Sunday, December 15, 2013

Randy Rhoads - a riff composition analysis

Today I would like to take a look at a classic Randy Rhoads lick pulled from the song "Revelation (Mother Earth)". This song on Ozzy's first solo album "Blizzard of Ozz".

I have always been a large fan of Randy and his work, especially his compositions on this album and the equally stunning "Diary of a Madman". The thing about Randy's writing style that seems to grab most of his fans; is that his ideas are all so very melodic. Much of his work is solidly grounded in the principles of his classical theory upbringing and training. So by examining where he draws his note choices, this can shed considerable light on how you can compose your own ideas following Randy's lead.

Let's get into it
The lick we are looking at today happens at around the 3 minute mark of the track. (Here is a link to the tune). Below is the tabbed out riff.

This song is predominately in the key of E minor and this riff sets the tone immediately with the sliding E power chord. It gets interesting fast though as he hits a Bb chord, followed by an F# (by way of the passing tone F). At first these may seem like odd choices (and they are certainly clever) but they are based in some fairly common theory. If I stack those main notes here's what we see:

The result forms a simple F#7 chord. The common strongest resolution in all classical western music is the famous V - I (five chord of the key, resolving to the tonic or home key). In E minor this chord would be B7. The above F#7 is actually the V chord to that B7 chord. This is referred to as the V of V (five of five). In other words, the strongest resolution, to the strongest resolution to the home. Sounds complex, but give it a try. Play around with this concept. Composers have been employing it for years.

Which brings us to the run at the end. Again, if we take these notes and stack them up, here is the resulting chord:

Is this a surprise to anyone now? Seems so logical doesn't it? The riff draws the ear back to the principal tonality of the piece. He strengthens that resolution by ending on the minor 3rd. This minor 3rd - tonic move is one of the most common in rock and most forms of music.

So this lick could be summed up simply by thinking of it as an F#7 to Emin move. Thinking of it this way will help you remember it for future too. It certainly helps me.

Stripping music back to its theoretical explanation can be incredibly enlightening for any musician. I highly recommend you make this concept part of your regular playbook.


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