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About Numbered Notation

All steps
  1. The numbers are the notes of a scale
  2. “1=C” tells you where to start
  3. Dots make a note higher or lower
  4. How long each note lasts
  5. 0 means rest
  6. Bar lines and the time signature
  7. Curves: ties and slurs
  8. The words sit under the numbers
  9. Repeat signs and 1. 2. endings
  10. Minor keys: “6=A”
  11. Put it together: a line of a hymn
  12. Check yourself
  13. Try it on a hymn

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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Tell me the old, old story

Gospel General

English1075
1
Tell me the old, old story,
Of unseen things above,
Of Jesus and His glory,
Of Jesus and His love;
Tell me the story simply,
As to a little child,
For I am weak and weary,
And helpless and defiled.
 
Tell me the old, old story,
Tell me the old, old story,
Tell me the old, old story,
Of Jesus and His love.
2
Tell me the story slowly,
That I may take it in—
That wonderful redemption,
God’s remedy for sin;
Tell me the story often,
For I forget so soon,
The “early dew” of morning
Has passed away at noon.
3
Tell me the story softly,
With earnest tones and grave;
Remember I’m the sinner
Whom Jesus came to save;
Tell me the story always,
If you would really be,
In any time of trouble,
A comforter to me.
4
Tell me the same old story,
When you have cause to fear
That this world’s empty glory
Is costing me too dear;
And when the Lord’s bright glory
Is dawning on my soul,
Tell me the old, old story:
“Christ Jesus makes thee whole.”

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Alison

Vic, Australia

May 6, 2025

This world's empty glory is costing me TOO DEAR

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Ana Lara

Storrs, Connecticut, United States

Feb 24, 2025

Miss Kate Hankey born about 1846, the daughter of an English banker, is the author of this very devout and tender Christian poem, written apparently in the 1860s. At least it is said that her little volume, Heart to Heart, was published in 1865 or 1866, and this volume contains “Tell me the Old, Old story, ” and it’s answer.

Miss Hankey was recovering from a serious illness, and employed her days of convalescence in composing this song of devotion, beginning it in January and finishing it in the following November.

The poem is very long – – a thesaurus of evangelical thoughts, attitudes, and moods of faith – – and also a magazine of hymns.

Four quatrains of it, or two eight-line stanzas, are the usual length of a hymnal selection, and editors can pick and choose anywhere among its expressive verses.

Doctor W. H. Doane was present at the international conference of the YMCA at Montreal in 1867 and heard the poem read– – with tears and in a broken voice – – by the veteran Major General Russell. It impressed him so much that he borrowed and copied it, and subsequently sent it to music during a vacation in the White Mountains.

The poem of 50 stanzas was entitled “The Story Wanted; “ the sequel, or answered to it, by Miss Hankey, was named “The Story Told. “ This second hymn of the same meter but different accent, was supplied with a tune by William Gustavus Fischer.

(Brown and Butterworth 1906)

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Frank Siple

Flowery Branch, GA, United States

Jan 22, 2025

Love the old hymns! Love the new as well; as long as they lift up our Savior.

After all, it's about what He has done, not what I can do.

No other Faith, as far as I can tell, has a God who created me (Genesis 1:26), redeemed me (John 3:16-17) and advocates for me (Romans 8:26-27).

Thank you Father, for telling me the old, old story. Psalms 115:1

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Donna Tweney

St. Catharines, ON, Canada

Jan 1, 2025

I love singing these old hymns. The words send the message clearly to me and renews my strength and faith.

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Joyce Dankaro

Makurdi, Benue, Nigeria

Jan 1, 2025

This hymn was translated into my language, Tiv by the Dutch Reformed Christian Missionaries from South Africa as, Ôrom loho u dedoo, in 1911. It has since saved many souls and still does. Thank you Jesus. 🙏

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Masika Sherwin

Kampala, Uganda

Dec 13, 2024

The way this song is loved here, I can't explain it properly 🥰.

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Daisy

New York, United States

Jul 16, 2024

Love this song

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Rose Okpe

Lagos, Nigeria

Jun 24, 2024

This hymn always makes me emotional whenever I hear it.

Oh how loved 🥰 it makes me know and feel.

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Bukeka

Kokstad, KwaZulu-Natal, South Africa

Nov 7, 2023

Whenever the Holy Spirit stirs up this song in me, my eyes well with tears in nostalgia. But the part that makes me cry the most, is being reminded of His deep love that assures me that He's with me through the ups and downs of this life. Thank you Lord Jesus.

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Ana Lara

Storrs, Connecticut, United States

Aug 9, 2023

The composer of the music for this hymn is William Howard Doane. He was born on February 3, 1832 in Preston, Connecticut to Joseph Howard Doane and Frances Treat Doane. William was the fifth of eight children. At a young age, he showed impressive musical talent and by early adolescence he was playing the flute, violin, and double bass fiddle.

William attended the Woodstock Academy, a private secondary school in Woodstock, Connecticut affiliated with the Congregational church. He later served as choir director there. After graduation, he worked as an accountant for his father‘s company and then for the J. A. Fay & Company, a woodworking machinery company to which he ascended to its presidency.

On November 2, 1857, William married Mary F. Treat, the daughter of his father’s partner in their cotton manufacturing business. He became president of his father’s new company in Cincinnati, Ohio. During his time there, he developed more than 70 patents and numerous inventions, making those years the golden-era of the company. After that, Doan’s achievements diversified to become director of the Barney & Smith Car Company, which earned him “fellow” of the American Society of Mechanical Engineers, the American Geographical Society and the American Society for the Advancement of Science.

By 1879, his wealth accumulated enough for him to purchase the impressive “Sunny-Side” mansion, located in the Mount Auburn Historical District. William was raised a Presbyterian but chose to follow his mother’s preferred denomination—the Baptist church, which began a lifelong commitment by devoting his talents to being choir director, musical composer, and denominational leader.

Doane composed numerous hymn-tunes, edited 43 collections of hymns, and composed an estimated 2,300 works, including hundreds of original hymns and hymns settings. He is best remembered for being a long-time collaborator of Fanny Crosby, having written the music for 1,500 of Crosby’s poems. He also composed secular, instrumental, vocal, and choral works as well as several cantatas.

Doane served as superintendent of the Sunday School program and was choir director at the Mount Auburn Baptist Church in Cincinnati. He also headed-up the Ohio Baptist Convention Ministries near his Sunny-Side home.

Some of his philanthropic works include: Denison University, Moody Bible Institute, and the YMCA. His daughter Marguerite

co-founded the Association of Baptists for World Evangelism in 1929.

William Doane died in South Orange, New Jersey, on December 24, 1915. He is buried in Spring Grove Cemetery, in Cincinnati.

(Biography of Gospel Songs & Hymn Writers by J. H. Hall 1914)

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