal
--'---
arto B
harm.
"'----A
,.----..
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...
-----u
-'
. ..
arto 3
harm.
-----..
...
-g
...
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..
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3-
3 H
3
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.---..
::>
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::>
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A/~
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p ~ p
~
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53
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.....--....
AlE
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P3
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.....--....
~
~.
AlE
8va- - -
-3-,
-"-
-"-
---
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....
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Pq
-----
8v2 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~
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, -Lo ('1'-)
--- .
..
~ -
gradual release
~.
~
--------
3
~
R
~~!
B
~
fP:
p3
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