How many Maiden songs are in E Minor?

Let's start counting then.

Prowler: Is in the key of E and does use the E-C-D progression. (in the chorus)
(Sanctuary): Is in D.
Remember Tomorrow: Is in E but uses the E-C-D progression only briefly to end the instrumental bit before the last verse.
Running Free: In E, uses the progression heavily throughout.
Phantom of the Opera: Is in E. Does not use the E-C-D progression except as part of other, longer chord progressions.
Transylvania: Alternates between the keys of E and B and does not use E-C-D except as part of other progressions.
Strange World: Yes to both. The whole intro solo is backed by a repeated E-C-D pattern.
Charlotte the Harlot: Is in E but does not use E-C-D.
Iron Maiden: Is in A key and does not use the afore mentioned chord progression (interpreted here as F-G-A(.

So to sum up the debut: 7 out of 9 songs (7 out of 8 from the original release) are predominantly in E minor key and three of them use the mentioned chord progression more than just briefly or as part of other longer chord progressions.

Someone else is welcome to continue the journey.
 
As the thread title mentions E minor, I should point out that I interpreted that as referring to the song being based on the E minor pentatonic scale. It appears to be by far the most common basis for Maiden songs. I think D minor pentatonic is a good number two, but I don't feel inclined to start counting right now ...

Another interesting exercise for those who are good at music theory would be to try to find songs, or sections from songs, based on the E major pentatonic scale. I can't think of a single one right now.
 
I was gonna start with Senjutsu as I'm currently learning to play a lot of it. Can we meet in the middle? :lol:

Here are my notes, but I'm certainly no expert in musical theory so I welcome and appreciate any corrections. Just don't be a dick. ;)

Senjutsu: Verses are in E, uses the E-D-C progression. Modulates to D for the chorus and A for the middle section. Outro riff is in E, briefly modulates to D.

Stratego: Almost entirely in E I believe. Not sure it uses the progression.

Writing on the Wall: Is primarily in D, goes to A for Dave's solo.

Lost in a Lost World: Mostly in E, brief modulation to D near the end of the instrumental section. Not sure if it uses the progression, haven't studied this one enough.

Days of Future Past: Mostly in E, uses E-C-D-G-A for the intro/chorus and the verse riff is based around E-C-A-C. Modulates to B for the solo.

The Time Machine: Is in D, don't think there are any changes.

Darkest Hour: Is in E, uses C-D-E-D-C for the pre-chorus. Think it might modulate for the second verse and Dave's solo, possibly A?

Death of the Celts: Mostly in A, goes to E for Adrian's first solo, then again for Dave's and Adrian's second. Might be a few changes here actually.

The Parchment: Starts in D, then stays in E. Uses C-D-E to go into the "Hear the cry, we are ready to believe..." section.

Hell on Earth: Classic C-D-E progression in the intro. Uses E-C-D in the second half, think Dave and Adrian's solos are in a major key, maybe G?


So if any of my findings are correct, that's 7/10 that are primarily in E.
 
I'm not an expert in music theory either, but here's my take on "Piece of Mind":
  • "Where Eagles Dare" - in E minor, but that specific chord progression isn't used (a lot of E-D-C though)
  • "Revelations" - in A minor (but the verse is in the equivalent chord progression of A-F-G)
  • "Flight of Icarus" - in F# minor (the band sounds great in this key, I wish they used it more often)
  • "Die With Your Boots On" - in E minor, E-C-D in the intro (then the equivalent A-F-G during the "they died... with their boots on..." part)
  • "The Trooper" - in E minor, E-C-D in the chorus
  • "Still Life" - in A minor (but the verse is in the equivalent chord progression of A-F-G)
  • "Quest For Fire" - in E minor, but that specific chord progression isn't used (a lot of E-D-C though)
  • "Sun and Steel" - in F# minor
  • "To Tame A Land" - goes through several key changes, some parts are in E minor, but I don't think this specific progression is used
If I'm right (corrections welcome), only 4 of the 9 songs are primarily in E minor, which might be a record low for a Maiden album. I think only two songs use the E-C-D progression here (but two more use E-D-C, and a few of the songs in other keys follow the equivalent progression - ie A-F-G in A minor).
 
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My take on "Somewhere in Time":
  • "Caught Somewhere in Time" - in E minor, a typical example of the E-C-D chord progression
  • "Sea of Madness" - in E minor, but that progression isn't used
  • "Wasted Years" - in E minor, they come close but don't use this exact progression anywhere
  • "Heaven Can Wait" - in D minor, the equivalent progression (D-A#-C) is used
  • "The Loneliness of the Long Distance Runner" - mostly in E minor, E-C-D is used in several spots (the chorus is the same progression in D minor)
  • "Stranger in a Strange Land" - in E minor, I don't think this specific progression is used
  • "Deja Vu" - this is, as far as I'm aware, the only song the band ever wrote in F minor (but the equivalent progression, F-C#-D# is used throughout)
  • "Alexander the Great" - in E minor, but that progression isn't used
Six of the eight songs are mostly/entirely in E minor. This chord progression is only in two of the songs, but we also get the equivalent progression in D minor and F minor.
 
Last one for now. This is my take on "Seventh Son of a Seventh Son". I'm not a music theory expert and corrections are welcome:
  • "Moonchild" - I think this is mostly E minor. You briefly get E-C-D ("be the devil's own, Lucifer's my name") but I think that's it.
  • "Infinite Dreams" - mostly E minor (some parts in F#), with lots of E-C-D (ie during verses, during twin guitar melody, etc).
  • "Can I Play with Madness" - mostly in D minor. The chorus is the equivalent progression in B minor (B-G-A).
  • "The Evil That Men Do" - mostly E minor, with lots of E-C-D.
  • "Seventh Son of a Seventh Son" - mostly E minor (some parts in F#). There's E-C-D during Bruce's singing after the chorus. Then towards the end you have the equivalent in F# (F#-D-E).
  • "The Prophecy" - this is mostly in D minor, but there are several changes. I think you get the equivalent progression in A (A-G-F) during the intro underneath the acoustic guitar.
  • "The Clairvoyant" - in D minor. I don't think this progression is used.
  • "Only the Good Die Young" - mostly in E minor (some parts in F#). Lots of E-C-D throughout.
I like that this album has several songs that change from E to F#. Five songs here are mostly in E minor, the other three are mostly D minor. All five of those songs in E minor feature the E-C-D progression (some much more than others). Then you also get the same progression in A, B and F# in other songs.
 
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Killers (including Twilight Zone for completeness):

Ides of March: In E minor but does not use C-D-E progression.
Wrathchild: The same.
Murders in the Rue Morgue: Is in E, does not use the C-D-E progression. Is a bit interesting as the chords in the verse are E-A-C#-D-E whose root notes are strictly the notes of A major.
Another Life: In A minor.
Genghis Khan: Alternates between A and D in the first part of the song before jumping to E for the final part.
Innocent Exile: In D minor. No Bb-C-D progressions used.
Killers: In E, uses the C-D-E progression during the first part of the solo.
Prodigal Son: E minor all right, back to back Davey solos, but no C-D-E apart from as part of an A-B-C-D-E sequence.
Purgatory: The verses are in B which is not very usual for Maiden. The other sections are in D and the (D)-Bb-C-D chord progression is used a lot.
Twilight Zone: In A, does not use F-G-A.
Drifters: In D and does not use.

One particular thing to notice about Killers is that many songs contain riffs/sections where the rhythm section alternates between two chords. Also, the bass very rarely sticks to the root note of the chord for very long. If there is one album where the bass just goes on fast runs all the time, this is the one.

But to sum up our E minor counting: 5 out of 11 songs are mostly or fully in E (minor). Our precious chord progression is used in only two songs.
 
I don't think it's much of an issue that a lot of their songs are in the same key because with equal temperament the listner doesn't perceive any difference anyway. I think it's more the lack of modulation that can lead to certain songs sounding stale. Like a lot of the stuff from the newer albums at 10min+ songs that only stay in 1 key
 
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In that perspective, Killers scores well - it has plenty of key changes.

Let's continue answering the OP by having a look at The Number of the Beast.

Invaders: There are several key changes here but the verses are in E and they follow an E-C-D-E chord progression.
Children of the Damned: Also in E but does not use the C-D-E progression except as part of others.
The Prisoner: Mostly in B and does not use the equivalent chord progression (except, again, briefly as part of others).
22 Acacia Avenue: In E and uses the C-D-E progression in the 2nd "verse", from the 1:11 mark.
The Number of the Beast: In D and does not use this progression.
Run to the Hills: Same as NOTB.
Gangland: In E, and no.
Total Eclipse: In A and uses an A-F-G-A chord progression for the verses. For the first time they use a "pedal point" here, where the bass note for the chords remains steady on A throughout.
Hallowed Be Thy Name: It is in E and dammit, is the C-D-E sequence put to great use here.

So 5/9 songs are in E and the C-D-E chord progression (or its equivalent in the key of A) is used in 4 songs, playing a key role in three.
 
srfc said:
It's common in metal, not just Maiden, because it is the lowest note in standard tuning.
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I'd say the tuning only slightly matters. This interval is too common and too engraved in people's heads to be abused as main theme. 1-6-7-1 in minor to rock is what 1-4-5-6 major is to pop. Now if you detune enough you're going to lose some of the musical resolution* but it's not enough to change the listening experience, at least for me.

*Trumpets and Powerslave got a really similar main riff but it's A1 vs A2 so it conveys differently - but this is an extreme example, full octave in between.
 
Been away from my computer and guitars for a few days, but I'm back so now it's time to continue with The Book of Souls:

If Eternity Should Fail: Primarily in D minor, changes to F for the pre-chorus and E for the fast riff in the instrumental middle section.

Speed of Light: A few changes here. The intro, main riff and chorus are in G, pre-chorus moves from C to D, Dave's solo is A and Adrian's B. The verse is in E then moves up to F for the last phrase.

The Great Unknown: Mostly in E, changes to B for the pre-chorus. Adrian's solo is in C and Dave's in A.

The Red and the Black: Primarily in E minor, though I think it might go to a major key for the title drop and Adrian's first solo. Lots of C-D-E for the instrumental section.

When the River Runs Deep: Primarily in E, goes to B for Adrian's solo. He seems to like throwing in key changes for solos.

The Book of Souls: All E, all awesome.

Death or Glory: E again, pre-chorus is Bb-C-D, this key's equivalent of the C-D-E progression. Solos are in F#.

Shadows of the Valley: Mostly E, pre-chorus and Dave's solo go to B.

Tears of a Clown: Mainly A, pre-chorus is F-A-G-D. Goes to D for Adrian's solo, Dave's is E with the progression being E-F-G-A.

The Man of Sorrows: I haven't paid much attention to this before, I was typing this while listening to the track with my guitar in my hands. Seems to be mostly in C, the verses go from C down to F# - the Devil's interval, very sinister sounding. The melodies after the chorus and Dave's solo are in D, Adrian and Janick's solos are back in C. I think the chorus is in F# and uses G-B-A, again this key's equivalent of C-D-E.

Empire of the Clouds: Mostly E, classic E-D-C underneath the main melody. Goes to A for parts of the verses ("Royalty and dignitaries...") and Adrian's solo. Goes to G major for the ascending riff starting at 7:18, stays in that key for a while then the chords underneath are G-A-B-C-D-E as the melody ascends, ending in E minor. Is there a term for rapidly changing key like that?


Chalk up another 7 songs primarily in E, though there are a surprising number of changes.
 
Here's my take on "Powerslave", the last of the classic seven albums that haven't been covered yet:
  • "Aces High" - lots of key changes, the most prominent is A minor, but we also have F# minor (the intro), and the chorus is in E minor and then G minor. Dave's solo is in A minor, and Adrian's is in B minor. You have E-C-D during the chorus and the progression under the main riff is the equivalent in A (A-F-G).
  • "2 Minutes to Midnight" - the majority of the song is in A minor, but again lots of variations. The 2nd solo and the mid-tempo part are E minor. No use of E-C-D.
  • "Losfer Words" - this is a messy one. The predominant key signature would be A minor. I'm not going to go through and count all the changes (but there are some parts in E minor). No E-C-D.
  • "Flash of the Blade" - the intro and chorus are in D minor. The verse is A minor, so is most of the musical interlude (no solos this song). The equivalent progression (D-A#-C) runs under the main riff.
  • "The Duellists" - the intro riff is E minor. The chorus is A minor. The long instrumental section is mostly E minor (one part is in B near the end). The E-C-D progression is in the intro, and also towards the end of the instrumental (but it's really part of E-C-D-B).
  • "Back in the Village" - primarily in A minor (part of the instrumental part is D minor). The key change near the end is to E minor. The equivalent progression in A (A-F-G) is in the verse.
  • "Powerslave" - the main riff/verse is in A minor. The chorus is E minor. The long instrumental section starts in E minor. During the 2nd and 3rd guitar solos (and the guitar duet part in between), it's all in B minor. The long climax is also in E minor. No usage of the E-C-D pattern.
  • "Rime of the Ancient Mariner" - a long song of course, the majority of which is in E minor. The "see, onward she comes" part might be different, but not positive. Steve's solo is in F# minor. The long interlude alternates between A minor and G minor. The part where Steve's playing the melody under Bruce's vocals is in A minor. Adrian's solo is in A minor, then Dave's (and the following guitar melody part) is in E minor. The E-C-D progression is in the main verse and during Dave's solo.
This is my favourite Maiden album (probably my favourite album of all-time). There are tons of key changes (possibly more than any other album). I believe every song except "Flash of the Blade" is at least partly in E minor, but there's really only one song ("The Duellists" - and maybe "Rime..") that are majority in E minor. I wonder if, subconsciously, this is what helps the album always feel so creative and fresh.

If we're counting the E-C-D pattern, we have that in three songs ("Aces High", "The Duellists", and "Rime..."), and the equivalent progression also appears in "Flash of the Blade" (in D minor) and "Back in the Village" (in A minor).
 
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BloodOnTheBassistsHands said:
"Powerslave" - the main riff/verse is in A minor. The chorus is E minor. The long instrumental section starts in E minor. During the 2nd and 3rd guitar solos (and the guitar duet part in between), it's all in B minor. The long climax is also in E minor. No usage of the E-C-D pattern.
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I'm not sure about this, the chorus is E-C-D then a riff on the low E string and Dave's first solo is in B, with rhythm notes being B-A-G-A.
 
Edington said:
I'm not sure about this, the chorus is E-C-D then a riff on the low E string and Dave's first solo is in B, with rhythm notes being B-A-G-A.
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Maybe I'm hearing it wrong (and have been playing it wrong for many years)! I thought the rhythm is E-C-G# (for the riff starting at 0:56).

Yes, you're right - under Dave's first guitar solo, it's B (not E).
 
BloodOnTheBassistsHands said:
Maybe I'm hearing it wrong (and have been playing it wrong for many years)! I thought the rhythm is E-C-G# (for the riff starting at 0:56).
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Listening to the isolated guitar tracks, that's definitely a D there. I listened to the isolated bass tracks too and interestingly Steve stays on the E before joining the low E riff.

I'll skip The Final Frontier for the time being as there are a few songs I need to pay a little more attention to, though if anyone wants to cover it then by all means go for it.

So, for A Matter of Life and Death:

Different World: Primarily in E, verses use E-C-D, E-G-D progressions. Chorus is in G minor, bridge is back to E and uses another popular Maiden progression E-C-G-D.

These Colours Don't Run: Primarily in E, the intro and verse riffs are based around E-C-D but it's a less typical example. Pre-chorus and chorus both use the E-C-G-D progression. Interlude is in E, does at one point use E-D-C, Dave's solo is also E but is just E and G power chords. Vocal interlude uses E-G-C-D (not a typo by the way, it is different from the chorus).

Brighter Than A Thousand Suns: Primarily E, avoids E-C-D until the riff between the fast section ("All nations are rising..."). Modulation to A for the section before Janick's solo, the solo itself is in B.

The Pilgrim: Primarily in E. Intro uses E-C-D-E, E-C-D-A under the melody. Verses use a similar progression, first part of the chorus uses E-C-D-B then C-D-E. Second part modulates to A, then the spooky Eastern melody goes back to E, then to C. Janick's solo is in B.

The Longest Day: Primarily in E, brief modulation to B in the verses. Pre-chorus uses the E-C-G-D progression, chorus uses C-E-D-E-C-E-D. Interlude is in E with another brief modulation to B during the "climbing" riff. Adrian's solo is in E, using E-B-G-A. Harmony uses C-G-D repeated thrice then ends on C-G-A, then the "machine gun" riff is just E power chords.

Out of the Shadows: Begins in A, verses are in E using E-G-D-A. Chorus is also in E, using E-C-D-A. Adrian's solo is in E using the verse chords, then the instrumental break is the intro riff moved up to B.

The Reincarnation of Benjamin Breeg: Primarily in E. The clean chords under Dave's distorted melody in the intro are E-C-E-D, then under the vocals it's mostly E-based arpeggios but briefly modulates to I think C#? Correct me if I'm wrong. All the heavy riffs are in E, no sign of E-C-D though.

For the Greater Good of God: Primarily E again. Verses are our new favourite E-C-G-D, the bridge ("But I don't know/Tell me why..." is A-C-D. Both these patterns are repeated for the the pre-chorus and chorus. Adrian's solo goes to B, the same pattern is used for the harmony after Dave's solo.

Lord of Light: Primarily in E, uses C-D-E in the last part of the chorus. Modulates to B for Adrian's solo.

The Legacy: This is the one I'm most unsure about, but I think it's primarily in D minor, then modulates to E for the solo and stays in that key until the last acoustic riff. It does use E-C-D a few times, but as part of longer progressions.


So that's 8/10 that are primarily in E, though the last two songs do switch to that key at some point. I think that's where this album gets much of its heaviness from, lots of riffs hammering out low E power chords.
 
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