Here is something all Randy Rhoads fans have been waiting for for a long time.
Robert LaFond Jr. has compiled 25 handwritten lessons from the time when he was a student of Randy Rhoads and made these lessons available for $9.99.
Apparently (I don't have the issue yet), these are the lessons discussed in the new issue of Guitar World magazine. I bought the ebook and am waiting for the download instructions. I'll let youknow more when I download them.
***Okay, I've downloaded them now and I am thrilled. Now I can spend the next year studying and trying to understand Randy's method.
A dream come true!
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The Flying Dutchman
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Paul Wolfe
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I started working through the instructional download... it is cool, but it does need some clarification in some areas. Fortunately, the author considers it a "work in progress" and wants feedback.
For instance, there is an exercise that the author says is excellent for working on alternate picking, but I cannot figure out how it is supposed to be played. All of Randy's stuff is written in box patterns, because in 1979 tablature as we know it really wasn't used. Tablature has technically been around for centuries, but it didn't get widespread use in its present form until about 1983. So Randy didn't write things out that way. It would be helpful for the author to interpret in tab for clarification.
There is an interesting little story I thought you'd like. At an early lesson, Randy asked the author who his favorite guitar player was. The guy said, Al Di Meola. So Randy whipped out a song from one of Di Meoa's records and played it as lightning fast as the original.
I've never heard mention of Randy and Di Meola in the same sentence, so I was surprised to know that Randy could play one of his songs from memory.
This download is worthwhile as much for the background as for the lessons themselves. The author has played both Randy's Les Paul AND his polka-dot V - imagine the wealth of information he could give everyone about those instruments?
For instance, there is an exercise that the author says is excellent for working on alternate picking, but I cannot figure out how it is supposed to be played. All of Randy's stuff is written in box patterns, because in 1979 tablature as we know it really wasn't used. Tablature has technically been around for centuries, but it didn't get widespread use in its present form until about 1983. So Randy didn't write things out that way. It would be helpful for the author to interpret in tab for clarification.
There is an interesting little story I thought you'd like. At an early lesson, Randy asked the author who his favorite guitar player was. The guy said, Al Di Meola. So Randy whipped out a song from one of Di Meoa's records and played it as lightning fast as the original.
I've never heard mention of Randy and Di Meola in the same sentence, so I was surprised to know that Randy could play one of his songs from memory.
This download is worthwhile as much for the background as for the lessons themselves. The author has played both Randy's Les Paul AND his polka-dot V - imagine the wealth of information he could give everyone about those instruments?
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rhoadsscholar
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Glad you liked the e-book. If you look at the video on the Guitar World CD, you will see Andy demonstrating the alternate picking exercise.
You want to hear something cool about AL Dimeola
If you look at the guitar world article, right across from one of the pages the article is on is a promo for Al Dimeola's new tour.
How cool is that (maybe they planned it that way).
RockyRhoads, check out the video on the CD and let me know if it clears things up. I did this as an e-book as I'm looking for feedback. As you know, it took me 24 years to get the first version out !. looking forward to talking with Randy Rhoads fans
Robert LaFond Jr
You want to hear something cool about AL Dimeola
If you look at the guitar world article, right across from one of the pages the article is on is a promo for Al Dimeola's new tour.
How cool is that (maybe they planned it that way).
RockyRhoads, check out the video on the CD and let me know if it clears things up. I did this as an e-book as I'm looking for feedback. As you know, it took me 24 years to get the first version out !. looking forward to talking with Randy Rhoads fans
Robert LaFond Jr
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Paul Wolfe
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Yeh Andy Aledort does the lesson on the disc that comes with the magazine and I don't feel his playing does the lesson justice.IMOskezza wrote:Andy AledortGeo Sav wrote:Got it lessons are cool but some one else should have played those Examples Andy plays them sloppy.Maybe its me but other than that I want more.Welcome Rhoadsscholar it had to be kick ass to study with Randy.
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rhoadsscholar
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Andy Aledort transcribes the lessons from the form I studied in to normal tabulature so that should be helpful.
THere is quite a bit of irony here.
I am used to looking at things the way Randy presented them to me as this is how I learned. So whenever I get tabulature, I usually end up writing some of the stuff into the template Randy used in his lesson plans.
Irony can be so Ironic sometimes.
I am very greatful to Andy for putting together the article and the instructional video.
One thing to keep in mind is that he was using a straight, clean les paul sound vs. a distorted, overdriven sound (like the crazy train tutorial in the March 2006 issue).
For these kinds of exercises, I believe it is important to be able to get clear , articulate notes as you learn the patterns, progressions, etc. When you do, then let er rip (kick in the overdrive). I am appreciative of other opinions though. Andy is a smokin guitarist and I was very pleased with how the article turned out. As you guys go through the e-book and the guitarworld article, I am interested to hear what you discover.
THere is quite a bit of irony here.
I am used to looking at things the way Randy presented them to me as this is how I learned. So whenever I get tabulature, I usually end up writing some of the stuff into the template Randy used in his lesson plans.
Irony can be so Ironic sometimes.
I am very greatful to Andy for putting together the article and the instructional video.
One thing to keep in mind is that he was using a straight, clean les paul sound vs. a distorted, overdriven sound (like the crazy train tutorial in the March 2006 issue).
For these kinds of exercises, I believe it is important to be able to get clear , articulate notes as you learn the patterns, progressions, etc. When you do, then let er rip (kick in the overdrive). I am appreciative of other opinions though. Andy is a smokin guitarist and I was very pleased with how the article turned out. As you guys go through the e-book and the guitarworld article, I am interested to hear what you discover.
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rhoadsscholar
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At the time, I liked the les paul custom (have a 1979 now and have had three over the years).
Some people don't think the Gibson/Norlin era Les Pauls are any good. I happen to like them. You can get them for about the price of a new one these days. Love that cream/yellow finish. I have always liked them as most of them have Maple necks (vs Mahogany) on the Ebony fretboard which gives it a brigher sound. I also think the maple necks are stiffer
(which I believe is a good thing).
Back in 1979, I didn't pay as much attention to the instruments I was playing. Regarding the flying V, Randy had just recently got it. I thought the coolest thing was the Bow Tie inlays. I can't say that I remember particulars about the neck feel, shape. The finish was pretty stunning.
The couple of months prior to seeing Randy's V, I was playing a custom neck through strat (with genuine Gibson PAF's from a 1959 Byrdland), and an Ibanez musician that had a Dimarzio Dual Sound and Dimarzio Super Distortion in the bridge. I think Randy was probably deciding on the finishing touches as to the pickup configuration and I remember him trying out my guitars (which gave me the opportunity to play his).
Some people don't think the Gibson/Norlin era Les Pauls are any good. I happen to like them. You can get them for about the price of a new one these days. Love that cream/yellow finish. I have always liked them as most of them have Maple necks (vs Mahogany) on the Ebony fretboard which gives it a brigher sound. I also think the maple necks are stiffer
(which I believe is a good thing).
Back in 1979, I didn't pay as much attention to the instruments I was playing. Regarding the flying V, Randy had just recently got it. I thought the coolest thing was the Bow Tie inlays. I can't say that I remember particulars about the neck feel, shape. The finish was pretty stunning.
The couple of months prior to seeing Randy's V, I was playing a custom neck through strat (with genuine Gibson PAF's from a 1959 Byrdland), and an Ibanez musician that had a Dimarzio Dual Sound and Dimarzio Super Distortion in the bridge. I think Randy was probably deciding on the finishing touches as to the pickup configuration and I remember him trying out my guitars (which gave me the opportunity to play his).
so your guitar could've inspired him to the Super Distortionrhoadsscholar wrote: The couple of months prior to seeing Randy's V, I was playing a custom neck through strat (with genuine Gibson PAF's from a 1959 Byrdland), and an Ibanez musician that had a Dimarzio Dual Sound and Dimarzio Super Distortion in the bridge. I think Randy was probably deciding on the finishing touches as to the pickup configuration and I remember him trying out my guitars (which gave me the opportunity to play his).
