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I've been reading up on the chord numbering system and think I understand most of it. On a chord chart, designations of major chords are shown by a chord number, and altered chords (such as minor, 7th or sus4) would normally be shown as the chord number followed by a suffix (such as m, 7 or sus4). Other variations may show the minor as a minus sign, or a lower-case Roman numeral.
Right?
Regardless, two questions I haven't found the answers to yet:
1. How do you show a chord that is not part of the range (I-II-III . . .)?
Example: Playing a song (say in the key of C) and part of the chord progression goes: F Fm C D7 Ab G C
The chord chart could say: IV iv I II7 [X] V I
How would you designate the spot for the Ab (the [X] above)? Would you show it as bVI? How about #V?
2. How do you designate key changes that occur in the middle of the song?
Thanks.
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I don't do strict nashville numbering...use my own lil' system that is pretty close. I would show that as bVI. Some of it depends upon the context of the song you're playing. Are these chords from a real song or just something you made up?
To your second question...there are a couple of ways you can do that. In classical type theory you can show a temporary modulation via a slash chord...so for your D7 above, you can show that as II7. You can also call it a V of V, meaning that D7 is the V chord of the V of C (G). That would appear as V7/V.
I think that this numbering system gets pretty cumbersome with modulations and non-diatonic chords, but maybe that's just me.
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I'm in agreement with BGD here. The Nashville system is great so long as everything is in key, but the instant you do something different you are in immediate need of something else or you are improvising something that might not be apparent to someone else.
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Baldguitardude wrote:
Are these chords from a real song or just something you made up?
They're from a real song. Second half of the verses of "It Might as Well Rain Until September" by Carole King.
I play it like this: "(F) For all the (Fm) fun I'll have while (C) you're so far a(D7)way, it (Ab) might as well (G) rain until Sep(C)tember."
The Ab looks really out of place until you hear it in context, then it actually works.
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Never heard it. That's pretty. Where'd you get that transcription?
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They call it the "Nashville Numbering System" for a reason - it's meant for use with cowboys chords for songs that are written in one key and a max of 3 chords. For flatdiminshedminorseventh chords you've got to look for the Jazz numbering system which looks a lot like Chinese Arithmetic.
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Eloquently stated. 
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Baldguitardude wrote:
Never heard it. That's pretty. Where'd you get that transcription?
It's a bit bubblegummy, but my wife likes it, so I learned it for her.
http://www.youtube.com/watch?v=GbKE0gJETA0
It's actually a piano song originally recorded in Db, so capo 1 as needed.
One interesting (to me) thing about this song is that it has a 1/2 step DOWN key change for the first half of the bridge, then the second half comes back up to the original key. Maybe a lot of songs do that, but I guess this is first one that I really noticed.
The transcription? I can't remember exactly where I got it, but I probably found on on the internet somewhere and then transposed it and otherwise changed it as needed to suit my ear. I have a Microsoft word version of it if anyone wants it.
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topdown wrote:
They call it the "Nashville Numbering System" for a reason - it's meant for use with cowboys chords for songs that are written in one key and a max of 3 chords. For flatdiminshedminorseventh chords you've got to look for the Jazz numbering system which looks a lot like Chinese Arithmetic.
Cool! In the coincidence to top all coincidi*, it just so happens that I have an advanced degree in Chinese Trigonometry, so I'm golden. I'll get right on it.
Thanks!
* = plural of coincidence
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I remember this 1962 song very well (showing my age I know) but here are the only lyrics and chords I could find (not Nashville I'm afraid): http://rock.totaltabs.com/tablature/Car … ord_57774/
Roger
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I'd like to see it.
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Baldguitardude wrote:
I'd like to see it.
Check your email.
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Got it.
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Baldguitardude wrote:
Got it.
How? I haven't sent it yet. Need for you to reply to that email I sent you so I can get your email address.
(That sounded stupid.)
To explain, I don't see how to send an attachment via the chordie email form. I think if you reply to the one I sent, it will come to my inbox. Then I can reply with the attachment you wanted.
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I meant I got your message. 
Been crazy at work and I lost track of the email. I'll dig it up now.
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Song sent.
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