# Putting it all together

*Module 15 · Lesson 4: Songs and charts · BazzLow*

> Analyse a song step by step and plan a bass line from the analysis.

Before this lesson: [15.3 The Nashville number system](https://bazzlow.com/en/songs-and-charts/nashville-number-system/) · [14.5 Changing key](https://bazzlow.com/en/beyond-the-key/changing-key/)

Everything in this course comes together when you pick up a chart you have never seen. This lesson gives you a method to read it before you play it.

## The seven steps

A method to analyse a song before playing it. Each step links back to the lesson where it was taught:

1. **Form**: sections, bar counts, repeats (lessons 15.1, 15.2).
2. **Key**: key signature, first and last chord, which chord feels like home (5.4, 6.2).
3. **Numerals**: write each chord as a Roman numeral or Nashville number (8.2, 15.3).
4. **Functions**: mark tonic, subdominant and dominant chords (8.4).
5. **Outside chords**: name secondary dominants, borrowed chords and key changes (14.3–14.5).
6. **Rhythm and feel**: meter, straight or swing, where the drums accent (Modules 2 and 11).
7. **Plan the bass line**: roots on the chord changes; then chord tones; approach notes into important changes; fills at section ends (Module 9).

Analysis is a tool, not a goal. Its purpose is to make your choices on the bass deliberate.

## An example, in layers

Here is an original 16-bar progression with one secondary dominant and one borrowed chord. Use the checkboxes to show or hide each layer of the analysis.

*An original 16-bar chart in C major, analysed in layers. Each row is a bar.*

| Bar | Chord | Form | Numerals | Functions | Outside chords | Roots | Chord tones | Approach notes |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | **C** | Verse | I | T |  | C | C E G E | G♯ |
| 2 | **Am** | Verse | vi | T |  | A | A C E C | E |
| 3 | **F** | Verse | IV | S |  | F | F A C A | F♯ |
| 4 | **G** | Verse | V | D |  | G | G B D B | B |
| 5 | **C** | Verse | I | T |  | C | C E G E | G♯ |
| 6 | **A7** | Verse | V7/ii | D | secondary dominant V7/ii: C♯ is outside the key | A | A C♯ E C♯ | C♯ |
| 7 | **Dm** | Verse | ii | S |  | D | D F A F | F♯ |
| 8 | **G** | Verse | V | D |  | G | G B D B | F♯ |
| 9 | **F** | Chorus | IV | S |  | F | F A C A | F♯ |
| 10 | **G** | Chorus | V | D |  | G | G B D B | B |
| 11 | **C** | Chorus | I | T |  | C | C E G E | G♯ |
| 12 | **Am** | Chorus | vi | T |  | A | A C E C | E |
| 13 | **F** | Chorus | IV | S |  | F | F A C A | — |
| 14 | **Fm** | Chorus | iv | S | borrowed iv from Cm: A♭ is outside the key | F | F A♭ C A♭ | E |
| 15 | **C** | Chorus | I | T |  | C | C E G E | F♯ |
| 16 | **G** | Chorus | V | D | half cadence: the song loops back to the verse | G | G B D B | B |

The approach notes are all a half step below the next root, a chromatic approach (lesson 9.4). In bar 6 the approach C♯ is also the 3rd of A7 (lesson 14.3).

## Try it

Apply the seven steps to a song you like. Write the chart, the numerals and a simple bass plan, then play it.

## New terms

- harmonic analysis

Page: https://bazzlow.com/en/songs-and-charts/analysing-a-song/