McLeod had removed the stock speed knobs, opting for witch-hats (of course). He’s done several mods to make this instrument a third appendage. Starting off the Rundown, just like the 2016 episode, we have Ben’s beloved 2010 Gibson Les Paul Traditional. The resulting conversation covers their modified war horses, deciphers their esoteric stacks, and reveals the secrets of the “doom broom.” Plus, we get hip to new builder Elad Shapiro of Dale Amps. welcomed PG’s Chris Kies onstage to re-chronicle their setups. Just before their sold-out show at Nashville’s historic Ryman Auditorium (on Halloween, no less), Witches guitarist Ben McLeod and bassist/vocalist Charles Michael Parks Jr. (Drop the needle on closer “Rats in Ruin” and let it wash over you.) And 2020’s Nothing as the Ideal shows the temporary power trio (drummer Robby Staebler completes the line-up) striking a levitating balance within a menacing, mortar of metal that binds and anchors their emotive, effervescent excursions. For 2018’s ATW, the band’s IV-like retreat (substitute Headley Grange for a Tennessee cabin) extracted a doomier, more chaotic side A equally matched by a side B that’s a psychedelic painkiller. Sleeping Through the War, in 2017, explored more purposeful, mystical songcraft cloaked in hypnotic, rambunctious rock. Visit him at: /user/johnbohlinger or /johnbohlinger His songs and playing can be heard in major motion pictures, major label releases and literally hundreds of television drops. John Bohlinger is a Nashville guitar slinger who works primarily in television, and has recorded and toured with over 30 major label artists. Eventually, you'll be able to read them without thinking so you can get down to just playing. Next time you're recording or learning a song, write a number chart. Figure 2 shows a list of a few symbols that you will eventually see in Nashville Number System Charts. It's amazing how much information you can convey with just a few numbers and symbols. If your singer wants to modulate to A, the A is now your 1, D is your new 4, etc. Then follow those repeat signs and do it again. Play two beats on a D (5) with an F# (7) in the bass for the rest of measure six, then resolve back to our G, strumming three quarters for the 7th measure and hit a single whole note strum for the eighth measure. Play a D (5) Major 7th for measure 5, then a straight D for the first beat of measure six. Play a straight C (4) for the first two beats, then play the G (1) over B (3) as a passing chord to A (2) minor for the fourth measure. Measure two is a straight G for the first two beats, then a G with a B (3) in the bass on the last note of the measure, leading us into the C (4) chord for measure three. In Figure 1, the upper right-hand corner (the circled “G" that looks a lot like a “6") tells us that we're playing a waltz (that is, in ¾ time) in the key of G. FIGURE 1.Īn example of an eight-bar progression written with the Nashville Number Each number denotes the scale degree of your key signature. In short, a line is usually four to eight measures. Mine tend to be sloppy, but they all have the same basic format. For those who haven't yet learned the Nashville Number System, I present to you the keys to the kingdom.Įverybody writes charts a bit differently. Much like chord charts, they don't give you the melody, but you can write out simple signature parts in numbers. They can be written quickly and sight-read easily after a bit of practice. It's a brilliant system that allows players to change keys to accommodate any moody singer immediately. Literally, everybody working a decent gig in Nashville reads number charts-including every good engineer and drummer, even though they're not playing notes, per se. The poor bastard was an egghead who knew a lot about music but never took the time to learn the down-and-dirty stuff that working musicians use every day: the Nashville Number System. When I handed him a number chart, he looked like he was going to sob, pee his pants, and then hide. He was über-prepared but regrettably misguided, because once the singer decided he wanted to try the song up a half step, this guy was screwed. I did a session a little while ago with a guest keyboard player who had painstakingly transcribed every note he planned on playing.
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