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Ozzy Osbourne - Over the Mountain - Guitar Tab

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Key E minor
Ozzy Osbourne - Over the Mountain guitar tab video
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Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.
Diary Of A Madman album cover
Diary Of A Madman
1981 4:32
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Ozzy Osbourne Heavy Metal 1981 E minor
Capo Advisor 0 E minor · Original key

About Over the Mountain

Few opening tracks demand your attention the way "Over the Mountain" does. The guitar work here, written and performed by Randy Rhoads for Ozzy Osbourne, launches straight into a fast, aggressive rhythm riff built around E minor that keeps your picking hand working hard throughout. The main riff sits in a galloping, syncopated feel that is trickier to lock in cleanly than it sounds on first listen, so use the Practice Toolbar to loop it slowed down until the rhythm sits comfortably under your hand before you bring it back up to speed. The track also features Rhoads blending classical-influenced lead lines with hard rock phrasing, which means your fretting hand needs both strength for the heavier rhythm passages and precision for the melodic runs. Pay particular attention to how the riff resolves: getting that landing point tight makes the whole thing feel convincing. The solo sections reward careful, phrase-by-phrase work more than a full-speed run-through.

  • The main riff is built around E minor and uses a syncopated, galloping rhythm that challenges your picking-hand timing and consistency.
  • Randy Rhoads blends classical-style phrasing into the lead work, so the solo sections benefit from slow, isolated practice on each phrase.
  • The rhythm parts require solid palm muting control to keep the aggressive attack clean without losing definition on fast chord changes.

How to Play Over the Mountain

The song moves through: Intro, Verse, Pre-Chorus, Chorus, Interlude 1, Solo, Interlude 3.

Key: E minor · Tempo: 156 BPM · Difficulty: Medium

The arrangement runs through 7 distinct sections, and the solo is the steepest jump, so isolate it on its own. At 156 bpm it moves fast, so the real test is building picking stamina and keeping every note clean at speed.

Loop the hardest passage and creep the speed up from around 70 percent until it holds at 156 BPM.

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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