The Nashville Number System Explained (A Complete Guide for Guitarists)

[00:00:00]I thought it might be worth doing a full length video on the Nashville numbers system and I touched on this subject in a recent video I did on learning 30 songs in one day and a few people expressed an interest in a more detailed look at how this thing works.

[00:00:15]So I've done a little bit of research.

[00:00:16]I'm going to give you some history on the system. I'm going to explain exactly how it works and then I'm going to be looking at some real world examples. And essentially this is an easy way of transcribing, i.e. charting out or writing out songs. And it's very simple, it's very elegant and it doesn't involve very much tiresome music theory which makes it ideal for us guitar players.

[00:00:39]And it's primarily about writing out chord progressions although it can accommodate simple riffs and melodies as well. And I suppose in a sense it's music theory for people who don't really do music theory. And if you're one of those people who are confused by traditional music theory or if you're kind of allergic to it then this might be the ideal solution. And there are lots of benefits of having a basic understanding of the Nashville numbers system. Firstly, I think it makes it so much easier to communicate with other musicians and it means that you're going to be able to write out songs whether it's your songs, somebody else's songs and then when you do get together with other players whether it's in a rehearsal kind of context or you're jamming or you're recording, everything just runs much more smoothly and easily.

[00:01:23]And it's also great if you just want a quick way of writing down tunes for your own benefit. So you want to keep a a record of songs that you're writing or songs that you're learning. It's very quick and easy to do that. And also as I tried to demonstrate in the aforementioned video about learning songs, it does really speed up the process of learning new tunes. And also in the process of writing out songs in this way you just get a much deeper understanding of music. You really start to understand how songs are put together, the harmony, the rhythm, song structure which is you know essential stuff for any musician and particularly if you're interested in songwriting. And one further massive benefit of understanding this is it will really improve your ear. This way of writing stuff out really forces you to think in terms of core progressions. You've got to be able to hear the root movement of these chords, hear whether the chords are major or minor or seventh chords, and I think it's no coincidence that a lot of great natural players are amongst some of the best kind of ear players in the world. So, this system came about in the 1950s and it was developed by a couple of different people. And firstly, somebody called Neil Matthews Jr. who was a singer in the group The Jordanaires, who were kind of a gospel country group. And he developed this system as a way of teaching the other people in the group their vocal parts. And then it was further developed, I believe, by someone called Charlie McCoy, who was a Nashville harmonica player. And he recognized that you could use this system not just to describe single notes and melodies, but also to describe core progressions. And the key idea here is that when numbering the chords in a key, and it's a very elegant system. You've simply got a series of numbers which can be used to describe any core progression. And one of the main advantages of this is it's very easy then to change keys because the core progression in terms of numbers is always going to stay the same irrespective of what key you're in. And I suppose it should be said that this is not a new idea that was just invented in the 1950s. It's just a new way of describing something that has existed for hundreds of years. It's actually very similar to the Roman numeral system of analyzing core progressions that some of you might be familiar with. And going even further back, it's quite similar to figured bass that you come across in kind of the Baroque period of classical music. And this all took off and became quite quickly very widely adopted in Nashville. I suppose because there were obviously lots of amazing musicians there, but they didn't necessarily have a traditional music education. They might not have been able to read traditional music notation. You're unlike I suppose in other centers of music at the time. So, New York, Los Angeles where players perhaps were from more of a jazz background and they were more likely to be able to read traditional charts and notation. Let me just briefly go over the basics before we get into some specific charts. And the one little bit of music theory that you do really need to understand here that starting point for all of this is the major scale. And I'm sure many of you know the major scale already, but for those of you who don't, it's just a do re mi fa so la ti do. I'm sure you all know the sound of the major scale.

[00:04:31]>> [music] >> So, we've got seven notes and it's really the starting point for most of Western music. It's kind of our our reference point and it's the reference point in the Nashville number system as well. And what makes the major scale sound like a major scale is a particular pattern of intervals, a pattern of tones and semitones or whole and half steps if you prefer. And it works like this from any given starting note, then the next note is going to be a whole step higher, then another whole step, then we've got a half step, then we've got whole whole whole and then we've got another half.

[00:05:10]So, that's all that you need to remember really. We've got whole whole half whole whole whole half. And a whole step or a tone is just the distance between two frets on a guitar. So, any from any note on the guitar.

[00:05:24]So, we start here at the fifth fret, go up two frets, that's a whole step. A half step is just a one fret distance on the guitar. So, we could construct a major scale. The simplest way to do this is along the length of one string. So, say we start at the third fret >> [clears throat] >> on the low E string and we're just going to apply that major scale [music] formula, this pattern of whole and half steps. And if we do that, got whole whole [music] half whole whole whole half. We've got a major scale. In this case, it's a G major scale because I'm starting from [music] a G root note. So, that's one way of playing a G major scale.

[00:06:02]>> [music] >> And that interval formula is going to stay the same regardless of what note you're starting from. So, it's a G major scale if you're starting from a G, but if I want to start from a B flat, for example, I'm just [music] going to apply that pattern of wholes and halves.

[00:06:23]>> [music] >> And I've got a B flat major scale. So, it's a very simple once you know that formula to apply it to the guitar fretboard. And it's kind of logical when you see it along the length of one string like that. It's also worth being able to play it in position as well. So, another important scale fingering might be this. So, again, if we start from a G, you could play a major scale in the same position on the guitar like this.

[00:06:50]>> [music] >> And there are clearly many ways that you could play the major scale on the guitar. I'm not going to get too much into that in this video. It's something that is definitely worth exploring though, but a good starting point is just to know that interval formula, that whole whole half whole whole whole half.

[00:07:11]Be able to play a major scale along the length of one string and also be able to play a major scale in position. And if you know that, then we can get up and running with the Nashville number system. So, we have our major scale. The next step is to number the notes in the major scale. So, we've got seven notes.

[00:07:25]We're just going to call those notes 1 2 3 4 5 6 7. And then we can apply chords to each of those notes, which is going to enable us to describe chord progressions. So, working once again with our G major scale along the length of one string, this is note number one, and we can apply a chord to that note.

[00:07:43]And let's make it a G [music] major chord just playing a G major bar chord here. We can describe that as our one chord. And if we're in the key of G, this is our [music and singing] home chord, if you like. And then we can go through the rest of the notes in the scale and apply chords to those notes as well. And the chords that naturally occur in any major key are a particular pattern of major and minor chords. So, the one chord [music] is major, the two chord is usually minor. So, here I've got an A minor.

[00:08:15]The three chord, [music] this is the note built off of the third note of the major scale.

[00:08:20]That's [music] a B minor. And then the four and five chords, these are usually major. So, you've got a C and a D major [music] chord. And then the six chord, that's built off of an E note.

[00:08:32]>> [music] >> That is a an E minor chord. And then the seven chord, it does theoretically exist, but it's not very widely used.

[00:08:39]So, for our purposes today and when we're using the Nashville number system, we can effectively just ignore that chord. But it's actually a F sharp diminished [music] chord is the seven chord, but very very rarely do you come across that. So, we've now got our series of seven different chords that belong to the key of G major, the one, two, three, four, five, six, and seven chords. It's worth memorizing that pattern of major and minor chords because that's what generally occurs if you're in a major key. So, the one, four, and five are major, the two, three, and six are minor. And in fact, when it comes to the Nashville system, you don't even need to worry about that pattern of major and minor chords too much because it's always very clear from the chart. So, where you just see a number written down, then it's always assumed that the chord is major.

[00:09:25]If you want a chord to be minor, then you have to specify. And a couple of common ways of doing this, usually you'll write the number and then a dash after it. That indicates that the chord is minor. Or you could just write a lower case M. So, I told you this was simple. We've got numbers and those numbers indicate the root notes. And if it's just a number on its own, then it indicates a major chord. If you want a minor chord, then you just have to have that dash or the lower case M. And the system can easily accommodate more complex chord types and also root notes that fall outside of the major scale.

[00:09:58]So, if you've got a root note that's not in the major scale, then you just have to describe it in terms of how it differs from the major scale. The major scale is kind of the measuring stick, if you like. So, for example, if we are in the key of G and we've got an A sharp [music] chord or a B flat chord, then that note there it's one fret [music] below the third, so we could describe that as the flat three chord. [music] Um if you've got an F chord, for example, then that F note is one fret below the seventh degree of the G major scale. The seventh degree of the G major scale >> [music] >> is F sharp. One fret below that is F, so we can describe that F chord as a flat seven chord. And likewise, if you want more complex chord types, you just have to specify. So, if you want a seventh chord, then you write the number and then a seven after it or a major seven or you know, whatever chord type you like, 13ths, um extended chords, all of that can be written down in this system.

[00:10:58]We have root notes, we've got chord types. The other element we need for a Nashville numbers chart is rhythm.

[00:11:04]And once again, it's very elegant and simple. So, if you just see a single number in a chart, then it indicates that you're playing that chord for four beats or one bar. So, if we've got a number one written down on a chart, it just means you've got four beats on the one chord. And if you want more than one bar on a particular chord, you're just going to write down the number again.

[00:11:26]So, if you want four bars on the one chord, for example, you just write one one one and one. Or uh you know, the first four bars in a 12-bar blues, you might write one, four, one, one, which indicates one bar on the one chord, one bar on the four chord, and then a couple more bars on the one chord. And what if you want to change chords in the middle of the bar? And that's very easily notated as well. So, say we want two beats on the one chord, two beats on the four chord. What you would do is just write one and four, and then draw a line underneath both of those numbers, and that indicates that those two chords are sharing the same bar. So, two beats on the one chord, two beats on the four chord. An alternative way of doing that that I've seen in some charts is just to put those two numbers in brackets or parentheses. Those are the basics of this system, and and you will see occasionally more complex symbols and markings to notate more complex chord progressions or more complex kind of rhythmic situations. You might, for example, see dots above numbers to indicate exactly how many beats you need to spend on a particular chord. You can have arrows going forwards or backwards to indicate rhythmic pushes. From what I've seen, different people have slightly different ways of writing out Nashville charts. I don't think it's a completely standardized system, but I think I've covered most of the basics.

[00:12:47]And you know, of course, if you're writing out these charts for your own benefit, then feel free to personalize them, and you can add in your own notations and symbols if it makes the music clearer to you. I hope you're starting to grasp how this works, and now I want to look at some actual real-world examples. And I've got a few charts for you. I found all of these charts online. I've not written them out myself, and they seem to be quite authentic examples of Nashville numbers charts. And I wanted to start with a familiar tune. I'm going to assume that most of you know this one, and it is Folsom Prison Blues by Johnny Cash, an absolute country classic. And the chart that I found online it looks like this.

[00:13:26]And I think it's a fairly typical looking Nashville numbers chart. You can see you've got the title of the tune, you've got the key and the time signature in the top left-hand corner.

[00:13:36]And then we've written out the tune.

[00:13:37]You've got the series of of numbers there and it's divided up into the different sections. You've got the verses and then a couple of guitar solos as well. Uh this tune is nice and straightforward. It's just a three-chord song just made up of the one, four, and five chords in the key. So uh you know, majority of country songs you come across are going to be based around the one, four, and five chords. So I think this is a good place to start. And the one chord is going to be our home chord.

[00:14:04]The actual chord name is going to depend on what key you're going to play this tune in. And I know this one says key of F, which I think is the key that the most famous Johnny Cash version is in.

[00:14:14]But typically, I think guitar players play this using an E chord >> [music] >> shape and then maybe using a capo to change key. So let's do this in the key of E. That means E is going [music] to be our home chord. That is our one chord. And then we want our four chord and our five chord. And remember the major scale, in this case the E major scale, is going to be our reference point. So >> [music] >> So our four chord, we're just going to count up the major scale from our starting note.

[00:14:42]>> [music] >> That leads us to an A root note and we're just going to play an A [music] major chord. All of the numbers here, they got no minor symbols, no other chord symbols. So we're just going to um assume that all of these chords are major chords. So the one [music] chord is E.

[00:14:59]Four chord is A. And then the five chord is going to be a B chord of one kind or another. So we could play a B chord [music] like this. Typically, you would actually play the five chord as uh a seven [music] chord. So I can actually play a B7 chord here. So you know, to some extent uh the chord symbols here, the numbers are open to interpretation. So, you can throw in some extra extensions, seventh chords, things like that if it sounds good. So, we got our three chords. Now, we can plug those chords into this actual structure. Let's begin with the first verse. I'm going to come back to the intro, I think. And you can see that you've got 1 1 1 1 4 4 1 1 5 5 and 1. That's a verse of this tune. So, four bars on the one chord, two bars on the four chord, two bars on the one chord, two bars on the five chord, and then we're back to the one chord for another bar. And the feel of this tune is kind of a It's that kind of train beat country thing. Uh from the actual chart, you don't really get much information about the feel. So, you do have to kind of know know the tune to to get the actual strumming pattern and that kind of thing. And uh depending on how you you count this, so it could be 1 2 3 4 [music] 1 2 3 Four bars on the one.

[00:16:25]And we're going to the four chord, two bars.

[00:16:29]>> [music] >> Back to the one chord.

[00:16:33]We've got the five chord.

[00:16:38]And back to the one [music] chord. So, so that would be our our first verse.

[00:16:42]And this is a nice simple tune.

[00:16:43]Actually, all of the sections are the same, so the verses and the guitar solo.

[00:16:47]So, very straightforward in terms of a chart. We just got the intro and the outro, which might be worth talking about. So, if you think about how the tune goes, there's actually a little riff at the top of the song.

[00:17:01]>> [music] >> So, you can see that that's written down in the chart. And in the box there, we've got that little rhythm. We're actually coming in on the and of three.

[00:17:12]So, you can actually get some traditional notation in here. It's just a bit of rhythmic notation telling the person who's reading the chart that we're going to come in on the end of three. It's one and two and three.

[00:17:24]>> [music] >> And then we're hitting the five chord, which is the B7.

[00:17:32]And then [singing and music] the one chord.

[00:17:35]So it's a simple way of notating that intro. Notice that we don't get the specifics of this actual lick. It's just telling you what beat you have to come in on and then what beat overall chord at any given moment is. Something you don't really get from Nashville charts the specifics of an actual guitar part.

[00:17:51]That's something you're going to have to you listen to. You have to know the tune if you're going to play that exactly correctly. And also take a look at the outro. We've got the five chord going to the one chord. It's four beats on the five chord [music] and then we've got this little box and with these dots underneath the numbers. So that's indicating how many beats we've got on these chords. So we've got the one and then three dots and then we've got another one with this diamond shape around it. And that diamond shape is just indicating that we're letting that chord hang. So this is really indicating how you're going to end the tune. We've got four beats on the five chord. One, two, [singing and music] three, four to the one chord. One, two, three, four.

[00:18:34]And then we're ending on the four with a a long strum and that's what these dots underneath the numbers are telling you. So three beats on the one and then on beat four we're going to let that last chord hang to end the tune. Let's look at another tune then and how about another country classic.

[00:18:52]This is Sweet Dreams. It's a beautiful chord progression. And this chart's a little bit more complex than the Folsom Prison one. So I can see that we've got some minor chords in there as well. The six minor that's indicated by that little dash after the six.

[00:19:10]And we've also got some chords that are sharing the same bar. So, remember if you've got a line underneath the pair of numbers, it indicates that you've got two beats on the first number and two beats on the the second number. So, let's run through this chart then. This one All right, the chart's telling us it's in the key of A flat. I think that's the the key that it was originally sung in. So, we've got an A flat here at the fourth fret on the low E string.

[00:19:38]That can be our our root note our our home note. So, we've got our one chord [music] here. And uh if we just look at the first A section, we've got that those diamonds around the chords once again.

[00:19:49]So, that's indicating we just got these [music] kind of long strums uh on the chords to begin with. If you if you listen to the tune, I think um yeah, it's before the the actual band kicks in. You've just got these >> [music] >> sustained hits on the first couple of chords. So, we've got the one chord there.

[00:20:06]>> [music] >> And then we've got the two chord.

[00:20:10]So, just now thinking A flat major scale.

[00:20:13]Um [music] there's the second note in the scale. And uh this is actually a major two chord. There's no minor indicated, so we're going to assume that [music] it's a major chord. So, we've got one, two, three, and the two chord.

[00:20:27]And [music] then we've got the five chord. So, one, two, three, four, five. That's going to be an E flat.

[00:20:32][music] And then we've got the one chord again, two, three, and then the two.

[00:20:42]And then the five [music] chord.

[00:20:46]And really you're not getting any rhythmic information from this chart other than the number of beats that you're going to spend on each chord. So, that's where it's open to interpretation. You have to listen to the song or know the song or you're playing with other musicians who are going to um ask you to play with a certain feel.

[00:21:01]But this chart isn't giving you a specific strumming pattern uh for example. Uh but continuing on with the second half of this verse, you can see that we've got the one chord four beats. We've got the four chord.

[00:21:16]>> [music] >> The one chord, then we've got the six minor chord.

[00:21:22]So, the six minor chord 1 2 3 4 5 is going to be uh, an F root note and we're going to make it a minor chord. We [music] could play it down here.

[00:21:33]And then, quite interesting here, we've got these lines underneath uh, this series of chords here. So, it's two beats on each of these chords. Here, we've got the one chord.

[00:21:44]Uh, then we've got 1/3 and that's telling you that it is an inversion or a different bass note. So, we've got the one chord with the three in the bass. So, the one chord is A flat, but the three A flat, B flat, C is the note C. So, we want an A flat chord with a C in the bass. So, you could perhaps play that like this. So, that's frets 3 6 5 [music] and four. So, it's an A flat/C or an A flat in the first inversion.

[00:22:18][music] So, it's just a way of indicating that a specific bass note is required. So, you can play that on the guitar. You know, in practical situations, you might actually just leave that to the bass player and just continue playing the one chord at that point. But, that that's what's indicated by the chart. We've got one, two, and then the inversion.

[00:22:38]And then four, five, >> [music] >> and then one, four, one, five.

[00:22:48]And this is another tune where once you've got the basic chord progression, it's just repeated for all of the sections of the song. And it should be said that to be able to interpret these charts quickly and to be able to find these chords does require a certain amount of knowledge of the guitar fretboard. You're not just going to be immediately read down a chart if you don't know where to find these root notes. So, it's obviously really important to know the names of the notes on the fretboard. It's something that I'm always banging on about, and in particular the names of the notes on the sixth string and the fifth string. It's those strings which are often going to be giving you the root notes for your chords.

[00:23:25]And also important to know your relationships between chords in different keys. So, a good starting point would really be to know your 145 chords in the most common guitar keys down in the open position. This is something I've done a whole video on.

[00:23:42]So, if you're in the key of G, for example, you just want to know that G [music] is the one, therefore C is the four, and D is the five. You just got that bunch of three chords that go together.

[00:23:54]If you're in the key of A, the one [music] chord, the four chord, and the five chord. You just got that stuff right there under your fingers down in the open position. And then if you're not in the open position, then you also want to have those root notes mapped out. So, if you're in the key of A, for example, you've got your one chord here, the root of the one chord, then your four chord is going to be at the same fret over on the fifth string.

[00:24:19]The five chord is always going to be two frets higher than the four chord. So, you've got one, four, five. You've kind of got that relationship between [music] the chords.

[00:24:28]I I see that as kind of an L shape. You see the root notes there of the one, the four, and the five in that kind of L configuration. If you've got your one chord starting with the fifth string root, so say we're in the key of D, that's the one [music] chord. The five is always going to be directly above it at the same fret with a sixth string root. So, that's one >> [music] >> in D, that's the five chord, and then the four is going to be two frets below that. So, you've got one, four, and five >> [music] >> from that fifth string root starting point. Again, it's kind of an L shape that you've got on the fretboard, but it's been slightly rearranged. One, four, and five. And those L shapes are kind of movable depending on the key you're in on the starting root note. And if you've got that kind of fretboard knowledge, then it's actually very easy to take a Nashville chart such as this one and to interpret it on the guitar in various different keys. It's one of the main advantages of this system is it's very easy to change keys, which you'll frequently be doing if you're playing these tunes with a singer. Very often they're going to ask to play it in a different key that it kind of suits their voice. So, if just take this tune Sweet Dreams as an example. What if I wanted to play this in the key of G? So, the numbers are going to be exactly the same. So, I'm just going to be thinking G is now going to be the the one chord, and then I'm just going to follow the chart. [music] So, G is the one, A is [music] the two chord, then D or D7 is the five.

[00:26:01]>> [music and singing] >> Go around again, one, two, >> [music] >> five, [singing] and we've got one, four, one, and then six minor, [music] and we've got one, four with three in the bass, four, five, one, >> [music] >> four, five.

[00:26:34]>> [music] >> So, very easy actually to play the same chord progression in a new key like that. Let's play it in the key of E, but maybe, you know, up here. So, fifth string root bar chord as the starting point. So, that would go like this.

[00:26:51]One [music] chord, two, and five. [music] Round again.

[00:27:01]>> [music] >> Then one to four, >> [music] >> one, and then six minor, [music and singing] one, and then the inversion, four, five.

[00:27:33]And for me, an important thing is the visual layout of those root notes on the fretboard. So, I spoke about the one, four, and the five. If you want the two or the six minor, the six minor is always going to be a three frets lower than the one [music] chord. So, if the one chord is here, then you've got the six minor there, and then obviously the the two chord [music] is going to be two frets higher than the one chord. So, pay attention to those intervals on the fretboard. It's really helpful. Let's look at one more example, then, and it doesn't just have to be country music, although it does work particularly well for that style of music, but it works great for pop tunes, as well. So, I've just found a chart of From Me to You, The Beatles tune. So, that would look like this, and this has got quite a lot of chord changes flying around, but it works in exactly the same way.

[00:28:23]So, it's telling you to play this one in the key of C. That's going to be our one chord, and we've got four beats on most of these chords. You can see that some of these are underlined, indicating two beats and two beats, but it's starting off with just one bar on the one chord, and then [music] the six minor, and then that repeats.

[00:28:51]That's our our introduction. So, if C >> [music] >> is our one chord, I'm just thinking three frets lower, that's going to give you the uh the root of the uh six minor chord, which is in this [music] case A minor. C to A minor.

[00:29:09]>> [singing and music] >> And then, one.

[00:29:16]Five seven [music] chord there. That's going to be a G7.

[00:29:21]And then, four chord, which is F.

[00:29:23]And then, A minor. [singing and music] And then, >> [music] >> So, just to turn it around there, you can see you've got two beats on the one, two beats on the five seven chord.

[00:29:40]And then, the one.

[00:29:42]>> [music] >> And then, the six minor chord. And then, it goes round for for another verse in the same way. So, one, six minor, one, >> [music] >> five, four, six, one, one.

[00:30:04]So, that's our our verse of the first couple of verses. Then, we've got a bridge section. That's just indicate you've got BR written in in a box. And you can see that the bridge is starting on the five chord, but it's a five minor seven chord. And the minor is indicated by the dash, and then you've got a seven after that as well. So, it's going to be a G minor seven. So, we could maybe play [music] that here. So, bar chord at the third fret.

[00:30:30]To the one chord, but it's a one seven.

[00:30:32]So, we're going to play a C7.

[00:30:34]>> [singing and music] >> And then, F, the four chord.

[00:30:40]And then, the [music] two chord, but it's a two seven, so it's going to be D7.

[00:30:47]And then the five chord, [music] which is G.

[00:30:51]Uh then it's got five plus, and plus symbolizes an augmented chord, so you need Oops, dropped my pick. Uh you need a G augmented, so um maybe how would you do that? Maybe maybe something something like that. So five four four and five maybe with the thumb in the bass.

[00:31:13]>> [music] >> Um as I say, this chart doesn't tell you how to play these chords. That's something that you need to be able to find yourself on the guitar. If you want to play this really authentically, exactly like the Beatles, then you need to study exactly how they were voicing some of these chords, and without listening to the actual recording, I'm not absolutely sure, but that's one way of playing [music] a G augmented. So that would be the bridge.

[00:31:40]>> [music] [music] >> And I thought it might be quite interesting to finish with an example of where the Nashville number system doesn't work quite so well.

[00:31:58]And for me, its strength is when you're dealing with songs that are very much chord progression-based. So that's why it works so well for country music, for lots of uh forms of pop music. But when you're dealing with songs that are based on riffs, so rock tunes, metal tunes, for example, then I don't think uh these charts work quite so well. And an example that I found is uh the AC/DC tune Back in Black, and I'm sure most of you know this tune, but it's very much a riff-based uh kind of a song. So you can see that the chart does outline the correct basic chords. So if we're in the key of E, you've got E >> [music] >> flat seven chord, which is D, and then the six chord, which is A.

[00:32:43]>> [music] >> And that's giving you really none of the flavor of the song, which is all based on these fantastic riffs. So, And then of course you got those little fills in between the riffs. So, >> [music] >> And you none of that is really written out in this chart. It's just giving you the overall flavor of the harmony.

[00:33:12]Again, in the chorus there, it's just saying five five four four. It has actually written kind of four one five four five in brackets. Um all kind of gets a bit confusing and not particularly helpful when you're dealing with a tune such as this one. So, that's just kind of my opinion on this. It doesn't work quite so well when you've got tunes based on riffs such as this one. It works fantastically for more traditional songs which are based on typical chord progressions. Anyway, that's about it for this video. Hope you found it useful and hope you can find some ways of getting this Nashville number stuff into your own musical life. So, maybe you want to write out some charts. If you're playing with some other people, if you're jamming or playing in a band, maybe you just want to be able to write down some musical ideas of your own.

[00:33:57]It's a very very powerful way of doing that. So, good luck with it. If you want some extra practice with these charts, do just Google Nashville numbers charts and there's loads of stuff that comes up online and you can just download a whole load of these charts and practice reading through them and it's a great way for really getting familiar with the fretboard as well. And as I've said, working on your ear training, too. You can learn to hear these chord progressions and you actually you start hearing and thinking in terms of these numbers of the root notes and then hearing the chord qualities. So, good luck with that and I will see you next time.