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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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我每靜念那十字架

讚美主 祂的受苦

Chinese85
1
我每靜念那十字架,
並主如何在上受熬,
我就不禁渾忘身家,
鄙視從前所有倨傲。
2
願主禁我別有所誇,
除了基督的十字架;
前所珍愛虛空榮華,
今為祂血情願丟下。
3
看從祂頭!祂腳!祂手!
憂情、慈愛和血而流!
那有愛憂如此相遘?
荊棘編成如此冕旒?
4
看祂全身滿被水血,
如同穿上朱紅衣飾!
因此,我與世界斷絕,
世界向我也像已死。
5
假若宇宙都歸我手,
盡以奉主仍覺可羞;
愛既如此奇妙、深厚,
當得我心、我命-所有。

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Paul Lin

Taipei, Taiwan

Jan 26, 2020

在法國有一位出身貴族的太太,年輕時喪偶。當遭到這樣的變故後,她抑制了傷慟,含辛聒苦的將三個孩子撫養長大成人,也把一切的希望都寄託在他們身上,她接受友人的建議把三個孩子帶往美洲。到達美洲後,有一天,三人迷路而進入荒山,被印地安人毒箭所射殺。消息傳到寡母這裡,她謝絕了人們的安慰,關上門,獨自靜坐房中,低聲唱道:「我每靜念那十字架,並主如何在上受熬,我就不禁渾忘身家…。」於是,她的心溶化了,基督的愛使她忘了如此難忍的悲傷。這一首感人肺腑的詩歌,就是以撒華滋(IsaacWatts)不朽的傑作「我每靜念那十字架」。

  以撒華滋於一六七四年生於英國蘇登普登郡(Southampton),自幼即充滿脫滿傳統束縛的自由思想,他是神賜給教會的「天才」。當他年歲稍長,看到當時更正教各種聚會的光景已日益消沉、低落,漸漸落在儀文和形式中。有一次,他返鄉參加聚會,曾率直的對父親批評當時教會所唱的詩篇,於返家後即根據啟示錄第五章的背景,寫成了甚獲會眾喜愛的「頌讚被殺羔羊」,這是他最初的作品。以後的四年中,共寫了一百一十首之多,「我每靜念那十字架」就是其中感人至深的一首。

  這一首詩歌據說緣於一個動人的故事。一位寡婦艱辛的撫養三子成人,並且把他們都獻給主用。長子奉差至非洲傳道,不多時即被土人所殺害。她聽到這消息,沒有發出任何怨尤,只是跪在神面前讚美,以為其子配為主殉道。旋即打發次子承繼兄志,不久亦遭殺害。最後打發三子前往,竟也罹同樣遭遇。親友紛往探慰,友人問她:「你將三個兒子全獻與主,為福音擺上,現今他們都已殉道,你懊悔不?」她答道:「我很懊悔,因我再無第四個兒子可以獻給主。」後來她禱告說:「假若宇宙都歸我手,盡以奉主仍覺可羞。」事為以撒聽到,內心深受激勵,因此配上了深印在他心中的經節--「我斷不以別的誇口,只誇我們主耶穌基督的十字架,因這十字架就我而論,世界已經釘在十字架上;就世界而論,我已經釘在十字架上。」(加拉太書六章十四節),於是就寫成了這一首詩歌。

  「看從祂頭,祂腳,祂手,憂情、慈愛和血而流…看祂全身滿被水血,如同穿上朱紅衣飾…」哦,主曾流血,捨命亡躬,在十字架上忍受這樣苦難,真是憐憫何滿!慈愛何泛!恩典何其無邊!因著這首詩歌,英國名將愛德華羅伯特在一次福音聚會中,那剛硬的心也被感動,情不自禁地跪下痛泣。後來他作見證說:「我無法描述我當時唱第三節的感覺,『看從祂頭,祂腳,祂手,憂情、慈愛和血而流!』我立刻跪下大哭。我從來沒有這樣哭過,實在是基督的愛使我如此。」他的妻子為著他的得救已禱告了八年,那晚是禱告蒙應許的日子,愛德華將軍因著這首詩歌就蒙了拯救,一生謙卑地投靠在基督十架下。

  當教會復興之流流過英國威爾斯每一個角落的時候,幾乎每處聚會都可聽到這首詩的歌聲;凡是唱它或是聽到的人,莫不潸然淚下,如同目睹頭戴荊冕,滿被水血的基督。主的愛藉著聖靈的能力溶化了人們的心,許許多多的人因著這首歌而淚流滿面,認罪悔改,接受替他們受死的基督為救主。

  以撒華滋所作的詩歌前後共達六百首之多,在教會中使用後,給聚會帶來了新的生命,產生了極深遠的影響,後人即尊他為「英國聖詩之父」。愛丁堡大學且於一七二八年他榮譽博士學位,但是在以撒的心意中,只望能藉著詩歌來榮耀神,並不重此「身家」,「倨傲」。他深被基督十字架的摯愛所吸引,一生以弱病之身事主,忠心至死,未曾稍懈。一七四八年十一月廿五日歿於倫敦,葬在本恩園,與本仁約翰之墓毗鄰。

  他曾作一首詩歌「哎喲!救主真曾流血?」(詩歌第93首)與「我每靜念那十字架」有同樣的思想和感覺,都是說到主的受死,再引導我們當因這愛而獻上一生。主曾為我們在十字架上受熬,忍受一切苦難,對著這比死堅強,比水忍耐的大愛,我們怎能不心鎔而讚美:「主!你當得我心,我命,所有。」

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