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The Nashville Number System is a method of transcribing music by denoting the scale degree on which a chord is built. It was developed by Neal Matthews Jr. in the late 1950s as a simplified system for the Jordanaires to use in the studio and further developed by Charlie McCoy. [1]
These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.
"The musicians in Nashville use the Nashville Number System almost exclusively for conveying a song's structure and arrangement in the recording studio." [3] In Nashville Notation, the chord numbers map to the chord built diatonically on each scale degree in the Major key -- or the closest relative Major key-- of the song.
In this case, the chord is viewed as a C major seventh chord (CM 7) in which the third note is an augmented fifth from root (G ♯), rather than a perfect fifth from root (G). All chord names and symbols including altered fifths, i.e., augmented (♯ 5, +5, aug5) or diminished (♭ 5, o 5, dim5) fifths can be interpreted in a similar way.
3 is the minor or major quality of the chord and is rarely written as a number. 4 is mostly used as an extra note in a chord (e.g., add4, sus4). 5 is the (perfect) fifth of the chord and is only written as a number when altered (e.g., F7 (♭ 5)).
Its (transposed) inversion, which happens to be the minor chord, contains the pitch classes 0, 3, and 7; and is the prime form. C major diatonic scale Play ⓘ. Locrian mode on C Play ⓘ. The major and minor chords are both given Forte number 3-11, indicating that it is the eleventh in Forte's ordering of pitch class sets with three pitches.
The key note, or tonic, of a piece of music is called note number one, the first step of (here), the ascending scale iii–IV–V. Chords built on several scale degrees are numbered likewise. Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V). A chord may be built upon any note of a musical scale.
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