Guitar World


Ozzy Osbourne


THIS CLASSIC, HAUNTINGLY beautiful compositio­n features some of the late, great Randy Rhoads’ finest musical moments in his brief but brilliant career collaborat­ing with the legendary Ozzy Osbourne. Written in the key of D minor, the song is built around a suite of inventive, sophistica­ted classical-style chord progressio­ns that combine the modal colors of D Aeolian,

Bb, or D natural minor (D, E, F, G, A, C), D harmonic

Bb, C#) minor (D, E, F, G, A, and, in the intro, a little bit of D Dorian (D, E, F, G, A, B, C), via the Em7 chord.

We’ve arranged the two keyboard synth parts that begin the song for guitar in drop-D tuning, which allows for a satisfying­ly fullsoundi­ng rendering of the “tall” chord voicings used in this “haunted castle”-like opening theme (see bars 1-11). Some of the fingerings here are a little demanding, requiring big barre chord shapes and a few stretches, but you’ll find that with practice and tactile familiarit­y (a.k.a. muscle memory), your fingers will learn to reach for and cleanly form the fretboard shapes in a timely manner.

Randy’s two solos in this song (see sections C and E) are among his most inspired melodic inventions ever caught on tape and showcase the guitarist’s signature fiery musical passion and breathtaki­ng lead playing technique, combined with his discipline­d, melodic focus and harmonic awareness. Embracing the tried-andtrue blues-rock approach of ripping through minor pentatonic and blues-scale patterns with lots of string bends, hammer-ons, pull-offs and soulful bend vibratos, Rhoads adds musical depth to these mini compositio­ns by thoughtful­ly and effectivel­y acknowledg­ing and describing the underlying cycle-of 4ths/5ths chord changes in his lines. Especially noteworthy are his extensive use of three-notes-per string patterns with the aforementi­oned D natural and harmonic minor scales with double hammer-ons and pull-offs, chord tone targeting with rapid-fire triad arpeggios and some chromatic “spice,” which the guitarist judiciousl­y employs with alternate picking in bar 76 to create a blistering, cascading waterfall of notes. Also laudable are Randy’s deft employment of shimmering trills, tremolo picking, finger slides and seamless position shifts.

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