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Ozzy Osbourne - Mr. Crowley Pt.3 - Guitar Harmony Section - Randy Rhoads - Guitar Lesson

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Ozzy Osbourne - Mr. Crowley Pt.3 - Guitar Harmony Section - Randy Rhoads guitar lesson video
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Ozzy Osbourne Heavy Metal D minor
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About Mr. Crowley Pt.3 - Guitar Harmony Section - Randy Rhoads

The harmony guitar section in "Mr. Crowley" is one of the most studied passages in hard rock, and for good reason: Ozzy Osbourne's collaboration with Randy Rhoads produced twin-guitar lines that move in thirds and sixths over a D minor backdrop, demanding that you keep both voices clean and evenly balanced in volume. If you are learning this as a single guitarist, the challenge is deciding which harmony line to prioritise and then drilling the other until both feel natural under your fingers. The melodic phrasing leans on classical scale shapes, so you will want to think in terms of D natural minor and its positions across the neck rather than pentatonic shortcuts. Picking clarity matters enormously here: any sloppiness in alternate picking gets exposed when the harmony is eventually layered. Use the Practice Toolbar to loop the trickiest two or three bars slowed down and listen hard to where each line sits rhythmically before bringing it back up to speed.

  • The harmony section interweaves two guitar lines moving largely in thirds and sixths within D minor, requiring clean fretting-hand independence on each voice.
  • Randy Rhoads drew on classical technique throughout this track, so familiarity with natural minor scale positions across the neck is more useful than pentatonic shortcuts.
  • Practise each harmony line separately at reduced tempo using the Practice Toolbar before attempting to layer or perform both parts in sequence.

How to Play Mr. Crowley Pt.3 - Guitar Harmony Section - Randy Rhoads

Key: D minor · Tempo: 138 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 138 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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