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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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我今俯伏主面前

赞美主 祂的爱

Chinese128
1
我今俯伏主面前,
我希奇主恩典!
像我这样的罪魁,
主竟拯救归回!
我本罪人贪世福,
那里想到要主;
为何无端来寻我,
用爱把我围着。
2
当时我心因罪恶,
纠缠得真难过,
但我并未求解脱,
你却前来寻我!
当时我虽听见你,
但我总是不理,
并且多次反对你,
实是你的仇敌。
3
我实不知为何故,
你竟为我罪辜,
钉死在十字架上,
使我得着平康!
我的罪恶比人多,
我为肉体活着,
我的性情比人坏,
你为甚么要爱?
4
你生马槽何寒微!
你的生活何卑!
你到加略受折磨!
你的全是为我!
你在何处看上我?
为何又爱上我?
所以才如此受苦,
为要使我得福?
5
我比别人有何长?
有何比人高尚?
因此使你离天上,
为我十架命丧?
主阿,当我想自己,
实在无一可以
邀你青眼,使你喜,
我就只得希奇!
6
无他,我今只能说:
你是无故爱我!
哦,你是无故爱我!
哦,这恩真难说!
哦,不是因自己好,
不是因自己高,
乃是你要爱罪魁,
无故的爱罪魁!
7
我既如此的蒙恩,
自然应当认真
爱你、念你、顺服你,
才可对得住你;
但是,可怜到如今
我心仍冷如冰!
虽然明知你恩、爱,
仍是对你懈怠!
8
你虽为我舍性命,
我对你仍无情;
你虽为我离天庭,
我对你只半心。
隐藏世界离不得,
你道路嫌太窄!
微小自己舍不得,
你生命苦太默!
9
当我想到这里时,
我心若有所失,
自恨性情太败坏,
自恨生活太歹。
但是,主,你岂不知
我心将要如此!
你既豫知我冷淡,
当初何必恩湛?
10
难道你为我舍命,
担当痛苦、罪、病,
受尽人世的艰辛,
就是为此冷心!
你既知道我如此,
何苦为我受死?
你既知道我无良,
何竟为我受伤?
11
你虽豫知我冷淡,
对你刻变时翻,
但你仍然要爱我,
为我死,为我活。
当我想到这样爱,
不知泪从何来,
满心感激我救主,
希奇你的无故!
12
主阿,对于你大爱,
我真明白不来,
一面我希奇不迨,
一面我要敬拜;
天上福乐虽无比,
我心并不在彼,
我爱作个唱诗人,
赞美我主我神。
13
在那光明荣耀中,
我要不住称颂,
我要感谢你恩、爱,
我要永远敬拜。
我望我能在天城,
作主恩、爱标本,
爱虽难答,恩难报,
惟愿赞美得好!

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Mercygrace

Malaysia

Jun 4, 2022

倪林和平师母,倪柝声弟兄肉身的母亲

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Anonymous

Oct 31, 2021

這首詩歌是誰在什麼時侯寫的?

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Tina

Newton, MA, United States

Oct 25, 2020

This is So worth translating, can someone please do it?

Read more
Paul Lin

Taipei, Taiwan

May 10, 2019

『誰能使我們與基督的愛隔絕?難道是患難麼?是困苦麼?是逼迫麼?是飢餓麼?是赤身麼?是危險麼?是刀劍麼?』羅八35
『如經上所記:“我們為你的緣故,終日被殺,人看我們如將宰的羊。”』羅八36
『然而藉著那愛我們的,在這一切的事上,我們已經得勝有餘了。』羅八37
『因為我深信,無論是死,是生,是天使,是掌權的,是現今的事,是要來的事,是有能的,』羅八38
『是高,是深,或是別的受造之物,都不能叫我們與神的愛隔絕,這愛是在我們的主基督耶穌裏的。』羅八39

『原來基督的愛困迫我們,因我們斷定:一人既替眾人死,眾人就都死了;』林後五14

『並且祂替眾人死,是叫那些活著的人,不再向自己活,乃向那替他們死而復活者活。』林後五15

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