The Nashville Number System: A Pop(ular) Alternative to Roman Numerals and Figured Bass

Transcription

1 The System: A (ular) Alternative to s and Figured Bass Trevor de Clercq June 2, 2017 Lee University: Cleveland, TN

2 Key of E W/Harpsichord Lead-In In) Vr) Vr) Br) Vr) STREETS OF BALTIMORE (Bobby Bare) Vr) q = 116 Vr) Spoken Vocal Br) Vr) Tag)

3 Key of E W/Harpsichord Lead-In In) Vr) Vr) Br) Vr) STREETS OF BALTIMORE (Bobby Bare) Vr) q = 116 Vr) Spoken Vocal Br) Vr) Tag)

4 Long Time Gone (Dixie Chicks, 2002) Transcription in Neal 2007 Introduction [D Major] (time 0:00) I I I IV I V V V V I I I I IV I V V V V I Verse 1 [D Major] (0:24) I I I IV I V V V V I I I I IV I V V V V I Chorus 1 [D Major] (0:46) IV I V IV I V V I 6 IV V I Instrumental Interlude 1 [D Major] (0:56) I I I IV I V V V V I Verse 2 [D Major] (1:07) I I I IV I V V V V I I I I IV I V V V V I Chorus 2 [D Major] (1:30) IV I V IV I V V I 6 IV V I Instrumental Interlude 2 [E Major] (1:42) I I I IV I V V V V I I I I IV I V V V V I Bridge [modulatory] (2:04) VI ( Major) IV IV V V I IV ( Major) VI VI VII VII I ( ) II II V V Verse 3 [D Major] (2:21) I I I IV I V V V V I I I I IV I V V V V I Chorus 3 (expanded) [D Major] (2:44) IV I V IV I V V I 6 IV V IV I V IV I V V I 6 IV V I Instrumental Interlude 3 [D Major] (3:03) I I I IV I V V V V I Vocal Outro [D Major] (3:15) I I I V V V V I I I I V V V V I I I I V V V V I Instrumental Outro [D Major] (3:48) I I I IV I V V V V I example 10. Long Time Gone. Form, harmonic analysis, and phrase rhythm.

5 Long Time Gone (Dixie Chicks, 2002) Transcription in Neal 2007 Verse 1 [D Major] (0:24) I I I IV I V V V V I I I I IV I V V V V I Chorus 1 [D Major] (0:46) IV I V IV I V V I 6 IV V I Instrumental Interlude 1 [D Major] (0:56) I I I IV I V V V V I

6 Long Time Gone (Dixie Chicks, 2002) Transcription in Neal 2007 VR) < < CH) LN) <

7 Long Time Gone (Dixie Chicks, 2002) Transcription in Neal 2007 VR) < < CH) LN) <

8 s are s Bm9 vi9

9 s are s Bm9 vi9 6-9

10 s are s Bm9 vi9 6-9 A/C# V6

11 s are s Bm9 vi9 6-9 A/C# V6 _ 5 7

12 s are s A7/C# V6 5

13 s are s A7/C# V _ 7

14 s are s A9/C#

15 s are s A9/C# 5 9 _ 7

16 s are s A9/C# V7? _ 7

17 s are s A sus 4 V4

18 s are s A sus 4 V4 5 4

19 s are s A sus 4 V4 5 4 A add 6

20 s are s A sus 4 V4 5 4 A add 6 V add 6

21 s are s A sus 4 V4 5 4 A add 6 V add 6 5 6

22 s are s A/E V6 4

23 s are s A/E V6 4 _ 5 2

24 s are s A/E V6 4 _ 5 2 D/A

25 s are s A/E V6 4 _ 5 2 D/A I6 4

26 s are s A/E V6 4 _ 5 2 D/A I6 4 1 _ 5

27 s are s A/E V6 4 _ 5 2 D/A

28 s are s A/E V6 4 _ 5 2 D/A V6 4

29 s are s A/E V6 4 _ 5 2 D/A V

30 Gorilla (Bruno Mars, 2012) Key of D GORILLA (Bruno Mars) q = 70 Synth & Perc Only IN) 6-6- Bass In VR) ^7 b6 b ^7 b6 b7 PCH) CH) 1 b7 2 1 b b6 b7 4 4 b6 b7 VR) 6- >>>> œ œ œ œ Full Band Sparse ^7 b6 b ^7 b6 b7 PCH) >>>> œ œ œ œ 4 5 > œ œ j >> œœ > œ œ j >> œœ œœœœœœœœ œœœœœœœœ.. œœ œœ.. œœ œœ œœœœœœœœ œœœœœœœœ Full Band CH) 1 b7 2 1 b b6 b7 4 4 b6 b7 œœœœœœœœœœ œ œ r 6536 BR) œœœœœœœœœœ œ œ r >>>> œ œ œ œ ^ Full Band CH) 1 b7 2 1 b7 2 1 b b6 b7 4 4 b6 b7 4 4 b6 b7 Synths Only OUT) 1 b7 2 U! 1.. œœ œœ.. œœ œœ.. œœ œœ.. œœ œœ.. œœ œœ.. œœ œœ 4 4 b6 b7

31 Gorilla (Bruno Mars, 2012) Synth & Perc Only IN) 6-6- Bass In VR) ^7 b6 b ^7 b6 b7 PCH) >>>> œ œ œ œ 4 5 Full Band > œ œ j >> œœ CH) 1 b7 2 1 b b6 b7 4 4 b6 b7 (Bruno Mars) œœœœœœœœ œœœœœœœœ.. œœ œœ.. œœ œœ Full Band CH) 1 b7 2 1 b BR) œœœœœœœœœœ œ œ r 5 œœœœœœœœœœ œ œ r Full Band CH) 1 b7 2 1 b > œ

32 Gorilla (Bruno Mars, 2012) Synth & Perc Only IN) 6-6- Bass In VR) ^7 b6 b ^7 b6 b7 PCH) >>>> œ œ œ œ 4 5 Full Band > œ œ j >> œœ CH) 1 b7 2 1 b b6 b7 4 4 b6 b7 (Bruno Mars) œœœœœœœœ œœœœœœœœ.. œœ œœ.. œœ œœ Full Band CH) 1 b7 2 1 b BR) œœœœœœœœœœ œ œ r 5 œœœœœœœœœœ œ œ r Full Band CH) 1 b7 2 1 b > œ

33 s are s A7 V7 5 7 G maj 7 4 maj7

34 s are s A7 V7 5 7 G maj 7 IV7 4 maj7

35 s are s D7

36 s are s D7 V7/IV

37 s are s D7 V7/IV 1 7

38 s are s D7 V7/IV 1 7 G7

39 s are s D7 V7/IV 1 7 G7 4 7

40 s are s D7 V7/IV 1 7 G7 IV dom 7? 4 7

41 s are s E7

42 s are s E7 V7/V

43 s are s E7 V7/V 2 7

44 s are s E7 V7/V 2 7 B7

45 s are s E7 V7/V 2 7 B7 V7/ii

46 s are s E7 V7/V 2 7 B7 V7/ii 6 7

47 s are s C7??? b7 7

48 s are s C7??? b7 7 C9/E??? b7 9 _ 2

49 s are s G/A _ 4 5

50 s are s G/A IV 5 _ 4 5

51 My Life Without You (Jim Riley, 2009) YOUR TURN! (12 bars)

52 My Life Without You (Jim Riley, 2009) YOUR TURN! (12 bars)

53 My Life Without You (Jim Riley, 2009)

54 My Life Without You (Jim Riley, 2009)

55 Misery (P!nk & Steven Tyler, 2001) Error Detection (Yay!)

56 Misery (P!nk & Steven Tyler, 2001) Error Detection (Yay!)

57 Misery (P!nk & Steven Tyler, 2001) Error Detection (Yay!)

58 Misery (P!nk & Steven Tyler, 2001) Error Detection (Yay!) CH) b6^ b œ œ œ œ œ BR)

59 Misery (P!nk & Steven Tyler, 2001) Error Detection (Yay!)

60 QUESTIONS, COMMENTS? de Clercq, Trevor The System Fake Book. Milwaukee, WI: Hal Leonard. Matthews, Neal Jr The System: An Aid to Playing by Ear. Milwaukee, WI: Hal Leonard. Riley, Jim Song Charting Made Easy: A Play-along Guide to the System (2nd ed). Milwaukee, WI: Hal Leonard. Snodgrass, Jennifer Contemporary Musicianship. Oxford: Oxford University Press. Williams, Chas The System (6th ed)., TN: Chas Williams The System (7th ed)., TN: Chas Williams The System Gigbook., TN: Chas Williams. Wyatt, Keith and Carl Schroeder Harmony and Theory: A Comprehensive Source for All Musicians. Milwaukee, WI: Hal Leonard.