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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 Tempo menu slows it down without changing the pitch.

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Alas! and did my Savior bleed

Praise of the Lord His Redemption

English104
1
Alas! and did my Savior bleed?
And did my Sov’reign die,
Would He devote that sacred head
For such a worm as I?
2
Was it for sins that I had done
He groaned upon the tree?
Amazing pity! grace unknown!
And love beyond degree!
3
Well might the sun in darkness hide,
And shut his glories in,
When the incarnate Maker died
For man, His creature’s sin.
4
Thus might I hide my blushing face
While His dear cross appears
Dissolve my heart in thankfulness,
And melt mine eyes to tears.
5
But drops of grief can ne’er repay
The debt of love I owe;
Here Lord, I give myself away:
’Tis all that I can do.

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Jim Smith

Mansfield, Ohio, United States

Mar 15, 2026

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

Oct 21, 2025

TAKING TIME TO

ABSORB THE LORD

If we take time to enjoy the Lord, we shall take adequate time to absorb Him. We have heard a number of messages concerning who the Lord is, what He is, and where He is. We have also learned how to exercise our spirit to contact Him. But now we must take sufficient time to absorb Him. We should not be lazy or indolent in this matter. From my experience I can testify strongly that when we take time to enjoy the Lord, all the elements of the rich soil are absorbed into us.

Every morning we need to take an adequate amount of time to absorb the Lord. Although even ten minutes is good, it is best to spend thirty minutes to enjoy Him at the start of each new day. If you spend thirty minutes to absorb the Lord and to enjoy Him in the morning, you will not be bothered by negative things during the day. The “flies” and “scorpions” will not pester you, for the elements in the soil will repel them. However, if you fail to absorb the Lord in the morning, you are apt to be troubled by “flies” and “scorpions. ” Many saints can testify that absorbing the Lord in the morning supplies them with the best insect repellent. However, we should spend time with the Lord not only in the morning but also throughout the day. If we have a good time with the Lord in the morning, afternoon, and evening, not only shall we be supplied with the most effective pest control, we shall also enjoy a feast. However, if we are not faithful to take time to absorb the Lord, our condition will gradually deteriorate. Our experience confirms this. Let us turn from our thought, emotion, and intention and open ourselves to the Lord, exercising our spirit to say, “O Lord Jesus, I love You, I worship You, and I adore You. Lord, I give myself to You. I give You my heart and everything concerning this day. ” As you contact the Lord in this way, do not be hurried. Take time, the more the better. As you spend time contacting the Lord, spontaneously you will absorb into you the riches of the soil. The fullness, the circumcision, the burial, the raising up, the imparting of life, the wiping out of the ordinances, and the stripping off of the authorities will be yours. All these facts in the book of Colossians will become your experience.

Life-study of Colossians

Message 53 (LSM)

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Un Hermano

Oct 21, 2025

THE WAY TO PRACTICE

We need to practice several matters. First, we must renew our consecration every morning. Just as the burnt offering in the Old Testament needed to be offered daily ( Lev. 6:12 ; Num. 28:3 ), we need to consecrate ourselves anew to the Lord every morning. We must learn to tell the Lord, “I give myself afresh to You. ” Second, when we pray, we should not pray for many things. We must learn to be silent and lay our concerns and feelings before the Lord, telling Him all our desires, intentions, worries, fears, and so forth ( Phil. 4:6 ). If there is a matter that we are afraid to lay before the Lord, this indicates that there is a problem inwardly. We must lay everything within us before the Lord, whether it is good or bad, and allow Him to shine.

The Inner Operation of God and the
Salvation of Man's Tripartite Being
Chapter 8 CWWL, 1956, vol. 3 (LSM)
______________________________
KEEPING OURSELVES EMPTY,
OPEN, FRESH, NEW, LIVING,
AND YOUNG WITH THE LORD

The first young man used by God in the Scriptures was Adam. God did not create an old man. The word old came from the fall. If man had never fallen, he could never be old. If man had never fallen, it would have been possible for him to live many years and not become old. God had no intention to have many old men. God’s intention is to have many young men with every one fresh, new, and living. None of us should be old. To be old means to be set, settled, and occupied. Sometimes some of the saints would refer to me as an old brother. It seems that this is a respect to me, but actually I do not like to hear this. I do not look upon myself as an old brother. I am not set, settled, and occupied. We always need to exercise to be young, to be new, to be renewed, to be fresh, and to be living all day long. It is only when you are young that there is a possibility for God to come in to call you, to choose you, and to use you to do something new. We need to give the Lord the way to go on in His progressive move through us. I hope that you will be a living, fresh, and new channel for the Lord to go on in His own way. This will require you to offer yourself to Him, to cooperate with Him.

When D. L. Moody was a young man, he heard someone say that something wonderful would be worked out on this earth if a man would offer himself fully to God, to be fully possessed and occupied by God. When he heard that word, he immediately responded to it. He gave himself fully to the Lord. That was the secret as to why God could use D. L. Moody so much and why the Lord could go on quite a distance of His way through D. L. Moody. I hope that we would take this fellowship and tell the Lord, “Lord, I thank You that I am still young. I do not want there to be anything set, settled, or occupied with me. I want to be fully open to You for Your new move on this earth. Lord, I give myself to You. Come in and occupy, take, and possess me for Your up-to-date move on this earth. ” If we would pray to the Lord in this way, we will be the persons who will turn, who will transfer, the age.

A Young Man in God's Plan

Chapter 1 CWWL, 1964, vol. 1 (LSM)

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Anonymous

Feb 4, 2023

Psalm 22:6

But I am a worm, and no man; a reproach of men, and the dd

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Frank Yu

Caloocan City, Philippines

Jan 29, 2022

One of my favorite hymns , here in the Philippines, classic hymns are seldom sung in churches, but my life has been intertwined with these hymns and I really love them. My other favorite is When I Survey the Wondrous Cross.

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Ana Lara

Storrs, Connecticut, United States

Dec 30, 2020

A story is told of a young Jewess who was saved in a remarkable way through this hymn. She had been out shopping and had returned home with the provisions for her household. When unwrapping some paper from a package the first verses of this hymn caught her eye, and she read on. This was strange news to her and try as she would, she was unable to shake off the impression created by such startling words; so she obtained a Bible and started seeking for the truth. It was then the young woman found her Messiah and Lord in Jesus and was saved.

It was one of Watt’s hymns that was used in the conversion of Fanny Crosby, the famous blind hymn writer, who was converted on November 1850. But long before that day, many a seeking soul has been drawn to the foot of the cross at the sweet sound of the same tender lines.

“Alas, and did my Savior bleed?
And did my Sovereign die?
Would He devote that sacred head
For such a worm as I? ”
(Stories and Sketches of our Hymns)

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Dennis Ngaruye

Kampala, Central Uganda, Uganda

Apr 4, 2020

Really beautiful song. It reveals the very heart of God towards humanity...

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Jeremy

Feb 11, 2020

Beautiful Melody, beautiful words.

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Steve Kimathi

Chuka, Eastern Province, Kenya

Jan 29, 2020

One of my best hymns that reminds me of my high school moments when I gave my life to Jesus and purposed to live his way

Surely God died for us!!

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Ayo

Ibadan, Nigeria

May 11, 2019

Would He devote that sacred head, for such a worm as I? Yes He did

Dissolve my heart in thankfulness, and melt mine eyes to tears.

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