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)

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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.  
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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.  

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.)

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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.  

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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.  

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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.   

How to Get Great Guitar Tone

If you play guitar, there’s nothing quite as satisfying as hearing some really great guitar tone. I know there’s a tremendous amount of interest when it comes to gear and playing guitar, especially among church players.

So with that in mind, I’ve compiled just a few things I think guitarists should consider in the never-ending pursuit of good tone. 

1. EQ your rig to sound best with a band

Cranking the bass so that the walls shake when you play rhythm might be fun, but it’s going to sound muddy and overbearing when you’re playing with a full band.  Conversely, your super twangy blackface amp might sound great at home, but at high volumes it might not sound great or sit in the mix well. Finding the right midrange EQ setting is really the key, and though it might sound weird when you’re playing alone or at lower volumes, you have to think in context of the entire group and at stage volume. 

2. Collaborate with your sound engineer

They’re the ones that have the final say on your tone, so if they ask you to make a change you should do it.   If you hear them tweaking your EQ right after you plug in, find out what they did and try to accomplish that on your own.  Ask them after rehearsal or a service if they have any suggestions on how you could fit in the mix better, especially when it comes to EQ.   

3. Listen to your rig through the house

You might love the way your setup sounds at home or even through your monitors, but you’d be surprised how different it may be through a cranked PA system.  Have a friend play through it while you walk around the room.  Also, all that delay and reverb might sound good in monitors but not be so helpful if the room is really live and you’re playing with a large band. 

4. Tone is in the hands, the strings, and the tubes

Before you go out and buy the latest pedal to “improve” your tone, just remember; practicing will always make you sound better, changing your strings will make you sound better, and installing good, fresh tubes will make you sound better. 

5.  Get clean power

What doth it profiteth for a man to have an amazing rig if there’s a nasty hum when it’s mic’d up?  If you run a lot of pedals, always get quality, quiet power supplies, make sure everything in your rig is grounded, and if necessary, use a noise gate. 

6.  Tune, tune, tune, tune, TUNE

What doth it profiteth for a man to have an amazing rig if he’s playing out of tune?  Get a good tuner (I prefer the Turbo Tuner - www.turbo-tuner.com), have your guitar set up well so that the intonation is correct up and down the fretboard, always tune again if you add a capo, always tune UP to pitch, and make sure to stretch your strings whenever you change them.

8.  Strive for consistency

I love to tweak my settings on all my gear and I also love to integrate new stuff into my rig, but the truth is, good tone is hard to find, so once you get it RESIST THE URGE TO CHANGE IT.  (Consistency is one of the benefits of modelers and why a lot of touring bands use speaker emulation for front of house.)  Save your presets, mark the sweet spot where it sounds best to mic your amp, take a picture of your pedal board/guitar/amp settings with your phone, tape stuff down, mark your settings with sharpie, etc. etc.

9.  Don’t get stuck on brands and fads

This is the hardest one on this entire list.  Guitarists have built in “gear acquisition syndrome” (GAS) because so much cool new gear is being released all the time.  I’m not here to preach about consumerism or coveting thy neighbor's latest Delay pedal, I’m just here to help you have good tone. 

The truth is this, there’s tons of professional guitarists that have been making great sounding albums and play professionally that have never kept up with the latest and greatest gear.  I will refer you back to #4, as some things really don’t make much of a difference (like a new pedal) and also to #8, if your rig sounds great, DON’T CHANGE IT.

When it comes to brands, there’s just so much boutique stuff out there but I would say that just because it’s more expensive or hand-made does NOT mean it’s going to be better sounding or better quality.  Some companies can charge less because they mass-produce and some companies are made up of one dude in his garage and he’s going to charge a lot more.  The dude in his garage isn’t always going to make a better product than the well-established company. Also, just because a brand gets popular does not mean it’s better than other well-established brands, everyone just likes to try out or least talk about the latest things.

Finally, It’s important to use your ears and NOT your eyes when it comes to evaluating tone.  Just because something looks cool or you’ve read that it’s cool, does not make it better than something that is not being raved about online. 

In closing, getting good guitar tone is a skill.  You cannot acquire a skill by reading a blog or message board post, a review, or watching a video.  You must practice, you must consistently seek to get a fresh perspective, you must talk with other people who have good tone and you must not be afraid to use what you know works well.