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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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Come, ye sinners, poor and wretched

Gospel Persuasion

English1032
1
Come, ye sinners, poor and wretched,
Weak and wounded, sick and sore;
Jesus ready waits to save you,
Full of pity, love and pow’r:
He is able, He is able,
He is willing, doubt no more.
2
Come, ye needy, come and welcome;
God’s free bounty glorify;
True belief and true repentance,
Every grace that brings us nigh,
Without money, without money,
Come to Jesus Christ and buy.
3
Let not conscience make you linger,
Nor of fitness fondly dream;
All the fitness He requireth
Is to feel your need of Him:
This He gives you, this He gives you,
’Tis the Spirit’s rising beam.
4
Come, ye weary, heavy laden,
Lost and ruined by the fall;
If you tarry till you’re better,
You will never come at all:
Not the righteous, not the righteous,
Sinners Jesus came to call.
5
Agonizing in the garden,
Your Redeemer prostrate lies;
On the bloody tree behold Him!
Hear Him cry, before He dies,
“It is finished!” “It is finished!”
Sinner, will not this suffice?
6
Lo! th’ incarnate God, ascended,
Pleads the merit of His blood;
Venture on Him, venture wholly;
Let no other trust intrude:
None but Jesus, none but Jesus,
Can do helpless sinners good.

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Michele Moore

Avonhead, Canterbury, United Kingdom

Jul 21, 2025

So helpful to be urged to come in the midst of weakness, failure and suffering. He lay prostrate praying; surely I can crawl to kneel before Him and beg His help, knowing that He ever lives to intercede.

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Harry

Indianapolis, Indiana, United States

Jul 7, 2023

This is music with sound biblical doctrine. I miss singing these hymns.

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Debby Topliff

Fort Myers, FL, United States

Jun 10, 2023

In seminary in 1971, not long after my conversion to Christ at L'Abri, a Welsh professor teaching at Gordon Conwell opened class with this hymn and taught as a refrain in Welsh that I remember as meaning, "He is able, he is able, he is willing, doubt no more. He is willing, doubt no more." I'm looking to confirm the spelling of the Welsh words I remember. I am blessed to find all the verses noted here, and to learn the story of Joseph Harts' journey to faith. Those of us who came to Christ from the utter darkness are graced with a deep knowledge of his radiance.

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Brian

Mar 18, 2022

I enjoyed verse 3. Let not conscience make you linger, not of fitness fondly dream; all the fitness he requireth is to feel your need of Him: this He gives you, this He gives you, ‘it’s the Spirit’s rising beam.

All He requires of us is for us to feel our need of Him. We need You Lord Jesus!

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Samuel R. O

Teresópolis, R. J, Brazil

Aug 31, 2019

Man is worthy of our love. All sins can be forgiven; we can sympathize with all weaknesses and activities of the flesh. We are sinners, and we know what sinners are like. Yet, at the same time, we know that man is precious. Brothers and sisters, the Lord did not die for men because there was a great number of them. He said that the Good Shepherd forsook all to seek one lost sheep. He did not come to seek to save the lost sheep because there were ninety-nine of them. The Good Shepherd came for one lost sheep. In other words, even if only one person in the whole world were lost, the Lord would still have come to the earth. Of course, historically, all men needed to be saved. But as far as the love in His heart is concerned, He was ready to come for one man, for one lost sheep. The Holy Spirit did not begin searching because ten coins were lost; He searched because one coin was lost. The Father did not wait for His prodigal because all of His sons had become prodigal; He opened His arms to one prodigal who returned. In the parables in Luke 15, we see that in His work of redemption, the Lord was willing to spend Himself freely to meet the need of even one soul. He did not wait for the needs of many to arise before He would work. This shows us the intense love that the Lord has for man.

Watchman Nee (The Character of the Lord's Worker)

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Brad Pilkington

Granville, OH, United States

Jul 28, 2015

Steve Miller, I think you may have meant "audacious apostate" in the quote of Joseph Hart in your Aug. 20, 2013 comment here. Perhaps, however, and hopefully so, following his conversion he was an "audacious apostle." :-) [Audacious, adjective 1.showing a willingness to take surprisingly bold risks]

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Steve Miller

Detroit, MI, United States

Sep 16, 2014

There is an additional stanza at the end:

Saints and angels joined in concert,
Sing the praises of the Lamb;
While the blissful seats of Heaven
Sweetly echo with His name.
Hallelujah, hallelujah!
Sinners here may sing the same.

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Steve Miller

Detroit, MI, United States

Aug 20, 2013

London-born Joseph Hart struggled against God for years. When he attended church, he went to find fault. He responded to a sermon by John Wesley by writing a tract, "The Unreasonableness of Religion." He was (in his own words) a "loose backslider, an audacious apostle, and a bold-faced rebel." Then he came under conviction. At times he was afraid to sleep, fearing he would "awake in hell." He went from church to church, but as he said, "everything served only to condemn me."

Finally at the age of 45 he wandered into a Moravian chapel in London and heard words of hope. On returning home he knelt in prayer.

Three years later he became a minister and began writing hymns to touch the hearts of others who had experienced similar spiritual struggles. - Great Songs of Faith by Brown & Norton

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