The Steel Guitar Forum

I had somebody hand me a book of Nashville charts last month for a pickup gig. I learned alot from it.

A nice trick I got is how to keep track of signature licks when I don't have any manuscript paper handy.
An example would be "Three Blind mice"

Jot down 3 quarter notes and above them write 3 2 1.

There is way more to the Nashville system than chord numbers. The guys that are good at it can handle just about anything you throw at them.

Bob

Scooby, Your right, I'll edit the post,
We Do have one "nashville number system" video left, First come , first served.
Bobbe www.sales@steelguitar.net <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by BobbeSeymour on 25 June 2001 at 01:21 PM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by BobbeSeymour on 25 June 2001 at 01:22 PM.]</p></FONT>

Gregg (or others)-

I'm wondering in the number system how one would decide to call something [?]number sharped rather than the next number up flatted,(or vice versa).

Would you follow the rules of standard notation somehow? Do people ever just decide to make everything a flatted something just for simplicity?

Thanks,

Jeff<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Jeff A. Smith on 25 June 2001 at 03:31 PM.]</p></FONT>

I'd write it depending on the direction of the movement. Like if I had a half step walk up from 4 to 5, I'd write 4/4#/5. But if it was down from 5 to 4, I'd write 5/5b/4.

Carl,I think that would be a 4433 on that 1st. bar,.....

Michael,
I agree totally! The same thing applies when using a diminished chord between a "1" chord and a"2 minor." It would be a "1# dim."
By the same token, when going from a "1 over3" to a "2 minor", you would call the transional chord a "3b Diminished." An example of this progression is measures 9 through 11 of the song, "Right or Wrong."

Gregg,

Being a newcomer to steel playing, what does the term: '1 over 3' or maybe 'A over C' mean??

Thanx,

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Bill Sampler
Mullen SD12 Universal 7/5

Bill...your question is easily answered and although I don't want to rob Gregg's direct question, I'd hate to see anyone get it in their minds that a 1 over 3 is (in the key of C or A) a C over A or an A over C....it's neither. Whatever key your in, let's say you're in "A", and if you are playing a 1 over 3, you'd be playing an "A" chord with a "C#" in the bass. If you were in the key of "C" and needed a 1 over 3, you'd play a C chord with an "E" note in the bass. These are written like fractions and the upper number is always the primary chord, the lower is the bass note (if other than the root of the chord itself).
I know I've seen some simple books on the number system, but maybe Gregg would consider conducting a little seminar on the forum (?).

I wish to thank each of you who have taken the time to explain. I am greatful. I particularly wish to thank Greg Galbraith. His musical talents are exceeded only by his ability to convey understanding.

I understand it now, from the efforts of Greg and the rest. Thanks again.

I grew up studying musical theory from an "Ole Maman Lion", and I never was good enough to play where the "nashville numbering" system was in use. I was often of the opinion that listing the chords by their true signature was better.

I now realize the significance of the number system and how it really relates to the PSG. It does leave a lot of work for the player. But it is offset by its inherrent simplicity.

Of course what makes it work is it applies beautifully to playing music where the player has the right to play what he wants to more or less. It would not work in a Syphony Orchestra where one HAD to play only what was written by the arranger/composer.

I would feel quite comfortable with it now.

'Preciate it fellows

carl

I have an interesting book titled "The Nashville Number System by Chas Williams". It goes beyond the traditional method by explaining the actual handwritten charts by Lura Foster. She has a nice method of denoting time as well as lead instrument designations. She also uses numbers to write intros, note by note.

I use an Excel spreadsheet template to create the number charts we use. It is not as fast or flexible as handwritten charts, but they are portable. Email me if you would like one.

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Terry Downs
http://nightshift.net
terry@nightshift.net

<FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Terry Downs on 30 June 2001 at 11:26 AM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by Terry Downs on 06 July 2001 at 02:48 PM.]</p></FONT>

Absolutely right Terry. The Chas Williams Nashville Number System book is well worth the price and is available at Discount String Warehouse.
Email strings@apex.net for price & ordering info or call 1-270-886-2954

Bill;
"1 0ver 3" written:
<u>1</u>
3
That's where the bass player plays the 3rd and everybody else plays the 1. For A, as you mentioned, the bass player plays a C# and the band plays the A chord 'over' that note. Hope this helps!
And yes, Gregg DOES know exactly what he's talking about.

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My best,
Ernie

The Official Buddy Emmons Website
www.buddyemmons.com

The numbers refer to scale degree, as in Do, Re, Mi.... Only 1,2,3,...with 1, or Do, being the root or key your in.
So a chord could be any number, depending on the key your in. By example, in the key of C; F would be th IV or 4 chord. In the key of F; F would be I or 1. But in Eb, F would be the II or 2. Some charts use lower case ii for 2minor and Large Roman numerals for majors; ii,V7,I; or 2-,(5)7th,1; would be Dmin, G7, C; in the key of C.
as an extention of the nashville numbers, they use the scale dgree numbers within the chord to communicate melodies. Although talented, not all the players read music, so in order to communicate melodies and harmonies they us the numbers within the chord chart numbers. Twin fiddles, steel, lead and piano playing parts together can avoid trainwrecks that way.

All my Best

Ron