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About Numbered Notation

The numbers are the notes of a scale

Numbered notation (jianpu, 简谱) writes a melody as numbers instead of notes on a staff. You do not need to read music: take one small step at a time and press Play on any example to hear it while each number lights up. Sound only starts when you press Play.

Instead of notes on a staff, each note is a number from 1 to 7. They are the seven steps of the scale you already know: do re mi fa sol la ti. After 7 the scale starts again at 1.

The seven numbers with their names. Press Play and say each name as its number lights up.
Sing along: do re mi fa sol, and back down to do.

If you can sing do re mi, you can already sing every number from 1 to 7. Tap or click any number to hear just that note.

“1=C” tells you where to start

At the top left of the sheet you will see something like 1=C. It means the number 1 (do) is the note C, and every other number counts up from there. 1=G means do is G, so the whole tune sits a little higher. Nothing else changes: the same numbers make the same shape, only higher or lower.

1=C: do is C.
1=G: the same numbers, starting higher.

Not sure where C is? On a piano it is the white key just left of the two black keys. Or ignore the letter and start on any note that is comfortable for your voice: the tune only has to keep its shape. The − and + key buttons on a hymn page shift the key for you.

Dots make a note higher or lower

A dot above a number means one octave higher. A dot below means one octave lower. Two dots mean two octaves. No dot is the middle range, where most of a tune lives. The name stays the same; only the height changes.

The same number at three heights: dot below, no dot, dot above.
A tune that climbs: it starts on a low sol and ends on a high do.

How long each note lasts

Tap your foot at a steady pace: each tap is a beat. A plain number lasts one beat, so you sing a new number on every tap. Dashes, lines and dots change that.

A plain number is one beat

Four numbers, four beats: one number for each tap.

A dash holds the note longer

Each dash adds one beat. The 5 lasts two beats and the 3 lasts four.

A line underneath makes it shorter

One line is half a beat, so two underlined numbers share one beat. (Two lines are a quarter of a beat.)

A dot after makes it half as long again

A dot after a number adds half its length. The first 5 lasts a beat and a half, and the short 3 fills the rest of the second beat.

0 means rest

A 0 is silence for one beat. Keep counting and keep tapping, but do not sing. Dashes after a 0 make the silence longer, just as they hold a note longer.

Sing 1 3 5, stay quiet for one beat, then come back down. Rests light up too, so you can feel the pause.

Bar lines and the time signature

Tall lines cut the music into bars, each holding the same number of beats. The two small numbers at the start, like 4/4 or 3/4, say how many: 4/4 is four beats in every bar, 3/4 is three. The first beat of each bar is the strongest, so lean on it a little. A double line with a thick edge marks the end.

4/4: count 1 2 3 4, 1 2 3 4. The first beat of each bar sounds a little louder.
3/4: count 1 2 3, 1 2 3, the lilt of a waltz.

Curves: ties and slurs

A curve over numbers joins them. If it joins two of the same number, it is a tie: sing the note once and hold it for both. If it joins different numbers, it is a slur: sing them all on one syllable, gliding from one to the next.

A tie: the 5 is sung once and held across the bar line, six beats in all.
A slur: “Him” is sung on two notes, 3 then 2.

The words sit under the numbers

Each number gets one syllable, written right underneath it. A short dash after part of a word means the word carries on under the next number. If a number has nothing under it, it belongs to a curve or a dash: keep singing the syllable you are on.

Read left to right, one syllable for each number: Twin-kle, twin-kle, lit-tle star.

Repeat signs and 1. 2. endings

A bar line with two dots, :|, means go back and sing that part again, from the matching |: sign (or from the start if there is none). Sometimes the repeat has two endings. Sing ending 1. the first time; on the repeat, skip it and sing ending 2. instead.

Play it: you hear the 1. ending, the repeat, then the 2. ending. Watch the highlight jump back.

Minor keys: “6=A”

A song in a minor key, which usually sounds more serious or tender, is labeled like 6=A instead of 1=C. It means the number 6 (la) is the home note, here A. The numbers keep their usual names; the tune simply feels at home on 6 and often ends there. 6=A uses the same notes as 1=C.

It starts and ends on 6 (la), the home note. Listen to the darker colour.

Put it together: a line of a hymn

This is the first line of hymn 8, “Praise God, from whom all blessings flow”, written in numbered notation. Try the slow tempo first, and sing the words as each number lights up.

1=G in 4/4. Three silent beats, then “Praise” on beat 4. The dots under 7, 6 and 5 mean those notes dip one octave lower.

Check yourself

Four quick questions, with no score and no pressure. Tap an answer to see right away why it is right or wrong. You can always try another answer.

Tap the number that is held the longest.

Tap the 5 that is one octave higher than the first 5.

What does a 0 mean?

Under 1=G, which note is the number 1?

Try it on a hymn

You opened this from a hymn that has a Numbered view, so you can try it right now.

  1. Look at the top left of the sheet: the key, such as 1=D, and the time signature, such as 3/4.
  2. Find the first number and sing it. Then follow the numbers from left to right with the words underneath, one syllable for each number. Press Play in the player to hear the recording while you follow.
  3. Letters above the numbers (C, G7) are chords for a guitarist or pianist. Ignore them while you learn the tune.
  4. To be guided, open the Learn tab and press Play. Under Display, set Learn notation to Numbered (or choose Numbered on the Lead Sheet tab first). For hymns that have numbered lines, each line of numbers scrolls into view in time with the recording while a bouncing ball follows the words; other hymns show the piano notation there. The Speed menu slows it down.

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New Songs23
1
Lovers of Christ in His ascension—
Enjoy the riches of His life.
She becomes His private garden
With its fountain, fruit, and spice.
Christ is hers and she is Christ’s dear love.
2
She is as beautiful as Tirzah
As lovely as Jerusalem.
Through her living in Christ’s ascension
Her dear heart is now His home.
She’s become the sanctuary of God.
3
Who is this woman I am seeing?
Shining forth as the moon and sun.
She is absolutely heavenly,
From the old creation free;
Overcoming all to live within the veil.
4
An army terrible with banners
Christ’s lovers overcome to be.
Those attracted by His beauty,
Fully trusting in His power.
Her romance is now the dances of two camps.
5
The Shulammite, His duplication,
His counterpart has now become.
She’s the same in life and nature,
His expression to the full;
Consummated as the New Jerusalem.

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Tirzah-Merxedex

Tyre, Babylon, Lebanon

Jul 24, 2025

After all that (psalms 2, 8, 91, 119, 22, 23, 24) - You still love me as depicted in Song of Songs - enabling me to once again love you back as a faithful, virgin-widow/bride (psalm 51)

Mine Adonai, You spent 4000 CE to “find” me once again digging water from The wells of Salvation. Now, this time, according to measure graciously granted to me, I get the privilege to give You, El King of Kings, a drink from the cool springs of eternal life in order to refresh Your inward parts, your bowels… psalms 45 Revelation 12-end NT economy

Thank you for not giving up on me, interceding on behalf of mine soul-life and travailing with me….

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Grace W

Australia

Jun 29, 2025

Hallelujah! Praise the Lord!

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Mart Gacos

Valenzuela City, Metro Manila, Philippines

Dec 27, 2022

Praise the Lord! She’s becoming the sanctuary of God, as we continue to pursue Christ we become His sanctuary.

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Alejandra

Banfield, Buenos Aires, Argentina

May 24, 2021

we are your warrior against your enemy. We have defeat it. Your bride, a warrior.

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Rosita Enriquez

Anaheim, CA, United States

Apr 28, 2021

She, the composition of the lovers of Christ! That's where we want to be!

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Mariegel

Canada

Feb 3, 2021

Thank you Lord Jesus for touching me once again this morning with your tender loving care through this hymn. I just want to say I love you Lord, I really do. Continue to beautify us, your lovers ♥ until we be ready and prepared as a bride for Your coming...

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Livingstone

United States

Jun 27, 2020

Lord Jesus, make us Your lovers to match You and to bring You back.

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PWT

United States

Apr 12, 2019

God has no intention for His believers to possess only the heavenly beauty without possessing a warring nature. The heavenly warfare is never abated before the Lord. Believers ought to be lovable and terrible at the same time. Believers today have lost their loveliness before the Lord, and they have lost their terribleness before the enemy and the world.... The Bible often mentions the terribleness of the Lord; He is terrible because He is holy. If we maintain our holiness and victory, we will see the enemy retreating and the world standing back. Not only does [the bride] have a future that is full of hope, and a life that is absolutely heavenly, but she is a victor who constantly triumphs in her victory. She is “terrible as an army with banners. ” She goes from victory to victory. (CWWN, vol. 23, pp. 97, 101)

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Amy Ku

Arcadia, CA, United States

Dec 12, 2018

In response to our dear saint in TX, from Genesis 32:1, 2 The name “Mahanaim” means “two camps” as a result of Jacob’s obedience to God to leave Padan-aram, God had deliver him from the hand of Laban and would deliver him from the hands of others. God Open his eyes to see that his company of people on earth was one camp while God‘s army was another camp; hence there were the “two camps”. (Reference: The God of Abraham, Isaac and Jacob page: 128 Through Mahanaim, by brother Watchman Nee)

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Anonymous

TX, United States

Oct 9, 2018

Her romance is now the dances of two camps.

Please explain this more.

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