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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, lover of my soul

Gospel Crying to the Lord

English1057
1
Jesus, lover of my soul,
Let me to Thy bosom fly,
While the nearer waters roll,
While the tempest still is high:
Hide me, O my Savior, hide,
Till the storm of life is past;
Safe into the haven guide;
O receive my soul at last.
2
Other refuge have I none,
Hangs my helpless soul on Thee;
Leave, oh, leave me not alone,
Still support and comfort me.
All my trust on Thee is stayed,
All my help from Thee I bring;
Cover my defenseless head
With the shadow of Thy wing.
3
Thou, O Christ, art all I want;
More than all in Thee I find;
Raise the fallen, cheer the faint,
Heal the sick and lead the blind.
Just and holy is Thy name,
I am all unrighteousness;
Vile and full of sin I am,
Thou art full of truth and grace.
4
Plenteous grace with Thee is found,
Grace to cover all my sin;
Let the healing streams abound;
Make and keep me pure within.
Thou of life the fountain art,
Freely let me take of Thee;
Spring Thou up within my heart,
Rise to all eternity.

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Adeleye Joseph Oluwamayowa

Abuja, Nigeria

May 23, 2020

Of all the hymns Charles Wesley has written, this is usually considered to be his finest. He wrote anywhere from 6, 500 up to 8, 000 hymns. This hymn is still found in nearly every published hymnal and has been translated to almost every language. However, when Charles presented it to his brother John for approval, he did not like it because it was too sentimental. It was not until after Charles died that the hymn began to gain popularity and use. It was first published in 1740 in a collection of 139 hymns known as “ Hymns and Sacred Poems. ” The late Dr. Bodine said, “Is is the finest heart-hymn in the English language. ” Henry Ward Beecher, noted American preacher wrote:

I would rather have written that hymn of Wesley’s than to have the fame of all the kings that ever sat on the earth; it is more glorious, it has more power in it. I would rather be the author to that hymn than to hold the wealth of the richest man in New York. He will die after a little while, pass out of men’s thoughts, what will there be to speak of him? But people will go on singing that song until the last trump brings forth the angel band; and then I think it will mount upon some lips to the very presence of God.

There are many stories of the how Wesley was inspired to write this hymn but none has been completely proven. Some of these are as follows. On his return to England in the fall of 1763, after a disappointing time in the United States, Charles Wesley’s ship was caught in a storm and it seemed that all would be lost but on December 3 they reached land. Wesley wrote in his journal for that day, “I knelt down and blessed the Hand that had conducted me through inextricable mazes. ” Some writers say that during the storm a bird flew into Wesley’s cabin and hid in his bosom for comfort and safety. Another says Wesley wrote this text while lying under a hedge, having been beaten up by an angry mob opposing his ministry. Still others see the text as a picture of Wesley’s own life as a young man as he struggled to find his peace with God before his dramatic conversion on May 21, 1738.

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Sha Adamson

Edison, NJ, United States

May 8, 2020

Calling out to the only One who is in control

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Habila John

Kaduna, Nigeria

Apr 29, 2020

There is no better time when this song fits perfectly, than in this uncertain times that we are in.

Hide us till the storm is past. Amen

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Ana Lara

United States

Mar 2, 2020

Of all the hymns Charles Wesley has written, this is usually considered to be his finest. He wrote anywhere from 6, 500 up to 8, 000 hymns. This hymn is still found in nearly every published hymnal and has been translated to almost every language. However, when Charles presented it to his brother John for approval, he did not like it because it was too sentimental. It was not until after Charles died that the hymn began to gain popularity and use. It was first published in 1740 in a collection of 139 hymns known as “ Hymns and Sacred Poems. ” The late Dr. Bodine said, “Is is the finest heart-hymn in the English language. ” Henry Ward Beecher, noted American preacher wrote:

I would rather have written that hymn of Wesley’s than to have the fame of all the kings that ever sat on the earth; it is more glorious, it has more power in it. I would rather be the author to that hymn than to hold the wealth of the richest man in New York. He will die after a little while, pass out of men’s thoughts, what will there be to speak of him? But people will go on singing that song until the last trump brings forth the angel band; and then I think it will mount upon some lips to the very presence of God.

There are many stories of the how Wesley was inspired to write this hymn but none has been completely proven. Some of these are as follows. On his return to England in the fall of 1763, after a disappointing time in the United States, Charles Wesley’s ship was caught in a storm and it seemed that all would be lost but on December 3 they reached land. Wesley wrote in his journal for that day, “I knelt down and blessed the Hand that had conducted me through inextricable mazes. ” Some writers say that during the storm a bird flew into Wesley’s cabin and hid in his bosom for comfort and safety. Another says Wesley wrote this text while lying under a hedge, having been beaten up by an angry mob opposing his ministry. Still others see the text as a picture of Wesley’s own life as a young man as he struggled to find his peace with God before his dramatic conversion on May 21, 1738.

The style of this hymn is childlike in its simplicity. There are 156 simple one-syllable words that appear among the 188 words of the text. Christ is presented as: lover, healer, refuge, fountain, wing and pilot; the All-Inclusive One. All believers can say “Thou, O Christ is all I want, more than all in Thee I find... ”

Many different tunes have been used with this text. The best known of these tunes in America is “Martyn, ” composed by Simeon B. Marsh, who was born in Sherborne, New York, in 1798. He was an organist, choir director and itinerant singing school-teacher. He was a Presbyterian Christian layman. One day in the fall of 1834 he wrote out this tune and called it “Martyn. ” There is no reason why he titled it this way. It was originally meant for one of John Newton’s hymns, “Mary at Her Savior’s Tomb. ” Because of this, it is sometimes called the “Resurrection Tune. ” Thirty years later Thomas Hastings, a leading American musician of sacred music, discovered that the “Martyn” tune matched well with Wesley’s text and began using it which had a great response in his new publications.

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Rosie

Los Angeles, California, United States

Feb 10, 2020

As a child, my parents would drive us to church and each of my siblings and I would pick a song to sing. Jesus, Lover of my soul was my song. The song writer has penned a beautiful hymn—one that speaks to the heart of the believer. I’m thankful for the courage, humility, and obedience of Charles Wesley to write about Jesus. He is my first love.

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Uso

Uyo, Akwa Ibom State, Nigeria

Jan 18, 2020

All my trust on thee I stayed,
All my help from thee I bring
Cover my defenseless head
With the shadows of thy wing

The second part of this keep repeating in my memory each time I wake up tonight. He is my coverage.

It is a beautiful hymn after all.

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Randy Juste

Gainesville, Florida, United States

Jan 11, 2020

Jesus, lover of my soul!

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Margaret R Howell

Gainesville, FL, United States

Dec 7, 2019

Let the healing streams abound; Make and keep me pure within!

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Debra Motte

Salem, Oregon, United States

Dec 4, 2019

Let me to Thy bosom fly.... safe at last.

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Paul Carruth

Raleigh, NC, United States

Nov 30, 2019

During an episode of The Crown, which I was recently watching, this hymn was sung a cappella in the story. I had not heard it in a while. Not sure if it is in the United Methodist Hymnal or not but will look it up. When I practice my cello today I’ll either play it by ear or have the music.

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