REPOST: Learn the Nashville Number System

A few months ago (long before I started this blog), I wrote an entry about the Nashville Number System for my friend and fellow worship leader Stephen Smith.  Learning the NNS is a great tool for any worship leader/bandleader and I decided to revisit it here on my blog today.  Stephen dishes out some great thoughts and advice so check his blog out!  (www.stephenandstar.com)

-----

You should learn the language of music.  For hundreds of 
years, smarter people than me have been writing about music and creating terminology in effort to talk about a purely aural experience.  This field is called “Music Theory”. I’m not here to ask you to go back and get a degree in Music Theory (I’m a huge nerd so that’s basically what I did).  

However, I AM asking you to learn a simple concept called “The Nashville Number System”.   The system’s roots are found in classical music theory, and as the name implies, it was first utilized in Nashville in order to facilitate efficiency and creativity in recording studios.    If you learn it, you too can facilitate efficiency and creativity in your rehearsals and times of worship.  


Every song you play is in a key and each key is made up of only 7 different notes.  

For simplicity sake, let’s use the key of C Major.   Here are the notes in said key:

C D E F G A B

If you’re playing in the key of C, you’ll most likely play a C chord,  an F chord, an A minor chord, and also a G chord.  The Nashville System gives a number to each chord used in any key.  For example, the C major chord will be called “1” and the F chord will be called “4” and the A minor chord will be called “-6", as seen below, etc.

C   Dm Em   F    G   Am Bdim
1    -2    -3     4   5    -6    7dim

This is the fundamental concept of labeling chords using the Nashville System.  As you can see, we use a minus sign “-“ to denote a minor chord (flat third) and “dim” for a diminish chord (flat third and flat fifth).  If you want to know more about what a “flat third” or “flat fifth” really means just Google, “Chord Theory”.  

For practical application, it’s best to start by learning all the 1, 4, 5, and -6 chords, in several keys as these are most commonly used chords worship music.   Here’s a list: 

1 4 5 -6 Chords 

Key of C :  C   F  G  Am
Key of D:   D   G  A  Bm
Key of E:   E   A  B  C#m
Key of G:   G  C  D Em
Key of A :  A  D  E F#m
Key of B:   B  E  F#  G#m

For chord inversions or “slash” chords such as C/E, we simply write it as 1/3, (You can say “one over three”).   

For some more practical application let’s take a really common chord progression is C  |  G  |  Am | F (“With or Without You” aka “Blessed Be Your Name”) and with the Nashville System we could write it as: 

C    G   Am   F  
1    5     -6     4 

One of the primary benefits of the Nashville system is the ability to transpose songs to a different key very quickly.   We can easily plug in the numbers and transpose “With Or Without You”/”Blessed Be Your Name” to the key of A Major.  The progression would then be:  

Key of C:     C   G   Am    F
Numbers:    1    5     -6    4 
Key of A:     A   E   F#m  D

This comes in handy if you’re a guitarist and use a capo or if you’re just wanting to find an easier key to sing a song in.  

Another benefit of the Nashville system is being able to quickly communicate chord changes to your team.  Numbers are easier to understand in a loud rehearsal and you can also throw up some hand signals to let your band know which chord you want to go to next (especially helpful at the end of songs). 

Things to practice: begin thinking of chords as numbers while you play, memorize the list of chords above from common keys, transpose as many songs as you can into several different keys, learn which notes are flats or sharps in any given key (called Key Signatures or Circle of Fifths), learn how chords are built, if you play guitar, practice a song with a capo in different places or without one, and finally, teach someone else the system once you get the hang of it.

Know Your Role: Musical Development Pt. 3

Today, I'm continuing the discussion on some specific musical roles in a worship team.  Last time, I talked about the roles of both drums and bass with help of some friends of mine.  Now, we'll discuss bass, electric, and acoustic guitar and I have some special guests on the blog once again! 

Bass

source: Wikipedia

Bass, in my opinion, is the second most important instrument in a band!  I asked my friend Aric Nitzberg to share some of his thoughts on the role of a bassist.  Aric is an experienced player, (one of the original members of the CCM band Caedmon's Call), proficient in various styles, and plays both electric and double bass.  

Rhythm
Alongside drums, bass is the rhythmic anchor for the band. Aric writes: 

It is important to play with good rhythm and feel. Bass part integrate closely with drum parts, so I always pay attention to what a drummer is playing, and make sure my parts work with the drum parts.  

It's good for bassists to keep an open line of communication with the drummer during rehearsal.  If you play bass, don't be afraid to ask questions and to work out rhythmic details before a service.  If you're a band leader, be familiar with the primary rhythmic patterns of each song so you can give guidance if necessary.  

Harmony 
The most important role for a bass is providing a harmonic foundation for the band.  Aric states:

As harmony builds from the bottom up, the bass notes I play are important to the overall sound of the band.  The bass also helps to define the harmonic structure of the song, so it is essential that I understand what the song form is and where and when the changes occur.   As worship leaders are sometimes inspired to change the song structure in the moment, I also need to be ready to change with them.  

If you play bass, it's good to learn about the basic function of harmony and harmonic progression.   The listener's ear will automatically fill in harmonic content from a single note and thus the implications of each bass note are critical to establish and maintain the key.

Dynamics
Finally, bass can have a tremendous impact on the dynamic growth of a song.  Nitzberg writes:

I need to be sensitive to the various sections of a song, when it is loud, when it is soft , when it builds. Dynamics play an important role in setting the mood of a song or section of a song, whether it is loud and celebratory, or quiet and reflective, or any number of other moods.

Because of the resonant nature of low frequencies, bass can easily be felt and heard in a large ensemble.  Bassists can contribute to dynamic growth through resting, building or softening their playing level, and by using a higher or lower register on the fretboard.   

Electric Guitar

source: Wikipedia

In a band setting, electric guitar's biggest role is to contribute texturally.  Texture is created by  playing in the appropriate style and using appropriate tones.  

Texture via Playing Style
For musicians who are used to playing a particular genre of music in church, knowing how to fit in stylistically is typically not a challenge.  However, if one is new to playing in church or is unfamiliar with the nuances of a particular style of music, fitting in can be challenging.   My friend Chris Wilson plays electric guitar with me every week and does a great job every Sunday morning.  In regards to style, Chris writes: 

You may have no need or desire to spend time learning how to play different styles or techniques, but when those styles/techniques are a part of a future set, you're gonna be wishing you did! You can either invest steadily now, or pay big time later. Also, don't be afraid to broaden your horizons to other styles outside of Christian music. 

This a great challenge for those who are just learning or already proficient in playing guitar.  Knowing the style is the primary goal of a guitarist regardless of skill, experience, or creative level.  

Texture via Tone
The sonic abilities of electric guitar allow it to produce a tremendous variety of sounds. An electric guitarist can contribute to both dynamic and textural growth by changing and manipulating tone in real time.  Chris writes: 

One of the most important traits of a good guitarist is that they know what tones their gear is capable of producing. Not only that, but they know how to quickly recall those tones on the fly. It doesn't matter if you have the most expensive/flashiest gear in the world, if you can't make smooth, musical transitions between tones, you're always going to sound disjointed as a player.

 Plan all your tonal transitions ahead of time and understand the textural nature of each song.   Use tones that are appropriate for the style of music you're playing.  Finally, be aware of what type of sounds other players are using so you don't clash with them.  

Lead
Electric guitarists are also often required to play specific lead parts in a song.  Chris writes:

Remember that there are other people on stage playing with you, and they're counting on hearing those signature parts. Improvising is fine (and it's key to being a good lead electric), but know when it's appropriate, and when it's not. 

Lead guitar parts for worship music may seem simple and almost unmemorable for a skilled guitarist.  However, most lead parts are intended to only add to the overall feel of the song, rather than draw attention to the guitarist - this does not mean they're not important and don't serve an important role.  Remember that it's each instrument's job to accentuate and support the words being sung.  

Overall, the electric guitar is simply "icing" on the cake  - the finishing touch on top of a musical foundation.  As a guitarist, it's easy for me to believe I'm "the cake" and in charge of providing the majority of the accompaniment or lead parts.  However, electric guitar is often just a small component in the overall musical texture. 


Acoustic Guitar

source: Wikipedia

Rhythm
Acoustic guitar is an extremely rhythmic instrument and when playing in a full band setting, the acoustic guitar's percussive qualities are often what contribute the most to the overall sound.  It's good for acoustic guitarists to: practice keeping good tempo, listen to what the drums and bass are playing, be intentional about what kind of strumming patterns are used and make sure they match the meter and style of the song.  

Texture
Acoustic guitarists can also have an impact on textural development.  Find songs, or moments in songs, to rest or switch between picking, strumming and finger picking.  Texture can also be changed depending on the register of the chords played.  Learn different chord voicings and use a capo (especially if there's another acoustic guitarist playing as well) to create textural change.  

Harmony
The most obvious function of acoustic guitar is to provide harmony. Because of the simplistic timbre of the instrument, complex chords ring out clearly.  However, it's good to find specific chord voicings that will fit well into the mix depending on the song and the other instruments present.  Finally, be sure to always tune, check open strings between songs  and always re-tune after adding a capo.  (Most capos tend to overly tighten certain strings, pushing them slightly sharp.)

----

Lastly, here are a few things that knowing your role in a band is NOT: 

- Knowing your role in a band does not mean that you can't be creative.  Being able to adapt and react in real time is always necessary for good musicians.  

- Knowing your role also does not mean you cannot be assertive in playing.  I've spoken a lot about blending and staying within your bounds musically.  However, within structure there is great freedom and every instrument plays a vital role.  It's important that each musician to take ownership of their part and see themselves as leaders within the band.  

- Knowing your role does not mean you should focus on your part only.  It's healthy to be aware of the responsibilities of other instruments as you may take cues or react to their playing.   It's especially good to be aware of each song from the perspective of a worship leader.  

---

I hope you've found some useful advice here today.  Feel free to comment or discuss! Thanks for reading.  

Know Your Role: Musical Development Pt.2

Last week I wrote about some elements that are important in creating musical development.   Development is the means in which we cultivate interest and emote responsiveness from those listening.  

Today, I'd like to discuss the importance of knowing and understanding one's musical role in a worship team.   Each musician's role may vary depending on the instrument they play, the arrangement of the song, and the other instruments present.  Musical development can only occur when everyone in a team plays their role. 

For musicians to know and play their role well in a worship team, it takes both preparedness and humility.  
- Preparedness begins with the bandleader effectively communicating what’s expected for Sunday and then each musician taking ownership of their part in practice and preparation.  
- Humility is seeking to do what’s best for for the team and leading others in worship rather than playing to the fullest extent of one's skill or creative level. 

For the bandleader, it's important to be aware of which role each instrument is providing.  Today, I won't discuss all the instruments in a typical worship team, but instead focus on two of the most important.  I've also asked a couple of my musical peers to contribute their thoughts as well.

Drums 

Source: Wikipedia

Maintaining tempo is obviously the primary goal of the drummer/percussionist.  However, my friend and fantastic drummer Johnny Simmons has some great insight about why it's so important for drummers to keep time: 

       I like to say I'm in charge of where the words go. I have to define the time in such a way that 2000 singers can naturally feel where each syllable of the lyrics falls. Of course I do the same for the band with note placement, but my main concern is the singing.

This is a great reminder that as a band, rhythmic accuracy is necessary not only for instrumental unity, but also for ease of singing.
     

Secondly, drummers must establish and maintain the "groove" or rhythmic pattern in each song.  The groove will determine musical style and unify the rest of the rhythm section. 

Finally, drums are key in dynamic growth.  Johnny writes: 

I can provide a vehicle for the worshiper to invest emotion in his singing through dynamics, rhythmic complexity ("complex" does not NECESSARILY mean "busy") and the judicious use of fills.

Drums are the most obvious when it comes to growth in volume, but as Johnny states, it's important to be judicious and to shy away from being "busy" so as not to distract from what's being sung.    

Keys

Source: Wikipedia

For most styles of worship music, keys are critical for both accompaniment and lead parts.

My friend Ben Sieben is a highly skilled keyboardist who studied piano on a graduate and post-graduate level.  I get to play with him every Sunday and he does a great job in filling his role as a keyboardist/pianist within a band setting.   Ben writes: 

As a keyboardist in the supportive role, I see value in blending, often to the point where my instrument is hardly noticeable, but is still contributing to the sound of the band. Also in that supportive role, it's my responsibility to be aware of what's happening around me.

In order to blend, I would advise keyboardists to stick to simple accompaniment patterns and to be discriminating when selecting which sounds to use.   Often times, worship songs in pop/rock genres feature organ or synth parts that may feel simplistic to skilled musician, yet they are critical in creating an appropriate texture for a song.  As keyboardist, do not to underestimate the role of these simplistic parts as they often act as a "glue" that brings the instrumental texture together. 

Many proficient keyboardists have studied classical piano and have the ability to cover bass, harmony, and melodic parts simultaneously.  However, when functioning as part of a large ensemble, it's important to stay away from playing parts already covered by other instruments.  Sticking to one part may feel very restrictive if one is used to being a self-sufficient accompanist (it's easy to add a lower bass line or double the melody).   However, when anyone steps out of their musical role, they are inhibiting someone else from fully embracing theirs and are not contributing to musical development. 

In addition to accompanying, keyboardists are often required to play a "lead" or signature part of a song.  It's very common for songs to feature a recognizable melody or arpeggiated piano pattern.  In regards to playing lead, Ben writes: 

When a song calls for the keyboard (usually piano, in this case) to take a more primary role, "what I actually play" becomes much more important. If it's an introduction to a song, worship leaders need me to be specific with my melodies, and sometimes even chord voicings, in order for them to feel comfortable.

Ben makes a great point - even while taking on a lead roll, it's still an instrumentalist's job to support what's being sung.  

My final word advice to keyboardists would be, lead from a place of simplicity and tastefulness.  Be intentional in your playing and the sounds you choose.  Lastly, be willing and able to switch from being "the glue" that holds the texture together to the instrumental leader.  

--

Once again, for any team member to fill their role both preparedness and humility is required.  Each of these comes from decisions that we all make on a daily basis and each requires a certain level of self-discipline.  No matter which role you play, take ownership of your part and hold yourself accountable for it.  Humble yourself and know that He is the one who gifted you with talent and it's by His grace that we freely enter into worship.    

Next time I'll discuss the other instruments in a typical band and singers setup, so be looking for that! 

Once again, thanks for reading and I hope this is beneficial to you.  Feel free to comment or send me a message thesamjones (at) gmail (dot) com.   

Don't Be Boring: Musical Development Pt. 1

Last week I posted some advice for worship leaders on how to have an efficient and productive band rehearsal.  This week, I'd like to continue the discussion of musical preparation by talking about musical development.

Musical development pertains to how we play a song - seeking to go beyond just executing the right notes and rhythms.   It encompasses all aspects of music and it is the means in which we cultivate interest and emote responsiveness from those listening.  Through musical development, the main ideas of a song are communicated, transformed and repeated.  

Below, I have listed several of the "tools" we use to create a sense of growth or development. Many of these may be very intuitive to you or your team and hopefully you already utilize them.  However, it's your job as bandleader to make sure that each of them are being used appropriately and if necessary, to give specific instruction.  

1. Dynamics

Photo Credit: Flickr Khalil_Gamela

Dynamics is simply how loud or soft each instrument plays.  For praise and worship music that would fall into the pop/rock genres, dynamics is one of the most essential elements for development.    

Dynamics can pertain to both individual players and the band as a whole.  As a group, it's important to stay together dynamically - to build and soften at the same time.  It can be helpful to be very specific about where you want a dynamic change to begin and end.  
Individually, each player must know what the appropriate dynamic level is for their part.  If someone is playing a lead or "signature" part from the song, make sure they play out. If someone is in a supporting role, make sure they don't overstep the vocalist or lead part.  (Obviously the sound engineer can control this as well, but it leaves less room for error and is more fluid when musicians temper their own dynamic)  

Before you rehearse, think about what the dynamic goal of each song is.  Where do you want the highest and lowest point to be?  When should there be subtle or obvious dynamic changes?  Don't be afraid to give specific instructions during a song and to outline the overall dynamic roadmap beforehand.  In traditional music terminology, Italian terms are used such as: Piano (soft), Mezzo Piano (medium soft), Mezzo Forte (medium loud), Forte (loud), and Fortissimo (very loud) to give specific dynamic instructions. These terms may sound weird to use in a band setting, but the more specific you can be the better. 

I've found that it's easy to get excited and reach maximum volume quickly, so I often have to hold back or tell my team to "save" some volume for later in the song so we have room to build.  

Additionally, you should plan dynamic development over the course of an entire set and this should also be approached in a way that creates growth and keeps interest.  

2. Texture

Photo Credit: Flickr bwise

Texture is the combination of instruments playing at any given point in a song. Textural change occurs by adding or taking away instruments and it's undoubtedly the easiest and most powerful way to create musical development.  

As you prepare for rehearsal, think through significant textural changes in each song .  The most obvious and powerful change will be adding or taking away drums and bass.  If you're leading with an instrument, look for appropriate times not to play.  Even if you're just singing, don't feel like you have to sing or say something throughout an entire song.  

One of the most common pitfalls for a band is lack of textural diversity.  The reason being is that immature musicians believe it's necessary to play throughout an entire song.  It's easy to feel like you always need to contribute and find something to add.  However, by never resting you are allowing the listener to take what you are playing for granted.  If you never rest YOU are inhibiting textural change.  

Ask yourself questions beforehand - Where should the "thickest" and "thinnest" textures be?  When should there be subtle or obvious textural changes? How true do I want to stay to the original recording from a textural standpoint?   

Don't be afraid to give specific instructions before you rehearse a song and to outline the overall textural roadmap beforehand. 

3. Timbre

Photo Credit: Wikipedia

Helping your instrumentalists find the appropriate timbre (pronounced "tam-ber"), or sound for a song is also part of the musical texture.  Timbre is what helps establish the style and overall feel.  Timbral changes are created by switching instruments, sounds, or effects and this can be helpful in musical development.  For some church musicians, finding and using the right tones comes very naturally.  However, for those who haven't previously been involved with church music or aren't as familiar with the types of music you play, this could be more of a challenge.  

Use timbres that support the vocals
Obviously you don't want instruments to distract from the words that are being sung.  When in doubt, it's better to remain subtle and/or out of the way (this is somewhat dependent on if you're playing a lead line or just a backing part).  

Use timbres that complement others
This is important especially if you have a large ensemble.  When selecting the right tone, it's important to listen and be mindful of who you are playing with.  For example, if I'm playing electric and the other guitarist is pretty reverb/delay heavy, I'm definitely going to keep my tone pretty dry.  Or, if I'm playing acoustic and the other musician is capo'd up high, I'll probably stick to first position chords.  

Use timbres from the original recording
The best place to start when selecting a patch, effect, or tone is the recording you're basing your performance on.  This will save you a lot of time and work trying to figure out what will fit best.  

If I'm planning on doing something different than the recording, I may give specific instructions to players as to what sounds to use.  For example, if I'm playing a more acoustic, stripped down version of a song, I might write something like, "Acoustic guitar and pad only".  
  
Some of these things I have listed may seem trivial and others very obvious.  However, it's important to be familiar with the textural and timbral aspects of each song as they create subtle changes that have significant impact on the mood and style.  

----

In this post I didn't even touch on musical development in harmony, rhythm, and melody (the essential elements of all music).  However, the things I have discussed today are undoubtedly the most important aspects for you to focus on with your team beyond actually playing the right notes and rhythms.  

Remember, you don't need to micromanage your team, but you do need to be able to provide leadership when necessary.  Lastly, listen to the songs you've selected this week with a critical ear and prepare yourself and your team for rehearsal.  

Once again, I hope this stuff is helpful to you all.  
Feel free to provide feedback and share your experiences.  

Tips for Worship Leaders: Leading a Great Rehearsal

   

 
     If you lead worship at a church it's likely that you are also playing the role of "bandleader" as well.  Bandleaders typically select songs and give direction during rehearsal.  Although leading a congregation in worship may be your number one priority, learning to be a good bandleader should be as well.  I believe that rehearsals are key in cultivating preparedness, unity and confidence with your team. I've compiled a few things that I feel are most important to running an efficient and productive rehearsal. 

1.  Over Prepare

     How can you lead what you don't know?  Learn the songs your band is playing inside and out!  Understand the role of each instrument in each song.  This doesn't mean you have to micro-manage, but you have to be able to give instruction or guidance if necessary.  Set an example of the level of preparedness you expect of your team.  Know your part well (playing guitar, piano, or singing) so you can focus on giving direction to the group.  

2. Use Musical Terms

    Even if you don't have any formal training in music, you can still learn to speak the language of music.   Learn terminology that will help you to effectively communicate with everyone.  If you don't know terms, start looking them up.  If your team doesn't know terms, begin to teach them so you're all on the same page. Learn common terminology that is inherent to each instrument (a good place to start would be the drums), learn words that describe rhythms and dynamics, and also learn the Nashville Number system.   Learn from online resources, learn from your musical peers or your band members, don't be afraid to ask questions or make a mistake, and lastly, don't be afraid to sound like a nerd (you probably already are).  This one is very important and I plan on doing an entire post on this subject at some point. 

3. Show Up Early 

     Set an example for your team and always arrive early to setup.  Be ready to play before your rehearsal is supposed to start, this will show that you value your team's time and will also set a precedent for everyone as well.  Being early will allow you take your time to set up, feel less rushed or stressed, afford you extra time to rehearse and get to know your team some.  

4.  Know Your Team

     Find out the team's strengths and weaknesses both as a group and as individuals.  Some players may need rhythm charts, others may be fine with chord charts.  Some players may need encouragement often while others work best when they are given constructive criticism.  Some musicians are good at adapting on the fly and some play best with careful planning.  If you work with vocalists, know their vocal range and select songs that are appropriate for them.  It's your job to know what works best for everyone musically and what you'll need to focus on during rehearsal.   

5.  Clarify Everything

     Because you're the one who plans everything, it's easy to assume that everyone will know what's expected.    However, just because you thought it, doesn't mean others will know it.  We live in the age of constant and instant communication, SO PLEASE USE IT.  I've found it's best to over-clarify your expectations for Sunday morning.  Let everyone know what songs to work on as soon as you can, what time you want to start rehearsal, what time everyone can start showing up, how much time you have for rehearsal and what you want to accomplish.  Don't leave things to chance, instead, think through each song and each transition and find things that could be a source of confusion.  Communicate these things prior to your rehearsal as well so that everyone's on the same page when you plug in. 

6. Be Efficient

    Don't waste time on things that already work well, instead, focus on the things you know could be awkward or confusing during service.  Prioritize what needs to be rehearsed with the team and then communicate that to them.   Whether you work with proficient or less-than-proficient musicians, expect your players to be familiar with the songs prior to rehearsal so that it's simply a time of working out details and transitions (this is why it's important to communicate before you even get to rehearsal). 
Being efficient also allows you to accommodate unforeseen challenges that the band may face when working through a song or a transition.  

7.  Be a Team Builder

     Make sure that your rehearsals are a positive experience and not a source of anxiety for your players. There's nothing worse than going into a rehearsal and being unsure of what's expected.  Make sure your instruction and guidance builds people up and doesn't tear them down.  Give the team opportunities to get to know you and each other.  Ask for and be open to suggestions from everyone. Lead with humility and honesty while staying true to yourself.   Strive to be the leader that you would want to work with.  

         Leading rehearsals is a skill that takes practice and experience and I know I'm still learning every week.  I hope these things are helpful and please feel free to comment and discuss or drop me a line at thesamjones (at) gmail (dot) com