Music · Charts
Nashville number system converter.
Paste a chord chart and a key to see every chord as a scale-degree number, or paste numbers and pick a key to get the chords. Handy for changing keys on the fly.
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How does the Nashville number system work?
The Nashville number system writes each chord as the scale degree of its root, with the song's tonic as 1. All chords are major unless marked: a minor chord is written with m (or a minus sign), and extensions such as 7 are added to the number. A slash names the bass note by its own number, so 1/5 is the I chord with the fifth degree in the bass. Flatted degrees are written as flats, such as ♭7 or ♭3. Because the chart is relative to the key, the same numbers work in every key. Read a number followed by a 7 as the seventh chord on that degree, so 57 is the V7 chord.
Worked example. In G major, G, C, D and Em/B become 1, 4, 5 and 6m/3. In D major the same numbers 1, 4, 5, 6m are D, G, A and Bm. A chord outside the key, such as F in G major, becomes ♭7. This converter reads each chord's root by letter name and measures it against the major scale of the key, so spellings like B♭ versus A♯ stay distinct. The number is written before the quality (6m, 2m7), a common modern style; some charts write a minus sign instead.
Frequently asked questions
What is the Nashville number system?
A way of writing chord charts using scale-degree numbers instead of chord names, so a song can be played in any key. The tonic is 1.
How do I write a minor chord in Nashville numbers?
Add an m or a minus sign after the number. In the key of G, Em is 6m (or 6-).
How do I write a slash chord?
Write the chord number, a slash and the bass note number. C over E in the key of G is 4/6.
What does a flat number like b7 mean?
A chord rooted a half step below the scale degree. In G major, F is b7, because F natural is a half step below F sharp.
Why use numbers instead of chord names?
Because the same chart works in every key. A singer who needs a different key only changes the key letter, not the chart.
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