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Me: playing bass for Deep Purple in the late 60s/early 70s. Roger Glover did a good job, but I could have done better.

-Malcolm Young of ACDC. I kinda had his job in a tribute band, years ago. Cranking out 3-chord progressions through blazing Marshall amps for 2 hours was a lotta fun.

--so many others!

Me: playing bass for Deep Purple in the late 60s/early 70s. Roger Glover did a good job, but I could have done better. -Malcolm Young of ACDC. I kinda had his job in a tribute band, years ago. Cranking out 3-chord progressions through blazing Marshall amps for 2 hours was a lotta fun. --so many others!

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[–] • 0 pt

As a semi-pro musician, I wish more musicians thought like you. Too many are delusional, and think they are SO much better than they are.

[–] • 1 pt

I went like 15 years without even knowing about note centers. I didn't really understand what it meant to be in the key of C as opposed to A minor. I knew both of them had the same notes, but I didn't know how to tell which was which.

[–] • 0 pt

I've been playin in bands for 30 years. If the root of the chorus is A, I say 'it's in the key of A', although it may or may not be true.

[–] • 0 pt

There are key changes. It's quite common to switch between the relative majors and minors such as Crazy Train going from F# minor to A. I Alone by the rock band Live switches between G and E minor for the whole song. The interesting thing is that the bridge section is nothing but a B chord that is in 5th position coming out of the E minor chorus. I call that a floating or dependent section since it simply can't be done without the existence of another section. Well, maybe there's a way to accomplish it using melody that I'm not aware of.

The song Invaders by Iron Maiden has some crazy key changing. The chorus is a shift of a semitone or a tritone. I can't remember, but it's a huge, huge shift to a key very distant from what they're leaving behind.