The INTRO to Iron Maiden's Aces High EXPLAINED 

Could you link the video of the fellow someone so we can check it out too? Thanks for the nice video and the explanation!

Hell... the video was genital without this correction; now it's perfect at last (at least for me -finally- playing on Maiden's studio backing track). What a confusing intro... Great Nico, as always 🎸🎵🎶

would love to see that clip...

@@miguelanxomuradolo2638‘genital‘?

I agree with everything you sau (you just have to listen to a metronome under them). As you say, I think it is an essential characteristic in the feeling of their interpretation, that can only achieve that result after many, a lot, of rehearsal.

You're soooo wrong with this one. Official tabs are never 100% correct. I spent 100000 of hours looking at their fingers on their live vids and isolating tracks as there are no 100% correct tabs...

I think it's important to clarify that "official sheet music" refers to the fact that the transcription is authorized (i.e. legally). However, that is in no way a guarantee that said transcription is accurate. There are usually multiple errors but they can still be useful as a guideline to get started... That's how I got started too 😊

@Cristiano dos Santos Gomes Actually, that's not "The truth" either. More often, bands are not even aware of that tablature books are being written. It's a deal between record labels and sheet music companies and they both care about turning a profit as quickly as possible, which often results in bad quality notation/transcription/tablature. Thankfully, there's a newer company called Sheet Happens and they ONLY work together with the actual artists to make sure that the transcriptions are indeed accurate.

Yeah 😂 check out some of the maiden books, or metallicas justice... I mean Who ran with the money?

@Cristiano dos Santos Gomes Not sure it's the channel your referring to, but The Art of Guitar has done a bunch of videos on classic bad tab books.

Oh same here, man... It always felt like something was "wrong" but I was sure I was doing it right so it was making me crazy until I decided to really sit down with it and take it apart.

You think so? Maiden's harmonies are usually pretty basic to me.They usually harmonize in 3rds, sometimes 5ths & octaves as well. Just like Thin Lizzy did before them. Ultimately, the complexity (or lack thereof, depending on who's listening) doesn't matter at all, as long as it sounds good! :D

That's the thing though: the first note IS accented the first time around.... Which is why I don't think the typical transcription you see with the anacrusis truly captures what is actually being played. Let me explain it this way: if you're playing with a band, how would you start the song to get it to sound exactly like the album - that is, with the accent (including the crash) on the very first note? Does the drummer cue 1-2-3 and you all start on the very next UPbeat? Or is it 1-2-3-4-BAM! ? 🙂

​@@LicksOfTheBeastAt the end of the day, it all comes down to music notation. Coming from a classical background, I don't see it as an issue for an ensemble to start with an anacrusis, even with challenging ones based on eighth rest . Having said that, one could argue that the crash on the cymbal doesn't necessarily imply that the guitars need to be accented. However, if desired, the anacrusis can be notated with an accent mark (such as a > or a ^) or indicated through specific performance instructions, such as a stronger attack or dynamic emphasis.

@@olivierpierre968 I agree in principle, and of course you can write the whole thing in 4/4... It's how it's always been transcribed. The reason I think it makes sense to consider that first measure as 9/8 is that this intro has a very specific feel: the first note is heavily accented and the second note feels very much like a weak beat. So by keeping that first measure in 4/4 with an anacrusis preceding it, the One of the first measure has to be a weak beat which isn't really the way 4/4 feels. After that first time around, then the 4/4 feels right because the accent is on the second note of the pattern, which falls on the One. Again, my argument here is not just about about notation but capturing how the part is supposed to feel within that notation, which I don't think is happening with the usual way I see this transcribed.

@@LicksOfTheBeast We are in agreement then! I believe that your dedication to capturing the subtle nuances of these guys' playing is truly remarkable. When it comes to executing these nuances with accuracy, including the intricate fingerings and rhythmic subtleties, you are quite possibly the only one, if not one of the very few, who achieves it in such a detailed way. Once again, I extend my warmest congratulations to you for your outstanding work. On a related note, there is one particular aspect that has always astounded me. In the song 'Aces High,' during the specific moments when Bruce sings 'no time to WASTE' or 'out of the SUN,' there is a specific chord that serves as emphasizing those lyrics within the song. Despite the significance of this chord, it is astonishing to see the number of people who misinterpret and misplay it in their covers. Its texture holds considerable importance in the overall composition, and finding someone who renders it correctly is truly rare if not impossible. This is just one example among many, and I am certain that you have an abundance of further captivating content to share.

Yes, I agree. It’s just an eighth note pickup, but it’s hard to hear it like that because you have no count in.

That's actually a good idea for a beginner-friendly tutorial 🙂

Actually, I find that having that first bar in 4/4 is what's misleading. Because only the first time around, the accent is on the first note so it cannot be a pickup note. An anacrusis is by definition an unaccented note before the accented downbeat. That's why I find that having that first bar in 9/8 and then moving to 4/4 with the first note of the pattern becoming a pickup note is the best way to transcribe what is actually being played. I hope that makes sense 😊

🤔 That could be something cool to do! 😃

I hear ya man! It made me crazy for a long time too 😄

Exactly! A lot of times we go to the diatonic notes out of habit, forgetting that a little dissonance sometimes makes all the difference between bland and awesome! 😊

😂😂 the things some of you guys notice just cracks me up!

@@LicksOfTheBeast 😄👍

Comments like these make my whole day so thank you!

Hi @Licks Of The Beast. I'm 40 years old. I've been a fan of Maiden since I first heard SOASS in 1992 or 1993. I always wanted to play guitar like them, so as a kid, I would play air guitar until I finally got my first electric guitar at 15 or 16. Like many Maiden fans, my friends and I formed a band and had a great time. One of my biggest dreams was to buy an original Fender Stratocaster to play like Dave Murray. Last year, I finally bought it, and it has made me the happiest person alive. For the past 20+ years, I've been playing Iron Maiden songs, but when I discovered your channel, I was blown away. Your talent for analyzing song structures and sharing them with others is amazing. I feel a real connection with your passion and dedication to the music. As a big fan, I immediately hit the subscription button and have been enjoying your content ever since. Thank you so much for what you do. Your work is truly appreciated. Keep it up, and up the irons!

That's what she said

I'm not going to argue with 12 Bruce Dickinsons. 😬

I'm never going down on Juanita 2 fingers at all. H, H, Hey!

That's so crazy for me to read... Thank you!! 🙏🤘

Thanks so much! 🙏

i agree... Steve is not a scholar bassist

I am working on getting t-shirts done, yes! 😃

You'll find a fair bit of videos on that album here! I have some cool covers from killers (purgatory, innocent exile, killers, and twilight zone) tutorials on the rhythm parts of Wrathchild and a full one for twilight zone...and also a tutorial on Adrian's Prodigal Son solo. Cheers 🤜🤛

Just one thing: Dave's part, the fingering I used here is not the way Dave plays it. It's actually the way I showed it at 1:57 of this video. Still the same notes but I wanted to specify for the sake of accuracy 😊

Don’t worry bud, I think I can help you as well. Now using the first pass of the riff as an example: 7969-7-6-. First the time signature is 4/4 through out and the rhythm is 1&2&3-4-. The first downbeat is the 7 then the upbeat is 9 then 6 on beat 2 then 9 on the upbeat and the long note 7 will land on beat 3 and the long note 6 will land on beat 4. One thing to note: the guitar riff does not play any upbeat accents. The rhythm section does that, which is the bass and drums. Now I’m not a guitar player, I’m a drummer with over 35 years of experience. I’ve also been transcribing the music of bands like Dream Theater for over 20 years. I’m confident if you follow what I’ve given you, you will be playing the riff correctly. Let me know is this helped or if you have other questions? Good luck.👍 🎸

@@cesarvaldez112975 this’ll take a while to get through but thanks.

To be fair I don’t blame them lol. They played it probably a few times in 84 when they were recording and haven’t played it since.

@@rjm_17 I guess it's impossible to get that tightness live.

@@danielgonzaleztejedor9486 I always thought it was just because it was meant to be an intro to build excitement.

It's just not the kind of part you want to stand there playing on a big stage. It has more impact when the band comes in after the intro.

@@LicksOfTheBeast Perhaps sometimes they will play it live, like the Moonchild intro. The Moonchild Intro played by the band in 2008 was a great thing!

I'm so glad to read that, thank you!! I always hope these videos help some fans to gain a little different appreciation for the music they already love - and perhaps even be able to enjoy it from another perspective as well 🙂🤘

That's great!

Intro riff harmony to title-track intro of first album ICONIC.

Interesting take! I don't know if Steve had that in mind, but onomatopoeically I think it makes sense 🙂

That's a good way of looking at a lot of their parts!

If it's all his composition, then surely he has written the parts. I remember somwhere in a video, I think it was Bruce, saying that Steve comes either with an acoustic bass playing the tunes to the band or even just whistling them. ( It might have been an acoustic guitar too.) But if the song is credited to another band member along with Steve, then it depends. But you can tell by ear if you know the style of each member. To my experience, the member whose name is first mentioned in the credits is the main song writer, the second one is either the lyricist or the arranger ( in most Steve Harris co-works ). Let me give examples from the same album: 22 Acacia Avenue is credited to Harris- Smith meaning, Steve has done most of the song writing ( but the marvelous outro is obviously Adrian's and the riff in the bridge) whereas The Prisoner is a "Smith-Harris" song which means the music is mostly ( or entirely ) Adrian's work, Steve being the arranger and/or the lyricist. And when there's three ( again, this is to my experience and ear ) it's almost always Adrian has written the tune, Bruce the lyrics and Steve has arranged and "Maidenized" the songs like Evil that man Do & Can I play with Madness. ( It's known that Can I play with Madness was originally an Adrian Smith ballad called "On the Wings of Eagle" ( i might be wrong with tthe name, and yeah reminds me of the lyrics from Sea of Madness ) but it was never recorded.

@@fatihsendur7544 What I mean is, what happens when the others like Murray aren't credited and Harris is listed as the sole composer. The riffs in Infinite Dreams and No Prayer for example. Who really came up with those. It sounds like Murray to me.

@@ColtraneTaylor I personally think they are Harris's. But, I see your point. I have always thought that Dave has been Steve's handyman since they are the oldest. It's highly possible that Steve comes up with an idea and Dave starts playing it. But still the idea is Steve's. In my first comment I just mentioned the things I am sure about. Another clue is, again somewhere in a video when Bruce was talking about Steve's epics on Senjutsu, he saiid, Steve usually writes his epics all by himself and comes to the band with complete work done. Another thing is that, the 3 guitarist, they all write and/or improvise their solos but don't get creditted for those ( unless it's their song ). Again Bruce mentioned that they aren't a very democratic band and they like it that way because that's how things work with Maiden when everybody does what they want the way they want it.

È una di quelle cose che sembra giusta ma non riesci a capire perché non suona proprio come dovrebbe... Mi ha fatto impazzire per anni! 😄

Il fatto che poi non suonino l'intro dal vivo, incasina ancora di più le cose.

Thank you very much! That's hugely appreciated. I have no doubt it's all done by feel... The analysis is good to help explain the music and it's a good way to help learn the concepts, principles or techniques involved in the piece. 😊

That's great! Glad I could help 🙂 Interestingly I just discovered that my fingering for Dave's part is not the way Dave actually did it. Looks like he played it like the one I play at 1:57 (same notes but different fingering)

I know a bit of theory, major scale, minor scale and a bit. That's it. Nothing huge. Mostly work with my ear.

Hahaha wow you picked up on that eh? I'm in Toronto but I did grow up in Montreal so I guess some of that accent still comes through here and there 😄

@@LicksOfTheBeast yeah me too . Im from the south shore (brossard) been in T.O since 02 how bout you! Great job on the channel ! Up the irons!!

I only can say that his English sounds very clear and articulate to me; no hard effort to understand him (I'm from Spain, and my English is basic). It's one more reason his videos are pleasant to me 🙂👍 (in fact, it's easier to understand him than the automatic translated subtitles by RU-vid...😁).

Thanks man! So glad these videos are helpful 😊 Most of the time we write what feels right. The analysis afterwards can be helpful to explain the music and to teach whatever principle/technique was being applied... Cheers! 🤜🤛

This is exactly how I hear it. 2 votes.

@@fivethumbs101 and they played it like this live yesterday

On the Gibsons and on the Janick Strat, I use 10-46. The others, some I use 9-42 and others 9-46. I always list that sort of info in the description of each video 🙂

@@LicksOfTheBeast thanks, sorry I always forget to read the description 😬

I talk about that at 4:22 🙂

@@LicksOfTheBeast Yes, the G# over F# I understand; however, if the same thing is played by Adrian on the third phrase (where Dave and Steve change notes), then that would mean Adrian plays that G# against a D note by Dave, which would be *extremely* dissonant. Unless Dave is playing something like an F# at that point as well rather than a D 🤔 Adrian (G#-A-B-*G#*-C#-B) Dave (C#-D-E-*D*-A-G#) See what I mean?

@@jamesv337 It's a tritone... Very metal 😄 Like I said in the video, Steve seems to prefer when harmonies aren't too standard or necessarily always consonant. Also in this case the notes go by so quickly that you just feel the dissonance as slight tension. The outro riff in Senjutsu has a similar thing going on where they're playing the same thing but where one plays an E, the other hits an F. You don't "hear" it because it goes by so quickly but you definitely feel it and it's a really cool effect!

@@LicksOfTheBeast Yeah, stuff like that is interesting. They even make a B over a C work. In the interlude between Adrian's solo and the final chorus on "These Colors Don't Run" Steve plays the standard progression of E-G-C-D, but the very moment Steve plays the C, the lead guitar is coming back from a C note and lands on B. Similar thing with the intro melody on "Hell On Earth"..the lead guitar plays B-A-D-C, while Steve plays C-A-D-C. I guess because they're far enough apart in octave that it works without sounding dissonant at all.