If the extension is a 9, 11, or 13, assume all of the extensions below it are also added, example: If the extension is a 7, assume it is a lowered or flat seven (b7) unless otherwise indicated, and add a b7 to the chord C7 (1 3 5 b7) or (C E G Bb) If the extension is a 6, add a 6 to the chord example: C6 (1 3 5 6) or (C E G A) If a chord is extended, the extended note(s) will be named or implied by a number that appears after the chord number. If a number has a + after it, assume it is an Augmented chord, i.e. If a number has a - or a small m after it, assume it is a Minor chord, i.e. If a number is by itself, or has a capital M after it, assume it is a Major chord (1 3 5) There are a few simple rules to make it easy to communicate what type of chord you are indicating: (1 4 1 5) in 4/4 time would mean one beat of each of the four chords (1 5) in 4/4 time would mean 2 beats of a 1 chord and 2 beats of a 5 chord When chords are in parentheses together, it is assumed that there durations are equal unless otherwise indicated. If a chord lasts less than an entire measure, put it in parentheses with the other chord(s) in that same measure.
That means each chord in the above chart would last four beats. In a chart, when a number is written by itself, assume its duration is an entire bar or measure (four beats in 4/4 time). Most "western" music is divided into cadences of four measures, so when you write a chord chart, divide it into lines of four bars, or measures. a sharp 5 or #5 is the fifth note of the scale raised by one fret or half step) If you raise one of the notes by one fret, call it a sharp_(fill in the appropriate number, i.e. a flat seven or b7 is the seventh note of the scale lowered one fret 'also called one half step')ĥ. If you lower (flat) one of these notes by one fret, call it a flat _(fill in the appropriate number, i.e. Apply the "do ra me" 7 note scale that every 5 year old understands and can singĤ. (om the names of chords, to the way chords are arranged to make songs, to the individual notes of those chords, to the timing in which the notes are played, even down to the frequency of the individual notes.)Ģ. I teach it to children all the time! Just.įirst, pretend with me for a moment that EVERYTHING in music can be reduced to numbers.
THE NASHVILLE NUMBER SYSTEM is simply a method for understanding (and therefore, being able TO COMMUNICATE WITH OTHER MUSICIANS) musical ideas, such as notes, chords, chord progressions, etc. It is based on very simple, kindergarden level math!If you can count to 13, you already know most of what you need to know!!! Many of you are trying to make it much too complicated. I could teach you to SPEAK chinese, AND YOU COULD SING ANY SONG YOU WANT TO (IN CHINESE)!!!! BUT YOU WOULD STILL HAVE NO IDEA WHAT YOU ARE SINGING!!!!! I could teach you to sing a song in chinese, and after enough practice, you may be able to sing this song I have taught you so well that it brings tears to little old chinese ladies eyes and marriage proposals from complete strangers when you sing it. Here's why music theory (AND SPECIFICALLY THE NASHVILLE NUMBER SYSTEM) is so important to know. I say this because it is the one thing I learned about music that I USE EVERY DAY OF MY LIFE!!!!!!! After studying and teaching music theory for many years, I believe that the SINGLE MOST IMPORTANT thing I have ever learned about music is THE NASHVILLE NUMBER SYSTEM.