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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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Jesus, the very thought of Thee

Praise of the Lord Satisfaction with Him

English209
1
Jesus, the very thought of Thee
With sweetness fills my breast;
But sweeter far Thy face to see,
And in Thy presence rest.
2
Nor voice can sing, nor heart can frame,
Nor can the memory find
A sweeter sound than Thy blest Name,
O Savior of mankind!
3
O Hope of every contrite heart,
O Joy of all the meek,
To those who fall, how kind Thou art!
How good to those who seek!
4
But what to those who find? Ah, this
Nor tongue nor pen can show;
The love of Jesus, what it is
None but His loved ones know.
5
O Jesus! light of all below!
Thou fount of life and fire!
Surpassing all the joys we know,
And all we can desire.
6
No other source have we but Thee,
Soul-thirst to satisfy.
Exhaustless spring! the waters free!
All other streams are dry.
7
Jesus, our only Joy be Thou,
As Thou our Prize wilt be;
Jesus, be Thou our Glory now,
And through eternity.

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Maria Long

Fremont, California, United States

Jan 14, 2026

May we be emptied continually in our spirit so that we may be filled with You, the One who is meek and lowly in heart. We love you Lord Jesus ❤️

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Un Hermano

Nov 30, 2025

Counting Also All Things to Be Loss on Account of the Excellency of the Knowledge of Him

In verse 8 Paul goes on to say, “I also count all things to be loss on account of the excellency of the knowledge of Christ Jesus my Lord. ” Paul not only counted as loss on account of Christ the things of his former religion listed in verses 5 and 6 , but he also counted all other things as loss on account of the excellency of the knowledge of Christ. For the excellency of the knowledge of Christ, which he treasured, Paul counted everything as refuse, dregs, rubbish, filth, that which is thrown to the dogs.

(1) Counting All Things to Be Loss

The “all things” in verse 8 must certainly include the three categories of religious things, philosophical things, and cultural things. If we would drop our religion, philosophy, and culture, we would truly abandon everything. By dropping these categories of things, we would automatically drop the worldly, material things, which are actually dominated by religion, philosophy, and culture. Although it is easy to overcome the influence of material things, it is very difficult to overcome religion, philosophy, and culture. Those who love the Lord may easily abandon material things for His sake, but it is not easy for them to lay aside their particular thought and logic. You may love the Lord and seek Him for years without dropping one bit of your personal philosophy or logic.

Paul counted the matters of religion, philosophy, and culture as loss because they were all substitutes for Christ, hooks used by Satan to keep people from Christ and from the experience of Christ. How subtle the enemy is in keeping us from the experience of Christ! To some extent at least, we still have within us certain things that are substitutes for Christ in subtle, secret ways. These substitutes mainly involve religion, philosophy, and culture. As a result, we still are not fully and thoroughly occupied by Christ. We have not yet counted all things loss on account of Christ. May the enemy’s subtlety be exposed, and may we truly count all things loss, including our own philosophy and logic, on account of Christ and the experience and enjoyment of Him!

The Conclusion of the New Testament:

Experiencing, Enjoying, and Expressing Christ,

Message Chapter 348 (LSM)

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Un Hermano

Nov 30, 2025

May 3, 1997

You are so charming and so attracting. Living on this earth without having You, Lord, is really nothing. I love You, Lord. I really love You. Amen, Lord. Amen, Lord. You are so real, and Your riches are unsearchable. Praise my Lord. Praise my Lord. I owe my Lord so much. You are attracting, so charming. Hallelujah, Hallelujah, Hallelujah. I love Him...

Final Prayers and Speakings by Brother Witness Lee

Chapter 1 CWWL, 1994–1997, vol. 5 (LSM)

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Lisa Ruzicka

Papillion, NE, United States

Nov 23, 2025

I like how these words are sung to Jesus himself, not just about him. I hope they minister to His sweet heart.

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Patricia Ruffin

Kettering, Ohio, United States

Apr 5, 2025

Thanks for sharing with me.

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Rebecca

Jan 7, 2025

Here from Seedbed Ministry/JD Walt’s Wake Up Call!

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Stephen Bellingham

Irvine, CA, United States

Feb 8, 2024

Lord Jesus, we love you!

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Ana Lara

Storrs, Connecticut, United States

Apr 3, 2022

Jon B. Dykes composed SAINT AGNES [for Jesus the very thought of Thee]. Dykes named the tune after young Roman Christian woman who was martyred in A. D. 304 during the reign of Diocletian.

Hymnary. org.

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Ruth Morgan

Wimborne, Dorset, United Kingdom

Dec 26, 2021

Wonderful, timeless truth.

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Leonard Towett

Nairobi, Rift Valley, Kenya

Jul 4, 2021

Wonderful song indeed, it inspired me a lot

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