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No Notes . . . . Just Numbers
- Thread starter J Wilson
- Start date
In alot of situations the NS can be an excellent tool if thats what the job calls for. But its also not an excuse to avoid learning and knowing traditional notation systems (TAB had the same stigma when it was first introduced.)
In academia (of which Im a part), they (rightly) want you to 'learn the language' The NS Is not that, but 'a slang' of the language. It's designed for a quick 'personal' reference and NOT an excuse to avoid learning how to read, write, and analyze via musical notation (the written language).
This doesnt mean the NS isnt valid, on the contrary if you're a studio musician and need to make 'quick reference' to dozens of songs in various keys at the drop of a hat, its an invaluable tool as 're-writing' a score (or even a leadsheet in every key needed) is too cumbersome. Studio time is money.
THE NS excels at illustrating any 'folk style' using simplistic repetitive harmonic progressions; Folk, Polka, Blues, Gospel, Jazz (specifically Standards/American songbook that follow 'traditional' diatonic harmonic progressions), Dance, Pop, Rock, Funk.
As for some of the modern jazz compositions you mentioned, there would be no need to have them notated in the NS. It would be rare that you'd be in a time sensitive situation to have to play this songs in various keys in one setting. I worked with a vocalist that did various Wayne Shorter compositions (in her keys) but she did the professional thing and brought her own charts to the session. (which further illustrates the need to learn the language)
While NS could be used for non-diatonic harmonies, Modal, Classical piece... its not designed for that situation. You could use a screw driver to drive a nail, but it's alot easier to grab a hammer.
In academia (of which Im a part), they (rightly) want you to 'learn the language' The NS Is not that, but 'a slang' of the language. It's designed for a quick 'personal' reference and NOT an excuse to avoid learning how to read, write, and analyze via musical notation (the written language).
This doesnt mean the NS isnt valid, on the contrary if you're a studio musician and need to make 'quick reference' to dozens of songs in various keys at the drop of a hat, its an invaluable tool as 're-writing' a score (or even a leadsheet in every key needed) is too cumbersome. Studio time is money.
THE NS excels at illustrating any 'folk style' using simplistic repetitive harmonic progressions; Folk, Polka, Blues, Gospel, Jazz (specifically Standards/American songbook that follow 'traditional' diatonic harmonic progressions), Dance, Pop, Rock, Funk.
As for some of the modern jazz compositions you mentioned, there would be no need to have them notated in the NS. It would be rare that you'd be in a time sensitive situation to have to play this songs in various keys in one setting. I worked with a vocalist that did various Wayne Shorter compositions (in her keys) but she did the professional thing and brought her own charts to the session. (which further illustrates the need to learn the language)
... if the music is very dense, then traditional written notation is the clearest way. But this method was designed to be a performance aid, a reference sheet. I find that it's really easy to illustrate Sus/extended harmonies with accurate voicings.
4/1, 3/2, 2–/7, 6–/b7 ...but it can be a bit to 'take in' at the the drop of a hat
Ultimately I think the power of the system is that each player can use the system in a very personal way (not written for others) so theres lots of room for personal customization.
While NS could be used for non-diatonic harmonies, Modal, Classical piece... its not designed for that situation. You could use a screw driver to drive a nail, but it's alot easier to grab a hammer.
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I happened to watch this last night. It's an excellent video! Thanks for sharing!
You (and all) are welcome
There's a lot off NNS vids online, but this covered really well, especially in terms of relative minors, chord structures, etc
Of course, this certainly doesn't replace standard notation and would be hard-pressed for complex music. When it came to session or stage musicians working in simple pop, rock, or country, it was a very useful shorthand for musicians in a well-known style, it was a tremendous time-saver.
I can appreciate Berklee's stance on it, and trained musicians who were competent sight readers in standard notation, it's not necessary. But a lot of the guys that use(d) this were brilliant self-taught players and didn't
have that education or skill.
And it was vital for Nashville session guys in the pre-early 60's time frame as this was the time of single track recording: No multi-track, no punch ins, nothing.
Listen to Patsy's immortal 'Sweet Dreams': Everyone in one room with her in a booth and that's one take. One person hit a clam? Do over, and that gets expensive fast. So the NNS helped the players cut to the chase fast.
I keep a notebook of chord progressions I Iike, been jotting down many Tom Waits tunes recently
Being mostly piano based, there are a lot of inversions /slash chords
these tend to trip up my I - ii - iii - IV understanding a bit, forcing me to stop and think about the role of the chord
I just took a stab at a NN chart for one of them
it cleared up a lot of what was going on & made transposing a snap.
I think I may be sold on NN for my own notebook at least
Being mostly piano based, there are a lot of inversions /slash chords
these tend to trip up my I - ii - iii - IV understanding a bit, forcing me to stop and think about the role of the chord
I just took a stab at a NN chart for one of them
it cleared up a lot of what was going on & made transposing a snap.
I think I may be sold on NN for my own notebook at least
I have question… how do you write a specific figure or phrase using the NNS? For example, the Chic song, Good Times, the bass has a very specific rhythm part. How is that conveyed? Is it possible? I’m thinking you’d just pencil in the notation in the first measure somewhere, but I’m just guessing.
That's what I'd do if it was something I was likely to get a brain cramp with or was too similar to another song.
Apart from the little details, my big takeaway from this video was that minor keys are written with the chord numbers from the relative major key.
My first thought was it seemed a bit confusing but then I realized it's the same approach as La-minor moveable-Do solfège which I'm very familiar with.
My first thought was it seemed a bit confusing but then I realized it's the same approach as La-minor moveable-Do solfège which I'm very familiar with.
You'll find a lot of folks do their numbers charts differently. Mine (for myself, not when I write them for others) tend to be pretty simple, as I can remember the bass part and have good ears for harmony, chords. If I'm in the studio and the songwriter is running down a tune on guitar or piano I'm scribbling away as fast as I can, just going for a basic outline as I'm creating the bass part on the spot. But man, I've seen some very complex ones for sure, so I do make sure I know how to read 'em!
Sure jotting in notes is great! But the more complex your need... the less reason there is to use THIS system. Opt for TAB or just write out a 4 bar part sketch notation for the 'Intro' 'A', and 'B' sections...
a NS bass sketch might look like this... any nuance to rhythmic phrases is not prioritized since you know the song.
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I posted this in the other Nashville number system thread. Maybe I can get more explanation. I only watched the Christian worship video. I also got a nice response about transposing for a singer. Do they really use a number system on paper? Shouting it out on a gig? Thanks.
Attachments
I've done all three. I've written my own number charts (which can be easier for bass as I only need to hear passing chords, rarely spelling them out, and holding a note under them), been handed them, and on jams or when I've sat in, sure, guys will flash numbers with one hand telling me what's coming (if I couldn't hear/sense it already).
Here's the link back to my original post:
It does NOT replace standard notation in any sense, nor would it be much use transposing complex music. I can hardly imagine 'YYZ' or 'Starship Trooper' in a number chart ! But for simple music built off the usual diatonic changes (country, rock and roll, blues, even white quartet gospel in a country feel) where everyone knows the style and the feel, you can work quickly, and it's irrespective of keys: The same chart works in B-flat, F-sharp, C. You simply know the key the tune will be played in, and that's your '1'. It all goes from there.
Ok, thanks. I’ve very rarely had people flash fingers at me (well, maybe the middle oneI've done all three. I've written my own number charts (which can be easier for bass as I only need to hear passing chords, rarely spelling them out, and holding a note under them), been handed them, and on jams or when I've sat in, sure, guys will flash numbers with one hand telling me what's coming (if I couldn't hear/sense it already).
Here's the link back to my original post:
It does NOT replace standard notation in any sense, nor would it be much use transposing complex music. I can hardly imagine 'YYZ' or 'Starship Trooper' in a number chart ! But for simple music built off the usual diatonic changes (country, rock and roll, blues, even white quartet gospel in a country feel) where everyone knows the style and the feel, you can work quickly, and it's irrespective of keys: The same chart works in B-flat, F-sharp, C. You simply know the key the tune will be played in, and that's your '1'. It all goes from there.
), but I get your point. I’ve taken many extended business trips to Nashville, and heard a wide variety of great music. The number system is obviously doing something right. 
It's not just about transposition. It's a musical shorthand that is super effective.
