03 Nashville Number Charts

©2011 Barry Liesch

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ch3 Nashville Number Charts

Chapter 3

Nashville Number Charts • 15 pages • 20 examples

ℜ means a recorded audio file accompanies the example

OUTLINE Symbols for Scale Degrees and Triads Rules of Action Dictation Assignments Perform This Chart! One More Time A Final Word

REPERTOIRE God is So Good Amazing Grace Father I Adore You Angels We Have Heard on High Away in a Manger Jesus, You're My Sure Foundation There is Power in the Blood Holy, Holy, Holy Rejoice the Lord is King Give Thanks Joyful, Joyful We Adore Thee

Nashville Numbers to the rescue! Have you ever found yourself in a pinch trying to get a praise chart ready for the worship band when you haven’t got enough time? Nashville Numbers (or Nashville Shorthand) could come to the rescue. Nashville Shorthand is a technique for the rapid creation of arrangements so they can be understood and performed quickly and securely—notation on the fly. Chord changes, bass lines, and rhythmic aspects of songs are indicated on a number chart. Numbers substitute for the chord letters found in praise charts. Especially suited to songs with simple harmonies. Nashville Numbers tend to work especially well when songs have a simple harmonic structure (like many worship songs do), and are major (not minor) keys. Nashville Numbers, however, are not limited stylistically to Country music. They are applicable to a wide variety of music styles—even complex music can be transcribed. Our attention, however, will be focused on simple, easy-to-make arrangements for the worship band. The Nashville Number method resembles Roman Numeral analysis, but is more accessible (more easily learned) and more intuitive for performance. The basic prerequisite 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 in chord 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 because the numbers (unlike chord letters) remain the same regardless of the key. Let’s say you

©2011 Barry Liesch

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ch3 Nashville Number Charts

want to lift the key on the last repetition. With a number chart you can accomplish that instantly without rewriting anything. (3) “Takedowns” (CD transcriptions) are easier to create.Why? Because you don’t have to know the key of the song (helpful when you don’thave perfect pitch). And when transcribing, 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 congregational singing. (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 in existence for over 50 years and continues to undergo development. Various contemporary worship schools around the country are now introducing it, and are finding it to be of great value Relevance to the Worship Band. In a typical Nashville recording session someone brings in a song, but no pre-written arrangement. The players listen to a live run-through of the song, write down their own numbers on the spot (sometimes even on the back of an envelope), and improvise a group-devised arrangement almost instantly. Thus they are able 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 is easy 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

& _œ

œ

œ

œ

1 C

2 D

3 E

4 F

œ

œ

œ

5 G

6 A

7 B

!

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.

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ch3 Nashville Number Charts

Example 3.2

& _˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

˙˙˙

2-

3-

4

5

6-

˙˙˙

!

7°

Since all major chords always have only a number, all minor chords have a number and a minus sign, and all diminished chords have a circle, it is not necessary for band members to know by memory, for instance, that the 2, 3, and 6 chords derived from the major scale are minor. But they do need to know the major scale. Moreover, using this method, chords outside the diatonic scale (chromatic chords) can be clearly expressed. Example 3.3 Chromatic Chord occurs on Scale Degree 2 *

& _www

l # www

www l

l _www

1

2

5

1

!

Notice above, the D major chord has no minus sign. Below, in line one a minor 2 chord occurs, whereas in line two, a major form of the 2 chord in C major is expressed. Example 3.4 C

F

& _www

w l ww

C

D *

& _www

l # www

Dm *

G

l www

www l

G

C

www l

l _www

l

!

The Nashville chart for the 8 measures would look like this. 1 1

4 2

2- 5 5 1

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

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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 a separate line of numbers for each phrase. Since most phrases are four measures long, you will generally have 4 numbers per line.

C. Set off extra measures to the right. Below, there are 4 measures plus an extra measure 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 1 2

2- 5 5 1

1

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

Dm

4 & 4 _˙ God

_œ

œ

is

so

C

&

G

l w

l ˙

good.

God

F

˙

œ

God

is

œ so

l ˙ good,

C

œ

œ

is

so

G

œ He's

œ so

l ˙ good

l w

l

good.

C

˙ to

l _w

!

me.

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

4/4

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

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5

D. Use slashes or parentheses to indicate split measures Example 3.6 Measure 2 is a Split Measure (Angels We Have Heard on High) F

44 œ b &

œ

œ

An - gels

we

œ have

l

C

F

œ.

œJ ˙

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

3. Parentheses indicate the split measure: 1

5/1 (5 1)

Both methods indicate that the second measure consists of 2 beats of a 5 chord and 2 beats 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 3/4 time 6/8 time

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

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Example 3.7ℜ Nashville Numbers Versus Roman Numeral Analysis C

C E

˙ _˙˙

4 l&4 l 4 l?4 l R.N.

˙

˙ _˙ ˙

I

Nash

1

F A

F

I6

˙ l_ _˙˙ l ˙ l l IV

IV6

1/3

4

4/6

C G

˙ _ _˙˙

l l l l

˙

G

C

˙

_ _˙˙ ˙

I6/4

V6

l_ _ww l l ww l I

1/5

5/7

1

˙ _ _˙˙

! ! ! !

H. Use slashes or horizontal lines for bass lines and/or chord inversions Example 3.8ℜ C

44 l& l 4 l?4 l

C B

_˙˙˙

_˙˙˙

˙

˙

C A

l _˙˙˙ l l˙ l

C G

_˙˙˙ ˙

F

l _˙˙˙ l l˙ l

F A

˙ _˙˙ ˙

G B

l _˙˙˙ l l˙ l

C

_˙˙˙ ˙

! ! ! !

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 7 65 6

5/1 7

I. For pick-ups, use the abbreviation "PU" followed by a bar line Example 3.9ℜ Nashville Number Demonstration (Amazing Grace)

# 3 œ œ ˙˙ œ ˙ œ œ ˙ œ ˙˙˙ ... ˙ ˙ 4 l& l˙ l _˙˙ _ l #_˙˙ l œ l _˙˙ _œœœ l _ _˙˙˙ œ l _˙˙ l # 3 l l l l l l l Œ l ? 4 l ˙. l ˙. l ˙. l ˙. l ˙ l ˙. l ˙. l l l l l l l l

˙˙ œ l˙ l l l . ˙ l l l l

©2011 Barry Liesch

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ch3 Nashville Number Charts

~~~~

# œ. œ œ ˙ jœ œ ˙ l & ˙˙ .. l _˙˙ œ l __œ˙ .. œj œ œ l __˙˙ œ l _˙˙˙ œ l ˙˙ œœœ l _˙˙˙ ... l _˙˙˙ . ! l # ˙. l l ˙. l˙ l l l l ! . l ? ˙˙ . l˙ l ˙. l ˙ . l _˙ . l_ l_ l ˙ . ! ˙ l l l l l l l _˙ . l ! Notice, the rows and columns of numbers are aligned for easy reading. Also, the numbers are not jammed tightly together. Wide spacing aids the communication process.

• PU 3/4 1 1

1

4

1

1

2

5sus

5

4

1

4

1

1

1 .. . (1/5 5)

6-

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

4 b & 4 ˙

Gm

C

F

œ œ œ l ˙

˙

Fa - ther

&b

F

Bb

˙

˙

How

I

I

a

- dore

C

l _œ œ love

You,

Bb

F

C

œ œ œ ˙ l œ œ l lay

my

life

be

- fore

F

˙ You.

F

˙

!

You.

The phrases above are two measures long. So each line should be two measures long. 4/4

l

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

F

F

Gm

œ ˙ œ œ b 34 œ œ œ œ & lœ œ l l _œ l œ œ C

&b

œ œ œ F

F

G

C

lœ œ œ œ lœ œ œ l˙ F

Gm

C

œ œ l

F

œ _œ l œ œ œ l

F

Gm

C

F

œ œ œ œ ˙ œœ œ œ œ œ œ œœ œ b œ œ œ & l l l l l œ œ l˙ ! 3/4 Write the numbers. Once they are written, how would you communicate them verbally 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 phrases Line one: eleven, twelve minus Line two: fifty-one, twenty-five Line three: eleven, twelve minus Line four: fifty-one, parenthesis 2 minus 5, then 1

1 5 1 5

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

25 21

K. Use a flat or sharp sign before (or after) the number for chromatic chords and/or bass lines Lowered (flatted) 7ths and 3rds occur quite often. So do chromatic bass notes (as below).

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ch3 Nashville Number Charts

Example 3.12 Chromatic Chords in C Major

4/4 time

C 1

Bb b7

Eb b3

F 4

F 4

C 1

Fmin/Ab 4- / b6

G 5

Example 3.13 Same Example Expressed in Conventional Notation 1

4

b7

44 w & _ww l b _www

1

w l ww

w l ww

bw l b ww

l _www

4-/b6

4

b3

5

www l_ _w

www l bb _ _w

!

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) F

44 ˙ &

Bb

Dm

C

F

œ œ œ l œ œ œ œ l˙

Je - sus you're my

firm found - a - tion

Nash: (1

6-) (4 5)

I

Bb

Dm

C

œ œ œ l œ œ œ ˙ know I can

(1 6-) (4

rest

as-sured

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 Dominant 7th Minor 7th Major 7th Dominant 9th Dominant 13th

= 1sus, or 1sus4, or 14 == 17 or 1x7 = 1-7 = 1ma7 = 19 =113

Note. Subscripts are often used instead of superscripts.

!

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O. Use standard abbreviations for sections of pieces I = Introduction V = Verse C = Chorus Tag = Tag D.S. and D.C., Repeat, and Coda signs Example 3.15ℜ Write the Nashville Numbers (Angels We have Heard on High) Verse

F

C

F

F

44 œ œ œ œ œ . Jœ ˙ b & l An - gels we have

heard

F

F

œ œ œ œ l œ . Jœ ˙

&b

And the moun-tains

Chorus

&b

re -ply;

Gm

C

Dm

˙

œ œ œ œ ˙ l

Glo

o'er

F

C

Ech - o

F

œ œ œ œ ˙ l

-

&b œ œ œ œ l ˙ in

ex - cel - sis

F

Bb

l

the plains

F

back their

l

joy - ous strains.

Bb

C

œ œ œ œ œ. l _jœ _˙

l

ri - a

F C

F

&b ˙

sweet -ly sing - ing

œ œ . jœ ˙ l œ œ œ l

in

F

F

œ œ . jœ ˙ œ œ œ l l

on high,

C

C

C

˙

De - o,

C

l

F

D F#

˙

œ œ œ œ ˙ l

Glo

ri - a

œ œ œ œ l

F C C

œ ˙ lœ œ œ l in

C

-

F

œ œ œ œ œ. l _jœ _˙

Gm

ex - cel - sis

De

˙

F

lw

!

- o.

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

©2011 Barry Liesch

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ch3 Nashville Number Charts

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 D A E # # # Verse 44 . ˙ & œ œ œ œ œ œ l œ œ œ œ . jœ l œ œ œ Would you be free from your bur - den of sin? There's pow/r

&

###

A

œ pow'r

&

###

A

œ. œ ˙ in

the blood;

&

D

Would you o'er e - vil a

E

A

A

˙ ! œ œ l

blood.

There is

E

D

˙

pow'r, pow'r

A

œ

œ.

œ l ˙.

œ.

œ

pow'r

In

the

of

the

blood

vic - to - ry win? There's

A

Chorus

œ œ œ œ œ œ l ˙.

A

the blood,

l œ œ œ œ œ œ l œ œ œ œ . jœ l

won -der -ful pow'r in the

###

in

l

l

˙. Lamb.

l

œ œ œ œ l won-der-work-ing

A

˙ œ œ l There is

˙

pow'r, pow'r,

l

©2011 Barry Liesch

&

D

###

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ch3 Nashville Number Charts A

œ œ œ œ œ

E

œ. œ l

won -der -work-ing pow'r

In

the

A

œ œ

œ

œ. œ

pre - cious blood

of

the

Œ

l ˙.

!

lamb.

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)

## 4 D & 4 œ œ

&

&

##

##

A

Bm

A

D

œ

l˙

˙

Bm

A C#

œ

D

œ . œj œ œ l ˙ A

D

G

A E

G

l

D

˙

œ

E

œ A

œ œ œ . jœ w lœ œ l D

Bm D

l˙

G

D

˙

l

Bm

D

lœ œ œ œ l Em

A

D

˙ ˙ l œ . œJ œ œ l ˙ ˙ l ˙ œ œ l ˙ ˙ l œ œ œ . jœ l w !

Nashville Numbers:

©2011 Barry Liesch

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ch3 Nashville Number Charts

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

C

Am

4 Ó Œ ˙. œ &4 œ œ l _œ l _œ Re - joice the Lord

C

Am

D

œ

Dm

G

l œ œ œ œ l ˙.

King; Your

Lord and King a

G D D

G

is

G B

F

- dore!

G7 D

F

œ l Re

-

C

œ œ ˙ ˙ ˙. ˙ œ œ œ _œ l #œ œ l l ˙. œ l ˙ l _œ l

&

joice, give thanks and G B

&

F A

œ

œ

œ up

sing And tri-umph ev - er

your voice!

- more. Lift

F

E

Am

Dm

œ

l œ

œ

œ

œ

Re

- joice,

and

gain

l I

up your

C G

G

˙

˙

say,

heart; Lift

C

l

re

˙. !

- joice.

Nashville Numbers:

Example 3.19ℜ Write the Nashville Numbers (Give Thanks) Verse

G

# 4 & 4

œ Give

# &

l

˙.

œ œ l œ œ œ œ l ˙. œ

thanks with a

C

˙ thanks

Em

D

grate-ful heart: Give

G

Bm

œ œ l œ œ __ œ l œœ

thanks

to the ho - ly One;

F

D

œ œ œ œ œ l œ œ œ œ l ˙.

œ œ l ˙.

be-cause He's

His

giv -en

Je - sus

Christ,

Son.

Give

œ ! And

©2011 Barry Liesch

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ch3 Nashville Number Charts

Chorus Bm

#

˙.

Em

œ œ

&

œ

let the

weak say,

G

#

˙

&

D

œ œ œ l ˙.

l now

Am

"I

am

œ œ

strong;"

Let the

C

‰ œJ œ œ

rich,"

be-cause of

l

œ. what

l

œ

œ œ œ l

poor say,

F

D

œj œ œ l œ .

œj jœ l ˙ .

the Lord has

for

done

"I

am

Œ

!

us.

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

1

4

1

5)

(5 1/5)

(5 1/5)

(5 3/#5)

(5 1) . . .. (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 beused to modulate to any key. (3) More brief, speedy. A Nashville Number chart uses less space and can be created more quickly than a Pop Symbol chart.

©2011 Barry Liesch

ch3 Nashville Number Charts

15

Moreover, the learning curve is easy. The basic requirement is that players must know the major scale. For now, follow the Nashville conventions outlined in the chapter. Once you 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 a familiar key.

A Final Word As a worship leader, one your basic roles is to be an educator, to build up your musicians and help them grow musically. In accomplishing this we need wisdom! Reflect on the scripture verses below for five minutes. Be open. Let the Spirit teach you what He would have you to learn. By wisdom a house is built, and through understanding, it is established; through knowledge it rooms are filled with rare and beautiful treasures. Proverbs 24:3-4