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(This general rule tends not to be as true in bluegrass as in other genres.). If someone throws in a turnaround you might find yourself playing an Am to a Dm to a G and back to C. For example, if you're playing a song in the key of C major, C is a major chord. You might have noticed that certain chords in a common progression usually tend to be major and certain chords tend to be minor. To understand the Nashville system, you need to understand which chords are always written as major and which chords are always written as minor. The proof is in the pudding! Here's a demonstration. And instead of remembering how many sharps or flats are in a key as you're hollering chords to your buddy during a show, you just shout out or flash the corresponding numbers and throw your cares away. Once you know it and become adept at hearing intervals you can chart songs while listening to them on an airplane with no instrument in sight. Familiarize yourself with this system and experiment with different chord shapes in each mode.The Nashville number system is a shorthand way to write charts for songs. This method makes it easier and requires less thought when you are playing on the spot. Notice also that major chords and modes are identified (often times) with capital letters and minors are identified with lower case letters. chord, I would want to play a minor with a b9 ( to accent its b2 sound). If I were wanting to spotlight the Phrygian on a iii. chord, I would make sure to play a min/maj6 or minor with a natural 13th. For example, if I were really wanting to get that dorian sound in a ii. I went with 7th and maj 7th chords (each chord identified by colors to separate each mode), but you could use basic major and minor chords (with the exception of the vii, or locrian mode, which has a flatted 5th)… or you could use more expressive chords to build on the individual sounds of the mode you are playing. The 3rd starts the phrygian mode, etc., etc. Notice how all seven modes are right there in the scale. In this visual example, I used the key of C major.
![minor chord in nashville number system chart minor chord in nashville number system chart](https://onevoiceinc.files.wordpress.com/2010/07/nashville-number-system.jpg)
![minor chord in nashville number system chart minor chord in nashville number system chart](https://i.pinimg.com/originals/be/1a/cc/be1acc0296cae0b710d042617599334a.gif)
So E minor for basic rock, maybe E min 7 (or E min 9) for blues or fusion, and perhaps an E min 11 (or something similar) for a jazz progression. The sixth tone of G is E, and the sixth mode is minor. Or you may go for a fuller sounding D9, D11, or even D13.
![minor chord in nashville number system chart minor chord in nashville number system chart](http://3.bp.blogspot.com/-ZzIaOUM5E5s/UCPyIk9YWFI/AAAAAAAAAi8/PuNiDY2iits/s1600/nashville+number+system+chord+chart.jpeg)
(I say jokingly, if you were playing metal, you’d probably be in a different key – probably one of three of the popular metal keys – and chugging basic power chords.) In jazz or blues, you would probably, at minimum, play a D7. In rock, you could probably play a D major. If you were playing a more expressive style, such as jazz or fusion, you would want to probably add at least a major 7 in there, and maybe a #11, at minimum (ie. If you are playing a simple rock rhythm, you can safely play a C major chord (remember the 1, 3, and 5 are the same in both of these scales). So if you are soloing, you can safely play a C lydian over this chord. The fourth tone in G major is C, and the associated mode is the lydian (or fourth mode of major). The first was Roman numeral I, and the first tone (and the first mode) in the key of G major is, of course, G major. In the case of chord progressions, you approach the chords based on the tones in the key of G. Same thing.) The numbers (often written in Roman numerals) refer to the chords based on a similar system you have already learned. It works like this, the key you already know.