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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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Jesus, my Lord, to Thee I cry

Gospel Crying to the Lord

English1056
1
Jesus, my Lord, to Thee I cry;
Unless Thou save me, I must die:
Oh, bring Thy free salvation nigh,
And take me as I am!
 
And take me as I am!
And take me as I am!
My only plea—Christ died for me!
Oh, take me as I am!
2
Helpless I am, and full of guilt;
But yet for me Thy blood was spilt,
And Thou canst make me what Thou wilt,
And take me as I am.
3
No preparation can I make,
My best resolves I only break,
Yet save me for Thine own Name’s sake,
And take me as I am.
4
Behold me, Savior, at Thy feet,
Deal with me as Thou seest meet;
Thy work begin, Thy work complete,
But take me as I am.

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James

Kaduna, North West, Nigeria

Dec 29, 2014

One of my best song catholic hymns.

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Simon

Kaduna, Kaduna South, Nigeria

Oct 27, 2014

O dear Lord Jesus, if you refuse to help me! I'm finished.

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Godswill

Lagos, Nigeria

Oct 15, 2014

This is more than a song but a prayer from the heart of a believer who longs for a deep revival and encounter with God. Oh that I will constantly receive Your help for my life daily.

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Damalis

Anchorage, Alaska, United States

Sep 10, 2014

My Father and my Creator, You knew me before I was born. You have a purpose in my life. Behold me, Savoir at Thy feet, deal with me as Thou seest me, Thy work begin, Thy work complete, Father take me as I am!

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Damalis

Anchorage, Alaska, United States

Sep 10, 2014

My Father and my Creature, you knew me before I was born. You have a purpose in my life. Behold me, Savoir at Thy feet, deal with me as Thou seest me, Thy work begin, Thy work complete, Father take me as I am!

Read more
Steve Miller

Detroit, MI, United States

Sep 10, 2014

Years ago, while re­viv­al meet­ings were be­ing held in one of the large towns in Scot­land, a young girl be­came anx­ious about her spir­it­u­al con­di­tion. Re­turn­ing from one of the meet­ings, she went to her own min­is­ter and asked him how she might be saved.

“Ah, lass­ie,” he said, “don’t be alarmed! Just read your Bi­ble and say your pray­ers, and you will be all right.”

But the poor, il­lit­er­ate girl cried out: “O Min­is­ter, I can­na read, I can­na pray! Lord Je­sus, take me as I am!”

In this way the girl became a fol­low­er of Christ; and a la­dy who heard of the girl’s ex­per­i­ence wrote this hymn…I found the vers­es in a re­li­gious news­pa­per and set them to the sim­ple mu­sic by which they are now most gen­er­al­ly known. At the same time Mr. Steb­bins al­so found the vers­es and set them to mu­sic, and he sent them to me at the same time that I was send­ing my tune for the same words to him. In “Gos­pel Hymns” both tunes are pub­lished.

A min­is­ter in Eng­land writes to me about a Christ­ian wo­man, a shoe­mak­er’s wife, who had a lodg­er that was an ob­stin­ate un­be­liev­er. “The good wo­man oft­en tried to in­duce him to go to meet­ings, but in vain. Tracts which she placed on the ta­ble in his room she found crushed on the floor. She would smooth them out and again place them so as to at­tract his at­ten­tion, but he would read no­thing but his no­vels and news­pa­pers. One spring the old man fell ill with bron­chi­tis. The good wo­man act­ed as his nurse, for he had no rel­a­tives who cared for him. She used the op­por­tun­i­ty, oft­en speak­ing to him about his soul and read­ing the Word of God; but she could make no im­press­ion up­on him. One day she was read­ing the hymn ‘Je­sus, my Lord, to Thee I cry,’ and when she came to the re­frain, the old man called out to her sharply: ‘That’s not in the book!’ The wo­man an­swered, ‘Why yes, it is.’ He de­clared again that he did not be­lieve it was in the book. The good wo­man told him that he could read it for him­self. He asked for his glass­es, and read with won­der and amaze­ment, again and again, ‘My on­ly plea—Christ died for me! oh, take me as I am.’ A few weeks af­ter­ward he said to the wo­man one morn­ing, ‘I am go­ing home to-day, and I am so hap­py, so hap­py!’ In an hour or two he passed away, re­peat­ing those words to the last.”

-Story of Gospel Hymns by Ira Sankey

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Ruth

Lusaka, Zambia

Feb 14, 2014

Most of the hymns are ever green song!!! They never fade and they are ever refreshing.

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J.O. Oluleye.R

London, United Kingdom

Jan 22, 2014

Behold me, Savior, at Thy feet,
Deal with me as Thou seest meet;
Thy work begin, Thy work complete,
But take me as I am.

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Tochukwu Obinna

Abuja, FCT, Nigeria

Sep 23, 2013

This piece is a powerful consecrational prayer.

Each line is the deepest cry of my heart.

It is awesome to know that as we go to God in simple faith that He is willing to recieve us just as we are and make the best out of our lives.

Oh Father, complete the work You began in our lives, Amen.

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Mark Whisenant

Orange, Ca., United States

Aug 7, 2013

Thank you for the great old songs! "I love them!"

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