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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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When we survey the wondrous cross

Praise of the Lord His Suffering

English101
1
When we survey the wondrous cross
On which the Lord of glory died,
Our richest gain we count but loss,
And pour contempt on all our pride.
2
Our God forbid that we should boast,
Save in the death of Christ, our Lord;
All the vain things that charm us most,
We’d sacrifice them to His blood.
3
There from His head, His hands, His feet,
Sorrow and love flowed mingled down;
Did e’er such love and sorrow meet,
Or thorns compose so rich a crown?
4
His dying crimson, from His head
Spreads o’er His body on the tree;
To all the world then am I dead,
And all the world is dead to me.
5
Were the whole realm of nature ours,
That were an offering far too small;
Love that transcends our highest pow’rs,
Demands our heart, our life, our all.

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Akabueze Daniel

Ibadan, Oyo, Nigeria

Jul 20, 2026

The depth of the hymn.

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Emmanuel Tolulope Odoh

FCT, Abuja, Nigeria

May 3, 2026

Words can't describe the depth of YOUR love for us. Thank YOU JESUS for everything especially our salvation and the hope of eternal life with you.

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Gabrielle Lam

Edmonton, Alberta, Canada

Apr 2, 2026

🙏🙏🙏🙏

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Jim Smith

Mansfield, Ohio, United States

Mar 15, 2026

Most Christians recognize this hymn as Isaac Watts best. The cross is at the center of the gospel. This him brings me into a deeper appreciation of my God. When I see what the Lord suffered, I desire to take my cross without complaint.

Here is a little excerpt from Isaac Watts biography.

Watts is credited by many with introducing hymns to the English churches when his Hymns and Spiritual Songs was first published in 1707. They are extensively used today due to his poetic gifts, but also because he interpreted the Old Testament using knowledge of the New. This set an example for later hymn writers. Isaac Watts explained his methods as follows: “Where the Psalmist describes religion by the fear of God, I have often joined faith and love to it. Where he speaks of pardon of sin through the mercies of God, I have added the merits of a Saviour. Where he talks of sacrificing goats and bullocks, I rather mention the sacrifice of Christ, the Lamb of God. When he attends the ark with shouting into Zion, I sing of the ascension of my Saviour into heaven, or His presence in His church on earth. Where he promises abundance of wealth, honor, and long life, I have changed some of these typical blessings for grace, glory, and life eternal, which are brought to light in the Gospel, and promised in the New Testament. ”[6]

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Un Hermano

Jul 2, 2025

SPIRITUAL MATTERS REQUIRING
US TO FIRST ENTER THROUGH THE GATE
AND THEN WALK ON THE WAY

In spiritual matters we do not walk on the way and then enter through the gate; instead, we enter through the gate and then walk on the way. Matthew 7:13-14 speaks of this principle: We enter the narrow gate, and then we walk on the constricted way. In our Christian living, the Holy Spirit eventually will bring us through the gate of the cross, and then He will lead us to take the way of the cross. This means that the Holy Spirit will lead us to a point where we see that we have been crucified with Christ on the cross. Thereafter, we will know the cross and the death of the cross, and the Holy Spirit will bring our whole being into the way of the cross. We will enter through the gate and walk on the way of death. It is at this point that we will truly begin to take the way of the cross and live a life of the cross. In other words, we will enter into death, and the effect of death will be in us every day. Christ’s death will target and deal with us, putting us to death and killing our thoughts, opinions, preferences, choices, and emotions; it will deal with all our likes and dislikes. This death, which is carried out in and by the Holy Spirit, is like a sharp razor, a sharp knife, which continuously does a killing work in us. This is the cross.

Knowing Life and the Church

Chapter 6 (LSM)

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Kemi Davina

Port Harcourt, Rivers State, Nigeria

Apr 27, 2025

Did e'er such love and sorrow meet? Even in HIS deepest agony and grief before and on the Cross, JESUS cared and still showed HIS love for us. HE prayed for us... HE had every one of us on HIS Mind. Even if I had and could give the whole world, it's not enough!

I surrender my soul, my life and my all to HIM now and forever more. Amen.

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Ana Lara

Storrs, Connecticut, United States

Mar 2, 2025

Edward Miller (1735-1807) was an English musician, composer, and historian of Doncaster. He is most noted as a writer of the hymn-tunes Rockingham and Galway.

Miller was the son of a pavior, (one who lays down pavers on the streets) but left home to study music from Charles Burney who was then at King’s Lynn in the county of Norfolk, England. For a time he played the flute in Handel’s Orchestra.

In 1752 he published ‘Six Solos for the German Flute’. In 1756, he was appointed organist of St. George’s Minster Doncaster, and continued in the post for the next 50 years. Miller also gave lessons on the pianoforte as a way to supplement his income. In 1768, he published ‘Six Sonatas for the Harpsichord’ and in 1771 the work by which he is best known; ‘The Institutes of Music, ’this work continued for 16 editions. In 1773 he published ‘Twelve Songs, Elegies for Voice and Pianoforte, ’ and in 1774, King George of England became his patron so that Miller could issue his works for subscription; the Psalms of David set to Music and arranged for every Sunday of the year. He had over 5, 000 subscribers!

Francis Linley, an English organist and composer, who was born blind, studied under Miller from the time he was very young.

In 1784 Miller published ‘Letters on Behalf of Professor of Music Residing in the Country’—a critique in the ‘Critical Review, ’ it is a plea that poor musicians in the country should benefit as well as those in London by the Handel Commemoration Festival.

The University of Cambridge awarded him a Doctorate of Music in 1786.

Edward continued to publish many works during this time from 1787 to 1792.

He arranged the tune Rockingham as a hymn- tune in 1790 to which Isaac Watts’ hymn “When I Survey the Wondrous Cross” is sung. He also wrote the tune Galway, to Charles Wesley‘s hymn “A Charge to Keep I Have. ’

Edward Miller passed away on September 12, 1807 at the age of 71 at Doncaster.

His works include:

•The Psalms of David Set to Music, 1774
•Elements of Thorough-bass and Composition, 1787
•The Psalms of David for the Use of Parish Churches, 1790
•Thoughts on the Present Performance of Psalmody, 1791
•The Psalms of Watts and Wesley, 1801
•Sacred Music, 1802
•History of Doncaster, 1804

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Anonymous

Jan 31, 2025

Love that transcends our highest pow’rs,

Demands our heart, our life, our all.

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Laurette Thomas

Kingston, Jamaica

Aug 5, 2024

This song always takes me back to a place of repentance and gratitude.

LOVE SO AMAZING SO DIVINE DEMANDS MY SOUL MY LIFE MY ALL,

THANK YOU LORD JESUS CHRIST 🙏

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Femi Akande

Lagos, Nigeria

Jan 6, 2024

Love so pure, love so divine, demands my all! Amen! Thank you Jesus!

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