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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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From Greenland’s icy mountains

Preaching of the Gospel The Nations’ Call

English915
1
From Greenland’s icy mountains,
From India’s coral strand,
Where Afric’s sunny fountains
Roll down their golden sand;
From many an ancient river,
From many a palmy plain,
They call us to deliver
Their land from error’s chain.
2
What though the spicy breezes
Blow soft on Ceylon’s isle;
Though every prospect pleases,
And only man is vile;
In vain with lavish kindness
The gifts of God are strown;
The heathen, in his blindness,
Bows down to wood and stone.
3
Can we, whose souls are lighted
With wisdom from on high;
Can we to men benighted
The lamp of life deny?
Salvation! O salvation!
The joyful sound proclaim,
Till each remotest nation
Has learned Messiah’s name.
4
Waft, waft, ye winds, His story;
And you, ye waters, roll,
Till, like a sea of glory,
It spreads from pole to pole;
Till o’er our ransomed nature,
The Lamb for sinners slain,
Redeemer, King, Creator,
In bliss returns to reign.

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Albert Peabody

Richmond, Virginia, United States

Feb 6, 2026

I learned this hymn: from Greenland Icy Mountains when I was a boy in grade school at Marshall City, Liberia. I have never been to Greenland but this song has rung a bell I my mind since my early days. Thank God for the author.

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Michael Strickland

West Monroe, LA, United States

Mar 29, 2025

While our president here in the USA is talking so much about Greenland, the church needs to remember this old hymn by Reginald Heber. We have a mission to fulfill that we need to focus on! There are still millions of souls in the dark who have never heard the wonderful message of salvation!

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Jack Petrash

Irving, TX, United States

Jul 9, 2024

O Lord! May our love for You burn so deeply that we would speak You into the hearts of the lost, sinful men surrounding us wherever we are!

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Ginsa Kinslow

Hagerstown, MD, United States

Jun 2, 2023

Jesus says pray to the Lord of the harvest for laborers, Frank Pytel and because I’m saved and sanctified the Bible way, I do pray, intercede, giving of thanks and supplications for all [men] to day: 2 June’23, Fri.

Happily and humbly, I submit, in Jesus’s name; bc, i’m not ashamed of the gospel, he’s my elder brother and his Father is my Father ~sisteregina k

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Ana Lara

Storrs, Connecticut, United States

Jul 12, 2022

The text and tune in this hymn is an example of spiritual affinity. “What God has joined together let no man put asunder. ” The story of the melody is a record of how it was composed and it is quite as interesting as that of the hymn’s words.

In 1823, a lady in Savannah Georgia, having received and admired a copy of Herbert’s lyrics from England, desired to sing it or hear it sung, but knew no music to fit the meter. She finally thought of a young clerk in a bank close by, Lowell Mason by name, who sometimes wrote music for recreation, and sent her son to ask him if he would make a tune that would sing the lines. The boy returned half an hour later with the composition that doubled Herbert’s fame as well as made his own. In the words of Dr. Charles Robinson “Like the hymn it voices, it was done at a stroke, and it will last through the ages. ”

(Brown and Butterworth; The Story of Hymns and Tunes.

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Philip H Eveson

Wrexham, Wales, United Kingdom

Jun 2, 2021

The hymn was written the day before Pentecost Sunday 1819 and sung for the first time that Sunday in St Giles Parish Church Wrexham where Heber's father-in-law, William Davies Shipley, was the vicar (as well as dean of St Asaph). There is a plaque on Vicarage Hill, Wrexham in the stonework commemorating the spot where the vicarage once stood and the hymn was composed. There is also a window in St Giles Church dedicated to Reginald Heber.

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Ana Lara

United States

Jan 20, 2020

Written in 1819 by Reginald Heber, this hymn is thought to be one of the finest missionary hymns ever written. Heber himself is considered to be one of the foremost English hymn writers of the nineteenth century. He wrote a total of fifty-seven hymns, with every one still in use.

During his ministry in the Anglican Church he developed an interest in missions. Heber’s writings and influence helped to promote the missionary cause among the Protestant churches. In 1822 he was given a position as a bishop of Calcutta, India. After three years of hard work he became ill and died at the early age of forty-three.

In the summer of 1819 while visiting his father-in-law, Dean Shirley, in the Wrexham Vicarage, Heber was asked if he knew of a hymn that could be used at a missionary service on the next Lord’s Day for Whit-Sunday (the English name for Pentecost). It is said that within a few minutes he returned from a quiet meditation and produced the first three verses of this text. His father-in-law and other family members were thrilled, but Herber felt the hymn was incomplete. He returned to his study and shortly produced the triumphant final verse.

Reginald Heber is also the author of the hymn Holy, Holy, Holy (No. 6)

The tune “Missionary Hymn, ” was specifically composed for this text by an American educator and church musician, Lowell Mason, in 1824. It is said that Mason, like Heber composed this tune with great inspiration and a short amount of time.

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Leigh Powell

United Kingdom

Apr 17, 2018

The gospel of which this hymn alludes to is that we are sinners who need to be saved. We are saved by repentance from our sins and faith in the. sin bearing Lord Jesus Christ who died for us on the cross, followed by His resurrection from the dead. Our telling others of our faith in the gospel is proof of our salvation - the gospel is NEVER private, kept under a bushel. (Romans 10 verse 9), John 3 verse 16, Mark 1 verse 5).

If the Lord Jesus, the Light of the world, did not hide, but gave His life a ransom for all, then neither must Christians be ashamed of the gospel, for it is the power of God unto salvation to every one that believe (Romans 1 verse 18).

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Steve Miller

Detroit, MI, United States

Jul 6, 2013

In 1819 a royal letter was sent to all parishes of the Church of England authorizing a collection to be taken to aid "The Society for the Propagation of the Gospel in Foreign Lands." Reginald Heber's father-in-law had asked him to preach at his Sunday evening service. When the royal letter came, Heber was also asked to write a hymn that would be appropriate for the special collection. Heber went into a corner of the room for 20 minutes and then returned to show 3 stanzas to his father-in-law. Heber then insisted on writing a 4th stanza to give a more triumphant ending to the hymn.

When he wrote the hymn, Heber didn't know that India did not have coral strands, nor did he realize he would soon be appointed bishop of Calcutta, India, where he would later die. - Great Songs of Faith by Brown & Norton

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Frank Pytel

Chicago, Illinois, United States

Jun 23, 2010

The writer of this hymn echoes the command of the resurrected Christ to "go to all the world, to all the nations." In a similar way, I have lately desired that the kingdom of the Father would come to all the earth from heaven. I used a book, sort of an atlas, that lists all the countries on earth. I pray five to ten minutes daily for each place around the globe that the kingdom would be there. Although I cannot go there physically, I can go to the Father and ask His kingdom would come to these places. One other thing that can be done, is to replace all the places from pole to pole in this hymn, with different street names in our neighborhoods. Pray street by street, then go and pass out tracts! Go with the One we know!

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