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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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Our times are in Thy hand

Comfort in Trials By the Lord’s Hands

English681
1
Our times are in Thy hand;
O God, we wish them there;
Our lives, our souls, our all, we leave
Entirely to Thy care.
2
Our times are in Thy hand:
Whatever they may be;
Pleasing or painful, dark or bright,
As best may seem to Thee.
3
Our times are in Thy hand;
Why should we doubt or fear?
A father’s hand will never cause
His child a needless tear.
4
Our times are in Thy hand;
Jesus, the Crucified,
Whose hand our many sins have pierced,
Is now our guard and guide.
5
Our times are in Thy hand;
We’ll always trust to Thee,
Till we possess the promised crown,
And all Thy glory see.

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Maria L

Fremont, California, United States

Feb 21, 2026

Matt. 6:31 Therefore do not be anxious, saying, What shall we eat? or, What shall we drink? or, With what shall we be clothed?

6:32 For all these things the Gentiles are anxiously seeking. For your heavenly Father knows that you need all these things.

6:33 But seek first His kingdom and His righteousness, and all these things will be added to you.

How wonderful it is to live the Christian life today, a life of no anxiety but full of the enjoyment of Christ! Hallelujah 😀

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David Daisi Ajayi

Ado-Ekiti, Ekiti, Nigeria

Feb 20, 2026

My times are in Your hand oh God! All that I have, my visions, my desires, my passion, my future and my eternity. Let me live the rest of my life walking with You in holiness.

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Harvey E. Vansciver

Linwood, New Jersey, United States

Mar 12, 2018

In 1979, I wrote a poem based upon Psalm 31:15 for the 100th Anniversary of First United Methodist Church, Asbury Park, NJ, where I was pastor. The words were set to music by the late Ross Hastings, who at the time was Staff Arranger and Orchestrator for the Hollywood Bowl Pops. The hymn was copyrighted and published by Bourne Music Publishers, NYC, in 1980.

In addition to the hymn tune "Asbury," Mr. Hastings prepared a festival anthem arrangement which was first performed by the 500 voice Ocean Grove (NJ) Festival Choir on July 12, 1981.

The hymn text is as follows:

1. O God of days gone by, Who led our fathers here,
Who gave them hope and strength and love,
Through all the passing years,

Chorus: Our times are in thy hands; our lives belong to thee,

Thou God of now and yesterday And all that still shall be

2. O God, thou God of now, We hear thy voice and heed

Thy call to serve in such a time Of hopelessness and need

Chorus:

3. O God of days to come, We pledge to thee our best,

To live and serve in Jesus' name As long as life shall last

Chorus:

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Bmccoy

Houston, TX, United States

Jul 7, 2017

AMEN!!!! We Are Thine Oh, Lord!!!

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Steve Miller

Detroit, Michigan, United States

Feb 8, 2017

Dr. Milan is best known for giving the inspiration to Charlotte Elliott to write the hymn "Just as I am". He wrote the music for this hymn and "Take My Life and Let it Be":

One of the most brilliant pastors of the Evangelical Movement of his day and perhaps of all time was Dr. Cesar Malan. Dr. Malan was converted after he had been an ordained minister of the Reformed Church for almost 3 years. Ridiculed and expelled from his church, he was faithful to his Lord and Savior. He held meetings in Great Britain and many were brought to know Christ as their personal Savior through his ministry. It was a statement by Dr. Malan that resulted in the conversion of Miss Charlotte Elliott and later inspired her to write her hymn, "Just as I Am", that has touched the hearts of thousands.

Henri Abraham Cesar Malan was born at Geneva, Switzerland. His father, J. I. Malan, though of Huguenot background was one of the free thinkers of his day. He had money and influence and no time for the Bible. In spite of his father's opposition to the church, Cesar chose the Genevan Reformed Church as a career, and his father need have no qualms about that choice. He wrote, "During my 4 years of theology at Geneva College, I never heard a single word that would lead me to a belief in Christ's divinity." For the New Testament was not required reading.

It was some 3 years after his ordination that Dr. Malan was himself truly converted. He was invited to fill the pulpit of a young pastor in a village near Geneva. After the service the pastor, with tears in his eyes, spoke to Malan. "Monsieur, it appears that you do not know that to convert others you must be converted yourself." Dr. Malan did not know nor understand. This Doctor of Divinity, who spoke only Latin with his eldest son and always read the Scriptures in the original, did not comprehend conversion.

Then came the great transformation. He was reading the 2nd chapter of Ephesians. "When I reached the words: 'For by grace are you are saved through faith, and that not of yourselves, it is the gift of God', the very book seemed afire. I was so moved I had to leave the room. I walked about the College court (he was teaching at Geneva College at the time) saying to myself, 'I am saved, I am saved!'." He said his conversion was like the feeling of a child being awakened by its mother's kiss.

On Easter Sunday, 1817, Rev. Malan made his decision to tell the world of his conversion to Christ. He tells of this experience: "The Church of the Madeleine, Geneva, was too crowded. This enhanced the solemnity of the appeal which, for the first time, I addressed to the conscience of unbelievers and pharisees. They listened at first in profound silence, but the calm was of surprise and disgust. Murmurs arose. Pointing to a wall on the right of the pulpit, I said: "If at this moment the hand, that once in Babylon wrote silently the death-doom of a vicious king, should come out on this wall and write the story of your life and if the lines should declare what you have done and thought in the secret of your hearts, which of you would dare to lift his eyes?"

At this moment many gazed at the wall and others shrugged their shoulders. There was a movement of anger. When the service ended, not one would shake his hand and wish him well. His parents turned against him and his wife was grieved. The pastors of Geneva drew up a paper for all clergy to sign. They were asked to pledge not to preach on original sin or salvation by grace and faith. Dr. Malan was barred from the pulpits of Geneva. Later he was expelled from the Reformed Church of Switzerland. The dreadful indictment against him was that "He substituted the Bible for the manual of religion."

Malan left Geneva and settled in Ferney-Voltaire, home town of the unbeliever Voltaire. He wrote various tracts which were translated into many languages. Visitors from many lands came to hear him.

Through his writings, Dr. Malan became acquainted with the Rev. Mr. Elliott, Vicar of Clapham, London. On more than one occasion he was a guest in the Elliott home, the vicarage, at Clapham. On one occasion Dr. Malan ventured to speak to Mr. Elliott's young daughter, Charlotte, about her soul. At first Charlotte resented his questions, but later, under conviction, asked the elderly pastor how she could go to Jesus for mercy. It was the reply, "Come just as you are", that resulted in her conversion and inspired her some years later to write the hymn, "Just as I Am, Without One Plea".

Dr. Cesar Malan made a short visit to Hendon, London, and while here wrote a hymn-tune which he gave the title "Hendon". This hymn is found in many hymn books and is one of the most popular tunes to which Frances Ridley Havergal's hymn, "Take My Life and Let It Be Consecrated, Lord to Thee", is sung.

Shortly before Dr. Malan passed away, he asked his son to repeat the 23rd Psalm with him. His son began in Latin, but the elderly saint smilingly said, "In Hebrew, in Hebrew!" Shortly after he repeated this psalm he went to be with the Shepherd, in his 78th year. - 'More Living Hymn Stories' by Wilbur Konkel

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Dorothy Renaud

Trenton, Ontario, Canada

Mar 22, 2015

My 1st cousin, 3x removed, ELLIS HARRISON, of Clays Farm, Wrexham, Wales recited this hymn at St. Mary's Parish on the 16th June 1877.

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