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<#>
Randy Rhoads Scales, Blues Licks and Daring Chromatic Maneuvers
Continue Reading
In the world of heavy metal, hot guitarists are a dime a dozen.
Yet only a precious few stand the test of time and become enduring
guitar gods.
Related Articles
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Guitar Clinic
<http://www.guitarworld.com/randy-rhoads-guitar-clinic>
Soloing Strategies: The Most Electrifying Riffs of Led Zeppelin s
Jimmy Page
<http://www.guitarworld.com/soloing-strategies-jimmy-page>
Interview: Randy Rhoads Talks Gear and Ozzy in His First Guitar
World Interview From 1982
<http://www.guitarworld.com/interview-randy-rhoads-talks-gear-and-ozzy-his-first
-guitar-world-interview-1982>
Randy Rhoads was one such player. Joining forces with singer Ozzy
Osbourne in 1979, Rhoads burst onto the metal scene like a bolt from the
blue.
He was blessed with dazzling chops and an innate comprehension of music
theory, and his style had a perfect blend of flash and melodic structure.
Flowing legato sections segued to impossibly fast, palm-muted picking
passages; incendiary trills and daring chromatic maneuvers coexisted
with classically influenced melodiesall of which were derived from a
seemingly inexhaustible supply of scales and arpeggios and laid out
across an ever-shifting rhythmic landscape.
What s more, Rhoads was so precise that he could seamlessly double-track
anything he played, for maximum sonic density.
Sadly, only three recordings/Blizzard of Ozz, Diary of a Madman, /and
/Tribute/captured Rhoads genius before a tragic airplane crash, in
1982, cut his life short. But the musicianship that lies within those
grooves is as stunning and inspirational today as it was then.
*Sequences and Scales*
Rhoads would often sprinkle a solo
such as those in *FIGURE 1*. Built
(A-C-D-E-G), this lick is inspired
first solo in "Mr. Crowley" and by
most dazzling Randy Rhoads moments are often mistaken for tapped
excursions.
One such passage is the open string-pull-off extravaganza that occurs
midway though his solo in the live version of "Suicide Solution," where
he dispatches a sizzling array of triads and partials along the 1st
[*FIGURE 8*] and 2nd strings.
Rhoads also had a penchant for classically influenced trills (two notes
played in rapid alternation). He would use them to outline the chord
tones of specific changes, as seen in *FIGURE 9*, where the notes of an
Fb7 arpeggio (F-Ab-Cb-D) are alternated with notes a half step below.
*The Solo*
The solo [*FIGURE 10*] is a 15-bar rocker in the style of songs like "I
Don t Know," "Flying High Again" and "Crazy Train." The first half
(measures 1-8) sits firmly in the key of F# minor, riding a
i-bVI-bVII-i-bIII-iv-Vsus-V progression (F#m-D-E-F#m-A-Bm-C#7sus4-C#).
Measures 9-12 serve as a bridge, with modulating I-vi cadences (D-Bm and
E-C#m) in the temporary keys of D and E major. Measure 13 signals a
march back up (bVI- bVII-v-i; D-E-C#m-F#m) to the resolving i-bVII-i
(F#m-E-F#m) chordal riff.
The solo opens, in typical Rhoadsian fashion, with a head-turning
pinch-harmonic bend. To execute this two-octave harmonic, attack the G
string aggressively with the side of your pick, simultaneously brushing
the string with the side of your pick hand s thumb; the ideal position
for this contact is right above the rear edge of the neck pickup.
Next comes a pull-off flurry made up of F# blues and F# Aeolian scales,
followed by a tremolo-picked E major pentatonic (E-F#-G#- B-C#) climb.
(Tremolo picking, in which notes are picked as rapidly and continuously
as possible, was another Rhoads staple). An F# minor pentatonic
(F#-A-B-C#-E) wrap-up (measure 4) mirrors the opening lick.
In measure 5, a short melodic passage capped with a quick trill nods to
"Crazy Train," then segues to a brief Rhoads motif (see *FIGURE 4B*).
Instead of moving chromatically, as expected, the motif spills into a
three-notes-per-string B Dorian (B-C#-D-E-F#-G-F#) run (see *FIGURE 2*).
C# Phrygian dominant (C#-D-E#-F#-G#-A-B; fifth mode of F# harmonic
minor) provides the melodic framework for the chromatically enhanced
legato phrasing of bars 7-8.
The fireworks in measures 9-10 are inspired by the open-string pull-off
concepts described in *FIGURE 8*. Accenting the first and fourth note in
each sextuplet should give you the propulsion needed for this rapid
passage. A six-note patterndown five scale steps, then up onelies at
the heart of the E major pentatonic phrase in measure 11. Visualize the
pattern before putting the entire phrase together. In measure 12 a C#m7
arpeggio is laid out almost entirely on the G string; keep your eye on
the 9th fret in order to hit it precisely.
The trills come fast and furious in the next measure. Targeting the
notes of a D major triad (D-F#-A) will guide you through this
quarter-note-triplet passage. Finally, a relatively simple run up the E
major pentatonic scale and a pair of dyads (F#/C# and E/B) provide a
logical and musical conclusion to the solo. Now that we ve gone through
the solo bit by bit, look back over it and take note of its the rhythmic
diversityyet another characteristic of Rhoads brilliant soloing work.
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Artists: Randy Rhoads <http://www.guitarworld.com/randy-rhoads>
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<http://www.guitarworld.com/diminishing-devil-steve-vais-crossroads-fours/24929>
Applying Sweep Picking to Chord Progressions
As useful as sweep picking can be for playing an ascending or descending
arpeggio...
<http://www.guitarworld.com/time-burn-michael-angelo-batio-applying-sweep-pickin
g-chord-progressions-video>
Expanding Major Pentatonic Ideas to Major Hexatonic
Over the course of the last few columns, weve examined both the
five-note E major...
<http://www.guitarworld.com/deep-andy-aledort-expanding-major-pentatonic-ideas-m
ajor-hexatonic-video/25609>
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Acoustic Nation View All
<http://www.guitarworld.com/acoustic-nation>
John Lennon s Acoustic Technique with The Beatles
In the decades since his passing, on December 8, 1980, John Lennons
legend has...
<http://www.guitarworld.com/hole-notes-john-lennons-acoustic-technique>
Taylor Guitars 562e 12-Fret 12-String
Theres nothing quite like the sound of a 12-string guitar.
<http://www.guitarworld.com/acoustic-nation-gear/review-taylor-guitars-562e-12-f
ret-12-string/28893>
Witness Metallica Bassist Robert Trujillo s Classical Guitar Chops
Ok, so you may be asking yourself, Why is a metal bass player being
featured on...
<http://www.guitarworld.com/acoustic-nation-video-finds-metallica-bassist-robert
-trujillos-classical-guitar-chops>
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