The Nashville Number System

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The Nashuille Number System
Part 1: The Breakdown
ffhis
article is a call-out to all of you working drum-
I
mers out there. Have you ever had a ton of songs
to learn but not a lot of time to prepare? Then this arti-
by Jim Riley
cle is for you. Do you want to do recording sessions?
This article is for you, too. What's it all about? The
Nashville number system.
The Nashville number system is a fast, accwate, and musical
method for charting songs. Almost every chart used in Nashville
recording sessions is a number chart. So if you want to play ses-
sions, you'll need to unde$tand how they work.
Number charts completely replace the chicken-ssatch cheat
sheets that many of us have used to get tfuough unfamiliar gigs.
The biggest problem with those types of charts is that only you
can understand them. And even if you could explain them to
another drurnmer, your notes give you no frame of reference with
the rest of the band. However, il you learn to read and write num-
ber charts, you'll find that instead of counting bals, you'll actually
be Istemngto the other musicians.
fre Preolge
The first thing you need to know about number charts is that
each number refers to a scale degree. Instead of "Do-Re-Mi-Fa-
So-La-Ti-Do," we substitute "I-2-3-4-5-6-7-1." But why use
. numbers when you can use the letters that represent the actual
notes? Well, the problem with writing a chart based on note
names is that a C is always a C. Therefore, if you write the entire
chart in the key of C, and then the singer wants to raise the key
to F, you have to write a new chart. IAIhen you use numbers. if
you're in C, then Fl,
D:2, and so on. However, if the key of C is
too low, and you move to the key of F, then F:1, G:2, etc. In
other words, when you write the chart with numbers, it can be
played in anykey.
'
BrealingltDorvn
Now let's dig into the structure of number charts. Vuhen you see
a number standing alone, you can assume that that chord is
played for one measure. Take a look at the four-bar sequence
below and you'll see what I mean.
The sequence is telling you to play one bar of the I chord, one
bar of the 4 chord, one bar of the I chord, and one bar of the 5
chord. All of the chords are assumed to be major unless otherwise
notated. lYou can download mp3s of the progressions in this arti-
cle at the Education page of )
{Audio Example 1l
l=t 4 |
5=l?
I2O MoDERNDRUMMER
. JULY2OOT
Minor chorG are notated with a "-" following the number, like this:
2 -
You can also easily notate accidentals (sharps and flatsl. lltle
symbol "#" raises the note a half step, and "b" lowers it a half step.
If you see two or more numbers underlined, then they occur in
the same measure. This is refened to as a "split bar." In the follow-
ing example. the I chord is played for two beats, the 4 chord is
played for tvvo beats, the minor 2 chord is played for two beats. and
the 5 chord is played for two beats (assuming that the song is in
4/4ime, of cousel.
(Audio Example 2)
Number charts are written in phrases. and those phrases are
grouped into sestions. The sections are represented with a "V" for
the verse and a "CH" for the chorus. Here's a typical verse/chorus
pro$ession wdtten using the number system.
, l?
2- 5
l 4
2- 5
t 4
l:
{Audio Example 3)
v l 1 4
1 1 4
4J, 5_t 4J
;'-'r {11 F
50a)
f F YF
'J""'rftl'1 {t
The song's sections are separated with a line to make them
easier to identify. Notice how the form of the sections jumps out at
you. At a glance, you can see that there are three four-bar phras-
es in the verse and the last phrase in the chorus is five bars long.
To the ight of each section, I've written out the ffum patterns.
This is a very helpfnl way to remember your parts in live and stu-
dio situations. Always use a pencil for personal notes. At record-
ing sessions, bass drum patterns are frequently changed based on
the producefs preference.
\Mhile many traditional notation symbols are used in number
c R l
5
4
1 5 4
6 - 5 4
u,
5_1 LL
5 **n
5

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