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.

In-Ear Monitors: How to Get a Good Mix

Took a week off - back in the practical saddle again! 

I want to give a few tips about In-Ear Monitoring (IEM) mixing this week.  

 A lot of churches have switched from floor wedge speakers to In-Ear systems in order to cut down on stage noise (giving the sound engineer more control and flexibility for front of house mix).  Additionally, with the popularity of the Aviom system, musicians are able to create their own custom monitor mix.  

In-Ears can take some getting used to and getting a good mix can be challenging at times.  Obviously, the number one goal is to be able to hear yourself, but in order to achieve the "live" feeling that you may be used to and work together as an ensemble, it's nice to be able to hear others as well.  

To try and help church musicians I've created a short, step-by-step process that I've found works best.  

1.  Plug into the monitor system.  (Don't start turning things up before you listen to your mix!)

2. Make sure the master volume is around noon or one o'clock and all EQ at noon.  

3. Bring up your instrument or voice to around 50-75% or until you can hear it comfortably

4. Turn everything else all the way down

5.  Play through a song and bring up other instruments only if needed and just enough for you to hear them

6. Save your mix! 

The truth is, it may not be necessary to add some of the other instruments either because you may not need them in your mix, or you may be able to hear them live due to proximity and/or stage volume.  

Panning 

For additionally clarity, it's helpful to pan instruments left and right especially if there are multiple players on a similar instrument.  Generally, it's good to have your own instrument "center" or not panned along with the bass and drums as they're the rhythmic foundation.  However, it can be beneficial to differentiate between two acoustic guitars or two keyboardists by panning them left and right.  What's also helpful is experimenting with varying degrees of panning in order to achieve even more differentiation.   

Bonus Tips

Get good, isolating In-Ear monitors.  Isolation will cut down on the amount of stage or ambient noise you hear and allow you to have more control over your mix.  Custom molds are best as they are designed for your unique ear shape.  

Use BOTH ears all the time.  It can be tempting to go "one ear in and one ear out", especially if you sing.  However, using only one monitor can lead to permanent hearing damage as it encourages higher sound levels.   To achieve the sense that you are hearing your voice "live", some systems allow you to add reverb to your voice or you may want to add an ambient mic(s) in the house.  

Turning down is more effective than turning up.   If you're having trouble hearing yourself, turn something else down!  Turning a channel up can often begin chain reaction in which everything keeps getting turned up.   Once you begin to turn others up, it may inhibit you from hearing yourself and can lead to an extremely loud, unhealthy In-Ear mix.  
----

Finally, it's important to realize that your instrument or your voice won't always sound exactly the way you want it to through IEMs.  Realize that your comfort and personal preference are secondary to the overall mix and be confident in your sound and your playing.  Lastly, speak with the sound engineer only if you think something is really wrong with your system.  

I hope this was helpful for you today!  Feel free to add comments, ask questions, or share from your own experience.  Thanks for reading.  

Life, Music, and Worship

This post will be filed under the "non-practical" category, but I hope that you find it interesting and informative.  I appreciate all of you reading this blog and I couldn't have imagined all the cool conversations, encounters, and even changes that have happened because of what I've discussed.  

Today, I want to share with you a little bit of where I'm coming from when writing all this practical advice.  The foundational motivations for all of the things written here is important to understand, especially when it comes to musicianship and striving to be a better musician.  

I've spoken with some who have expressed fear about focusing on musical excellence - that by embracing or striving to improve musically, one might become too "performance driven".  I'd like to examine what it really means for me to worship and to use music as a tool to worship.  Again, this is probably more philosophy and theology rather than practical advice, but some of you are nerds so you might enjoy it.  

Worship through Life (Music as Work)

I had the privilege of studying music composition at Houston Baptist University (I have very little school spirit, but I'm grateful nonetheless).  Through the collegiate experience, I became very aware that writing, performing, and even listening to music is a complex skill.   I came into contact with many talented Christian musicians and teachers who had spent their entire lives devoted to refining the craft and talent they'd been given. 

 Through that experience and those encounters, I realized that excellence in music is both hard work and also worship to God.  I began to view everything I did as worship to Him - whether that meant practicing guitar, doing theory homework, or researching for a history paper.  My perspective and my motivation were forever changed.  Worship became my life. 

The Apostle Paul writes about this in the book of Romans, chapter 12: 

So here’s what I want you to do, God helping you: Take your everyday, ordinary life—your sleeping, eating, going-to-work, and walking-around life—and place it before God as an offering. Embracing what God does for you is the best thing you can do for him.  

David Crowder calls it, "...a perpetually sacred acknowledgement of the Giver of every good thing (Praise Habit)." 

It still is hard for me to comprehend that I get to play music all the time.  Although it will never be just a "task" that I have to accomplish, being a musician is often hard work. In my work I seek to honor Him, to invest the talents He has given me and bring only my best in my everyday life of worship.  

Worship through Song (Music as worship)

The amazing thing is, we get to use music as worship to God in a unique way.  Through the lyrics of songs we declare truth, remember His word, remember His faithfulness, express our gratitude and our surrender, cry out for help, lift up praises to Him - the list could go on for a very long time.  Music is an amazing vehicle through which we can express what we know and how we feel.  

Martin Luther writes in his foreward to George Rhau's Symphoniae incundae - a collection of chorale motets, published in 1538:  

Next to the Word of God, the noble art of music is the greatest treasure in the world.  It controls our thoughts, minds, hearts, and spirits...This precious gift has been given to man alone that he might thereby remind himself that God has created man for the express purpose of praising and extolling God.  However, when man's natural ability is whetted and polished to the extent that it becomes an art, then do we note with great surprise the great and perfect wisdom of God in music, which is, after all, His product and His gift...

In leading worship, my only goal is to direct attention to the Lord and His word.  As a musician, I don't want anything that I do to distract from the truth being sung.  This mindset of "directing focus" is the reason for every decision I make - the songs I choose, the keys each of the songs are in, the way I play an instrument, the tones I use, the way I sing,  the way I speak, the way I dress, etc etc.  If there is anything that doesn't direct focus to Christ, I don't need to do it during a service.  Although I may work hard to play or sing well, I do it in order to more effectively direct focus on Him.  

I've also found that directing attention is best done when I'm well prepared and proficient on my instrument.  The better I am at playing/singing, the less I need to focus on musical execution and the more I can focus on leading worship, connecting with others, and being open to the direction of the Holy Spirit.  

----

Let me close by saying that I believe the Lord uses each of us in our weaknesses and it is only by His grace that we can accomplish anything.  We are all at different places musically and have been blessed with different skills and opportunities.   Thankfully, He accepts our praise as long as we bring our best and do so with humble hearts. 

To summarize, I started this blog so that we may strive for excellence in humility.  May we become more refined and effective tools for His glory.  

Again, these are just my thoughts and what I've learned from my experiences.  Feel free to comment, give input or leave feedback!  

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