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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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Though Christ a thousand times

Union with Christ One with Him

English477
1
Though Christ a thousand times
In Bethlehem be born,
If He’s not born in thee
Thy soul is still forlorn.
The Cross on Golgotha,
Will never save thy soul;
The Cross in thine own heart,
Alone can make thee whole.
 
O, Cross of Christ, I take thee
Into this heart of mine,
That I to my own self may die
And rise to thy life Divine.
2
What e’er thou lovest, man,
That too become thou must;
God, if thou lovest God,
Dust, if thou lovest dust.
Go out, God will come in;
Die thou and let Him live;
Be not and He will be;
Wait and He’ll all things give.
3
To bring thee to thy God,
Love takes the shortest route;
The way which knowledge leads,
Is but a roundabout.
Drive out from thee the world,
And then thy heart shall be
Filled with the love of God,
And holy like as He.

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William Jeng

Santa Ana, CA, United States

May 24, 2026

What a striking statement!
What you love is what you become.
God, if you love God,
Dust, if you love dust.

Knowledge takes a roundabout way, but love takes the shortest route. Lord, increase our love for You! Thank You for bringing us back in the way of love. Save us much more in our daily living. From loving all other things. Keep writing Yourself onto the tablets of our hearts.

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Un Hermano

May 16, 2026

Remaining in the Cross

----------------

Christ wants His seeker to remain in the cross, that is, to stay in “the clefts of the rock” and in “the covert of the precipice” (S. S. 2:14a). Christ wants us to remain in the cross continually. The brothers need to be crossed out in their relationship with their wives. Christ wants us to remain in a crucified condition all the time. We may say that some of the things that come to us in our environment to trouble us are Satan’s work, but they are also God’s assignment. God’s assignment is to put us to death. In the midst of our troubling environment we must learn to turn our mind to our spirit to receive the strengthening of the Spirit as the power of resurrection.

Christ wants to see His seeker’s countenance and hear her voice in the cross as the clefts of the rock and the covert of the precipice (v. 14b). To stay in the cross is a hard matter, like getting into the clefts of the rock and the covert of the precipice by a rugged road. It could be only by the power of Christ’s resurrection shown in the leaping of the gazelle upon the mountains and the skipping of the young hart upon the hills, not by her natural life. This is to “deny” herself as the Lord charges in Matthew 16:24 . This is also to be conformed to the death of Christ by the power of His resurrection. It is only in this way that she can be delivered from her self, which frustrates her from experiencing Christ in resurrection.

God’s salvation is to transform us, to make us a new man, a part of the new creation. We must be transformed through denying ourselves. To deny the self is to leave the self on the cross so that we can be renewed. Day after day by the crossing out we become newer and newer. Eventually, we mature to be a new man. This is the reason that God deals with us in the way of crucifixion. God’s way is not to correct or improve us. God wants to re-create us through transformation, and this transformation is by our being crucified.

Previously, we have seen that we need to perfect others with gold, silver, and precious stones. The lover needs gold added to her plaits of hair, silver studs to hold the plaits, and strings of jewels, precious stones. We need to experience the Triune God as gold, silver, and precious stones, and then we can perfect others with the Triune God by helping them to deny themselves so that they can be with the Lord in a new way to be renewed and transformed to become absolutely a new man in God’s new creation. It is only by being conformed to the death of Christ by the power of His resurrection that we can be delivered from our self to be transformed. Through the crossing-out way, we become completely a new man in God’s new creation for God to fulfill His economy so that we can be the organic Body of Christ. The organic Body of Christ comes out of this kind of crossing out.

Crystallization-study of Song of Songs
Chapter 5 Delivered from the Self by the Cross of Christ
CWWL, 1994–1997, (LSM)

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Ray Stump

Waco, TX, United States

Aug 31, 2025

I love this hymn in light of our participation in the preparation of the bride. Whatever we live, we will become.

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Ana Lara

Storrs, Connecticut, United States

May 9, 2025

A hymn, though simple in nature, may go through a process of being written, translated and polished before becoming a popular hymn by many-a-believer to sing around the globe.

The history of hymn 477 “Though Christ a Thousand Times” was written by man of German nobility, translated by someone unknown from Polish into English and more than 200 years would pass before the chorus and a tune were added by a father and daughter team.

The writer of this hymn was Johann Scheffler born December 1624 in Beslau, Silesia (now Wroclaw, Poland).

Johann was the son of Stanislaw Scheffler. His father, a member of the Polish nobility, was forced to leave his homeland because of his adherence to Lutheranism. Johann attended Elizabeth’s Gymnasium in Breslau, then enrolled as a medical student at the University of Strasburg in 1643. The following year he went to Leyden and in 1647 to Padua where he received his PhD and MD in 1648. He then returned to Salesia, where in 1649 he became private physician to Sylvius Nimrod of Wüttemberg-Oels. He resigned his post in 1652 and upon returning to Breslau, joined the Roman Catholic Church and took the name Angelus.

In 1654, he was appointed the Imperial Court Physician by Emperor Ferdinand but it was purely an honorary title and he remained in Breslau. In 1661, Scheffler joined the order of Saint Francis and was ordained priest at Neisse, Silesia (now Nysa, Poland).

In 1664 he was appointed an administrative official of his friend Sebastian Von Rostock

(Prince Bishop of Breslau) and when the Bishop died in 1671, he retired in Breslau (Monestary of St Mathias) until his death on July 9, 1677.

The original hymn is titled, ”The Soul Wherein God Dwells”.
The soul wherein God dwells—
What church could holier be?
Becomes a walking tent
Of heavenly majesty.
Through Christ a thousand times
In Bethlehem be born,
If He’s not born in thee,
thy soul is still forlorn.
O would thy heart but be
A manger for His birth,
God would once more become
A Child upon the earth.

Over two hundred years later A. B. Simpson, (1843-1919), a Canadian preacher, theologian, and the founder of Christian and Missionary Alliance, would add the chorus to the now translated version into English. His daughter Margaret Simpson composed the tune as she had for many of A. B. ’s hymns.

(Cyberhymnal. org)

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Sam Liu

New York City, NY, United States

Jun 19, 2024

This is my prayer this morning:

O, Cross of Christ, I take thee
Into this heart of mine,
That I to my own self may die
And rise to thy life Divine.

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Deidre Johnson

Vista, CA, United States

Mar 31, 2024

v. 1, “The cross in thine own heart alone can make thee whole”

v. 2, “Whatever thou lovest.. that too become…God, if thou lovest God”

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Brigitte

Stuttgart, Germany

Mar 3, 2024

The way which knowledge leads,
Is but a roundabout!
Let us be filled with the Love of God.
Lord Jesus we open to You.
Amen.

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Anonymous

Jul 23, 2023

Wow. This song is so good

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Kom

Kananga, Leyte, Philippines

Oct 6, 2022

This is the oldest hymn in our hymnal, composed by the early church fathers in the second century AD. This would be an evidence and assurance that the highest gospel is not our invention but a recovered truth from our earliest brothers. The second stanza proves it , that it is possible for man become a Godman in life and in nature but not in the Godhead! What an economy it is!

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Sharon Wimer

Rancho Cordova, California, United States

Sep 11, 2022

What e’er thou lovest, man,
That too become thou must;
God, if thou lovest God,
Dust, if thou lovest dust.
Go out, God will come in;
Die thou and let Him live;
Be not and He will be;
Wait and He’ll all things give.

Read more