03 nashville number charts

©2011 Barry Liesch ch3 Nashville Number Charts 1

Chapter 3

Nashville Number Charts

• 15 pages

• 20 examples

OUTLINE REPERTOIRESymbols for Scale Degrees and Triads God is So GoodRules of Action Amazing GraceDictation Assignments Father I Adore YouPerform This Chart! Angels We Have Heard on HighOne More Time Away in a MangerA Final Word Jesus, You're My Sure Foundation

There is Power in the BloodHoly, Holy, HolyRejoice the Lord is KingGive ThanksJoyful, Joyful We Adore Thee

Nashville Numbers to the rescue! Have you ever found yourself in a pinch trying to geta praise chart ready for the worship band when you haven’t got enough time? NashvilleNumbers (or Nashville Shorthand) could come to the rescue.

Nashville Shorthand is a technique for the rapid creation of arrangements so they can beunderstood and performed quickly and securely—notation on the fly. Chord changes,bass lines, and rhythmic aspects of songs are indicated on a number chart. Numberssubstitute for the chord letters found in praise charts.

Especially suited to songs with simple harmonies. Nashville Numbers tend to workespecially well when songs have a simple harmonic structure (like many worship songsdo), and are major (not minor) keys. Nashville Numbers, however, are not limitedstylistically to Country music. They are applicable to a wide variety of musicstyles—even complex music can be transcribed. Our attention, however, will be focusedon simple, easy-to-make arrangements for the worship band.

The Nashville Number method resembles Roman Numeral analysis, but is moreaccessible (more easily learned) and more intuitive for performance. The basicprerequisite is that players must know the major scale.

The Significant Advantages of Nashville Numbers over Pop Symbols. (1) Players learn something about chord function—how chords relate to each other inchord progressions (e.g. ii – V – I). Worship players become more educated.

(2) A number chart can be played in any key and be used to modulate to any key becausethe numbers (unlike chord letters) remain the same regardless of the key. Let’s say you

ℜ means a recorded audio file accompanies the example


want to lift the key on the last repetition. With a number chart you can accomplish thatinstantly without rewriting anything.

(3) “Takedowns” (CD transcriptions) are easier to create.Why? Because you don’t haveto know the key of the song (helpful when you don’thave perfect pitch). And whentranscribing, you can choose to think in any key (e.g., an easy key like Cmajor). Besides,if you create a chart using the key on a CD, it could be too high or low for congregationalsinging. (If you’re using Pop Symbols, you’d have to rewrite the chart a second time!Nashville Numbers avoid that.)

(4) Charts are briefer (take less space), and can be transcribed more quickly.

Beginning around the time of Elvis Presley, the Nashville Number method has been inexistence for over 50 years and continues to undergo development. Various contemporaryworship schools around the country are now introducing it, and are finding it to be ofgreat value

Relevance to the Worship Band. In a typical Nashville recording session someonebrings in a song, but no pre-written arrangement. The players listen to a live run-throughof the song, write down their own numbers on the spot (sometimes even on the back of anenvelope), and improvise a group-devised arrangement almost instantly. Thus they areable to record up to a dozen songs a day from scratch. Since rapid learning,improvisation, and ease of performance are imperative for worship teams as well, it iseasy to see the relevance of Nashville Numbers. Sundays keep coming, relentlessly!

Symbols for Scale Degrees & Triads

First, numbers are assigned to the notes of the major scale.

Example 3.1

For all Major chords = use only the number (e.g., 1 4 5)For all Minor chords = use the number and a minus sign (e.g., 2- 3- 6-)For all Diminished chords = use the number and a small circle (e.g. 4˚ 7˚)For all Augmented chords = use the number and a plus sign (e.g., 3+ 7+)

For example, the notes of the major scale yield these chords for scale degrees 1-7.

1 2 3 4 5 6 7C D E F G A B !&œ_ œ œ œ œ œ œ


Example 3.2

Since all major chords always have only a number, all minor chords have a number and aminus sign, and all diminished chords have a circle, it is not necessary for band membersto know by memory, for instance, that the 2, 3, and 6 chords derived from the major scaleare minor. But they do need to know the major scale.

Moreover, using this method, chords outside the diatonic scale (chromatic chords) can beclearly expressed.

Example 3.3 Chromatic Chord occurs on Scale Degree 2

Notice above, the D major chord has no minus sign. Below, in line one a minor 2 chordoccurs, whereas in line two, a major form of the 2 chord in C major is expressed.

Example 3.4

The Nashville chart for the 8 measures would look like this.

1 4 2- 5 1 2 5 1

Let's delve more deeply into the rules and processes governing the Nashville method.

1

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2 5 1 l& l l !w

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2 - 3 - 4 5 6 - 7° & !˙˙˙

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˙˙

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Rules of Action

A. One number per measure. Each number denotes a measure of music. That is,write a chord for each measure whether or not the chord actually changes.

B. One line per phrase. In order to make musical phrases stand out visually, use aseparate line of numbers for each phrase. Since most phrases are four measures long, youwill generally have 4 numbers per line.

C. Set off extra measures to the right. Below, there are 4 measures plus an extrameasure to the phrase on the second line—perhaps an extra measure for ending the piece.Set the fifth measure well off to the right.

1 4 2- 5 1 2 5 1 1

Example 3.5ℜ Write the Nashville Numbers for God is So Good

Do it! Within the box, write the Nashville Numbers for God is So Good. Notice the timesignature is also stated below. Always display that too.

Since a single, uniform standard for charting Nashville Numbers does not presently exist,some alternative charting practices will be shared below.

C

God is so

mD

good.

G

God is so

C

good. l&

4

4l l l _̇ œ_

œ w ˙ œœ w

C

God is so

F

good, He's so

G

good to

C

me. l& l l !˙ œœ ˙

œœ ˙ ˙ w_

4/4


D. Use slashes or parentheses to indicate split measures

Example 3.6 Measure 2 is a Split Measure (Angels We Have Heard on High)

Measure 2 has two chord changes instead of one. Therefore it is called a "split measure."Split measures can be expressed by using either slashes or parentheses.

1. Slashes express the split measure: 1 5/1

3. Parentheses indicate the split measure: 1 (5 1)

Both methods indicate that the second measure consists of 2 beats of a 5 chord and 2beats of a 1 chord. Preference is given to the parenthesis version in this book.

E. Use dots to indicate other ways measures can be split . . . .

4/4 time (1 4) = 3 beats of 1; 1 beat of 4 . . .

3/4 time (1 4) = 2 beats of 1; 1 beat of 4 . . . . . .

6/8 time (1 4 ) = 3 beats of 1; 3 beats of 4

Make sure the dots are large enough to be read easily.

F. Use time signatures or dots in parentheses for changes of meter

1. Time signature: 4/4 time to 3/4 time to 4/4 time = 4/4 (1 4) 3/4 2 4/4 5 5 …

2. Dots with parenthesis: 4/4time to 3/4 time to 4/4 time = (1 4) (2 ) 5 5

Our preference is for dots with parentheses.

G. Comparison of Nashville Numbers Versus Roman Numerals

Nashville Numbers indicate the scale degrees of chords and bass lines.Roman Numeral analysis computes the vertical distance between the notes in chords.

F

An - gels we have

C F

heard on high l&

b4

4 !œ œ œœ œ . œJ ˙


Example 3.7ℜ Nashville Numbers Versus Roman Numeral Analysis

H. Use slashes or horizontal lines for bass lines and/or chord inversions

Example 3.8ℜ

1. Slashes are used for the bass notes above: (1 1/7) (1/6 1/5) (4 4/6) (5/7 1)

2. Alternatively, horizontal lines can be used for the bass notes above: 1/ 1 1/ 1 4 / 4 5 / 1 7 6 5 6 7

I. For pick-ups, use the abbreviation "PU" followed by a bar line

Example 3.9ℜ Nashville Number Demonstration (Amazing Grace)

C BC AC GC F AF BG C

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4

4l l

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Nash

R.N.

C EC

I I6

1 1/3

F AF

IV IV6

4 4/6

GC G

I6/4 V6

1/5 5/7

C

I

1

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4

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# 3

4

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Notice, the rows andcolumns of numbers arealigned for easy reading.Also, the numbers arenot jammed tightly together.Wide spacing aids thecommunication process.

Example 3.10ℜ Try it! Create Nashville Numbers for Father I Adore You

The phrases above are two measures long. So each line should be two measures long.

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• PU3/4 1 1 1 4 1

1 2 5sus 5

1 1 4 1 .. . 6- (1/5 5) 4 1

4/4

F mG

Fa - ther I a -

C F

dore You,

F B b

lay my life be -

C F

fore You. l&

b4

4l l l

˙ œ œ œ ˙ ˙œ œ œ œ œ ˙ ˙

F Bb

How I

C F

love You. l&

b !˙˙ œ_

œ ˙


Example 3.11ℜ Try it! Create Nashville Numbers for Away in a Manger

Write the numbers.

Once they are written,how would you communicate themverbally to a band? (see below for the answer)

J. For rapid communication, call out the numbers to your band

To communicate quickly, say the following:Four measure phrasesLine one: eleven, twelve minusLine two: fifty-one, twenty-fiveLine three: eleven, twelve minusLine four: fifty-one, parenthesis 2 minus 5, then 1

K. Use a flat or sharp sign before (or after) the number for chromaticchords and/or bass lines

Lowered (flatted) 7ths and 3rds occur quite often. So do chromatic bass notes (as below).

C F G C F l&

b

l l l l

œ œ œœ œ

œœ œ

œœ ˙

œ_

œ œ œ œ

3/4

F F F mG

l&

b3

4l l l l

œ_

œ œ œ œœ œ

œ œ œ œ œ˙

œ œ

F F mG C F mG C F l&

b

l l l l l !œ œœ œ œ œ œ

˙œ œ œ œ œ

œ œœ

œ œ

œ œ ˙

1 1 1 2-5 1 2 51 1 1 2-5 1 (2- 5) 1


Example 3.12 Chromatic Chords in C Major

C Bb F C4/4 time 1 b7 4 1

Eb F Fmin/Ab Gb3 4 4- / b6 5

Example 3.13 Same Example Expressed in Conventional Notation

Alternatively, the flat could have been placed after the number (i.e., 7b, 3b).

L. Use a horizontal parenthesis for rhythmically "pushed beats"

Example 3.14ℜ Demonstration of a Pushed Beat in Melody (Sure Foundation)

Nash: (1 6-) (4 5) (1 6-) (4 5)

M. Diamond or Whole-Note symbol: hold chord for the entire measure

means hold the 1 chord for the complete measure

N. Sus chords, 7ths, and Various Chord Extensions

Sus = 1sus, or 1sus4, or 14

Dominant 7th == 17 or 1x7

Minor 7th = 1-7

Major 7th = 1ma7

Dominant 9th = 19

Dominant 13th =113

Note. Subscripts areoften used instead ofsuperscripts.

F mD

Je - sus you're my

Bb C

firm found - a - tion

F mD

I know I can

Bb C

rest as-sured l&

4

4l l !˙

œ œ œ œ œ œ œ

˙

œ œ œ œ œ œ ˙

1 b7 4 1 b3 4 4 - / b 6 5 l&

4

4l l l l l l

!

www

_ www

_b

www

www

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b www

w

www

__

b

b w

www

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O. Use standard abbreviations for sections of pieces

I = IntroductionV = VerseC = ChorusTag = TagD.S. and D.C., Repeat, and Coda signs

Example 3.15ℜ Write the Nashville Numbers (Angels We have Heard on High)

This example has a verse and chorus. Always place the verse (V) and chorus (C) signs inthe left margin. A dividing line helps separate the V and C sections. Chromaticismoccurs. Phrases are of different lengths (4, 3, and 2 measures): use a separate line for eachphrase for easy reading. The numbers chart below is partially completed. Finish it!

Verse F

An - gels we have

C F

heard on high,

F

sweet -ly sing - ing

C F

o'er the plains l&

b4

4l l l

œ œ œœ œ . œJ ˙ œ œ œ

œœ . œj ˙

F

And the moun-tains

C F

in re -ply;

F

Ech - o back their

C F

joy - ous strains. l&

b

l l l

œ œ œœ œ . œJ ˙ œ œ œ

œœ . œj ˙

Chorus F mD

Glo -

mG C F Bb C

ri - a l&

b

l l l ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ .

œ_j _̇

F

in ex - cel - sis

CF C

De - o,

F F#D

Glo -

mG C

l&

b

l l lœ œ œ œ ˙ ˙

˙ œ œ œ œ ˙ œ œ œ œ

F Bb C

ri - a

F

in ex - cel - sis

CF C

De -

F

o. l&

b

l l l !˙ œ œ œ œ œ .

œ_j _̇

œ œ œ œ ˙ ˙ w


V (verse) 1 (5 1)1___________________________

C (chorus) (1 6-)

Dictation Assignments

Play the pieces on a keyboard. Have your students/band write the Nashville Numbers.

Example 3.16 Write Down the Nashville Numbers (There is Power in the Blood)

A

pow'r in the blood;

A

Would you o'er e - vil a

D A

vic - to - ry win? There's l&

#

#

#

l l

œœ . œ ˙

œ œ œ œ œ œ œ œ œ œ .œj

ChorusE

won -der -ful pow'r in the

A

blood. There is

A

pow'r, pow'r

D

won-der-work-ing l&

#

#

#

! l l lœ œ œ œ œ œ ˙ .

œ

œ˙ ˙ œ œ œ

œ

Verse A

Would you be free from your

D A

bur - den of sin? There's

E

pow/r in the blood, l&

#

#

#

4

4l lœ œ œ œ œ œ œ œ œ œ .

œj œœ .

œ ˙

A

pow'r In the

E

blood of the

A

Lamb. There is

A

pow'r, pow'r, l&

#

#

#

l l lœœ . œ ˙ .

œ . œ ˙ .

œ

œ˙ ˙


Nashville Numbers:

(Performance-wise, could you give your Nashville chart a Rock feeling, stylistically?)

Example 3.17 Write Down the Nashville Numbers (Holy, Holy, Holy)

Nashville Numbers:

D mB A D G D

l&

#

# 4

4l l l œ œ

œ œ˙ ˙ ˙ œ œ ˙

˙

A D mB C#A EA E A D mB

l&

#

#

l l l l

œ . œj œ œ

˙ œœ

œ

œ œ .œj w

œ œœ œ

A D G D mB D G D mE A D l&

#

#

l l l l l

!

˙ ˙ œ . œJ œ œ ˙ ˙

˙

œ œ ˙

˙ œœ œ .

œj w

D A

won -der -work-ing pow'r In the

E

pre - cious blood of the

A

lamb. l&

#

#

#

l !œ œ œœ œ

œ . œ œœ œ œ . œ ˙ . Œ


Example 3.18ℜ Write the Nashville Numbers (Rejoice the Lord is King)

Nashville Numbers:

Example 3.19ℜ Write the Nashville Numbers (Give Thanks)

Re -

C BG

joice the Lord is

mA

King; Your

F mD

Lord and King a -

G

dore! Re - l&

4

4l l l l

Ó Œ

œ_œ

œ_

œœ

˙ . œ œ œ œ œ ˙ . œ

C mA

joice, give thanks and

D BG

sing And tri-umph

DG D

ev - er -

G

more. Lift

F D7G

up your

C

heart; Lift l& l l l l lœœ_

œ œ œ#œ

œ œ ˙ ˙ ˙ . œ ˙ ˙ ˙ .

œ_

BG AF

up your voice! Re -

F E mA mD

joice, and gain I

GC G

say, re -

C

joice. l& l l !œ œ œ œ œ œ œ œ ˙ ˙ ˙ .

Verse

Give

G

thanks with a

D

grate-ful heart: Give

mE

thanks to the

mB

ho - ly One; Give l&

#4

4l l l l

œ ˙ .œ œ œ

œœ œ

œ ˙ .œ œ œ

œœ_ œ_

œ

C

thanks be-cause He's

G

giv -en Je - sus

F

Christ, His

D

Son. And l&

#

l l !˙ œœ œ

œ œ

œ œ œœ ˙ . œ œ ˙ .

œ


Nashville Numbers (don't forget the section markings!):

Perform This Chart!

Perform the following Nashville Numbers on an instrument (keyboard, guitar, etc.).

Example 3.20ℜ Joyful, Joyful We Adore Thee (4/4 time)

1 5 1 (4 5)

1 4 1 (5 1) . . .. (5 1/5) (5 1/5) (5 3/#5) (6- 2 5 )

1 4 1 (5 1)

Key Points

Nashville Numbers has the following advantages over Pop Symbols:(1) More educative. Players learn something about chord function.(2) More versatile. Charts addressing various styles can be played in any key and beusedto modulate to any key.(3) More brief, speedy. A Nashville Number chart uses less space and can be createdmore quickly than a Pop Symbol chart.

ChorusmB

now let the

mE

weak say, "I am

mA

strong;" Let the

D

poor say, "I am l&

#

l l l

˙ . œ œ œ

œ œ œ ˙ . œ œ œ

œ œ œ

G

rich," be-cause of

C

what the Lord has

F

done for

D

us. l&

#

l l !˙

‰œJ œ œ œ .

œj œ œ œ . œj œj ˙ . Œ


Moreover, the learning curve is easy. The basic requirement is that players must knowthe major scale. For now, follow the Nashville conventions outlined in the chapter. Onceyou master them, feel free to customize them to the level of your players. At first,introduce very simple Nashville charts (basic triads, no inversions). Play them in afamiliar key.

A Final Word

As a worship leader, one your basic roles is to be an educator, to build up your musiciansand help them grow musically. In accomplishing this we need wisdom! Reflect on thescripture verses below for five minutes. Be open. Let the Spirit teach you what He wouldhave you to learn.

By wisdom a house is built,and through understanding, it is established;

through knowledge it rooms are filledwith rare and beautiful treasures.

Proverbs 24:3-4

03 nashville number charts

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