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Ozzy Osbourne - Flying High Again - Randy Rhoads - Guitar Lesson

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Key F minor
Ozzy Osbourne - Flying High Again - Randy Rhoads guitar lesson video
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Classic Rock

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Ozzy Osbourne Heavy Metal F minor
Capo Advisor 0 F minor · Original key

About Flying High Again - Randy Rhoads

Few tracks from the early Ozzy era put your picking hand under pressure quite like this one. The driving rhythm guitar work in F minor sits at the heart of the song, demanding tight alternate picking and a firm sense of groove to lock in with the drums. Randy Rhoads, playing for Ozzy Osbourne, brought his classical training into a hard rock context here, and you can hear it in the precise articulation he applies even to the heavier riff passages. The solo section is where most players will need focused repetition: the phrasing is fast and deliberate, with position shifts that can catch you out if you have not mapped the neck carefully. Use the Practice Toolbar to isolate those solo runs and loop them slowed down until each position shift feels automatic. Getting the rhythm part right first is strongly recommended before moving on to the lead work, since the underlying riff sets the tone for everything above it.

  • The song is built around a hard-driving rhythm guitar part in F minor that rewards strict alternate picking and a locked-in, consistent picking-hand attack.
  • Randy Rhoads blended classical technique with hard rock phrasing throughout the solo, so clean left-hand articulation matters as much as speed.
  • Looping the solo sections slowed down is the most effective way to nail the quick position shifts without losing Rhoads' precise note-by-note clarity.

How to Play Flying High Again - Randy Rhoads

Key: F minor · Tempo: 132 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 132 BPM to build it up to tempo.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Slash's Les Paul Standard on 'Ordinary Man' delivers Ozzy's signature thick, warm sustain through its mahogany body and set neck. The guitar's natural resonance cuts through a cranked Marshall while maintaining the heavy, blues-rooted tone that defines modern Ozzy records.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

Randy Rhoads and Zakk Wylde both relied on the Les Paul Custom's thick mahogany construction and PAF-style humbuckers for sustained, focused leads that pierce through Marshall saturation. The Custom's weight and warmth became sonic anchors for Ozzy's most iconic guitar tones across decades.

Marshall JCM800
Amp

Marshall JCM800

Zakk Wylde dimed the JCM800 2203 for maximum crunch and tight low-end response, making it the backbone of modern Ozzy heaviness. The amp's aggressive gain structure and natural breakup at volume deliver the roaring, sustained tone perfect for pinch harmonics and heavy riffing.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Randy Rhoads' modified 1959 Super Lead Plexi delivered natural tube saturation with a tight, focused midrange that allowed his fast runs and solos to cut through with clarity. The Plexi's simple, responsive design meant tone came directly from his fingers and Les Paul into the amp.

EMG 81
Pickup

EMG 81

Zakk Wylde's bridge position EMG 81 provides high output and compressed sustain essential for heavy riffing and pinch harmonics that define modern Ozzy songs. The active humbucker's tight low-end response couples perfectly with a dimed Marshall JCM800 for maximum aggression.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Randy Rhoads and Zakk Wylde both used the Cry Baby wah to add expressive texture to leads without cluttering their core Marshall-driven tone. The wah's responsive sweep enhanced their solos while remaining secondary to the raw tube amp saturation that defines Ozzy's sound.

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