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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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I am coming to the cross

Gospel Trusting the Lord

English1062
1
I am coming to the cross;
I am poor, and weak, and blind;
I am counting all but dross;
I shall full salvation find.
 
I am trusting, Lord, in Thee,
Blessed Lamb of Calvary;
Humbly at Thy cross I bow,
Save me, Jesus, save me now.
2
Long my heart has sighed for Thee;
Long has evil dwelt within;
Jesus sweetly speaks to me,
“I will cleanse you from all sin.”
3
Here I give my all to Thee—
Friends and time and earthly store,
Soul and body Thine to be—
Wholly Thine forevermore.
4
In the promises I trust;
Now I feel the blood applied;
I am prostrate in the dust;
I with Christ am crucified.

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Danson Agutu Muga

Nairobi, Komarock, Kenya

Aug 29, 2023

This is so good and refreshing. God's Blessings.

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Janise Palmer

Spanish Town, St. Catherine, Jamaica

Aug 17, 2022

Each time that I kneel at foot of the cross.. this is how I see myself

'..... coming to the cross;
.. poor, and weak, and blind;
... counting all but dross;
I shall full salvation find'

.... less than nothing.... in total humility/subjection to my faithful high priest.

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Abe Itunu

Lagos, Nigeria

Aug 16, 2022

When devil tried to tell me there is no way out for me... This song came up like a standard for my soul.

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Ana Lara

Storrs, Connecticut, United States

Jan 31, 2022

William Gustavus Fisher was born October 14, 1835, Baltimore Maryland. Died August 13, 1912, Philadelphia, Pennsylvania. He was buried in Mount Moriah cemetery, Pennsylvania, Pennsylvania.

William Gustavus Fisher was the son of a German immigrant, he showed musical ability at an early age. When William was eight years old, he began singing in a German church in Baltimore. He learned to read music in a church singing class, and afterwards studied piano and organ. He learned book binding at J. B. Lippincott’s in Pennsylvania, but spent his evening studying and practicing music.

Fisher was an experienced trainer and leader of large bodies of singers of all ages, and was much sought after to lead choir and choruses in sacred music in Pennsylvania. He also taught singing, piano and music theory. He was closely connected with Welsh music festivals and directed the combined Welsh Societies at the bicentennial of the landing of William Penn (founder of Pennsylvania).

From 1858-68, Fisher was a Professor of Music at Girard College in Pennsylvania. Before leaving Girard, he started in the piano business, where he built up one of the most prosperous piano houses in the country. He was partner with John E. Gould until Gould‘s death in 1875. From that time, Fisher was sole proprietor of the business for a number of years, when he took his eldest son, Charles into partnership. He retired in 1898, and was succeeded by his son.

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Farida

Kaduna, Nigeria

Dec 4, 2021

So soft yet so beautiful.... I love to sing this with grace it speaks of how I need the Lord

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Maurice Ward

Columbus, Ohio, United States

Nov 13, 2021

Jesus Comes! He fills my soul!
Perfected in Him I am;
Every whit made whole:
Glory, glory to the Lamb!

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이네

도보, 말루쿠, Indonesia

May 23, 2021

Thank you for everything Jesus❤

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Tony Munyui

Kiambu, Kenya

May 2, 2021

I first heard the words of this song at the Anglican Cathedral of St. James in Kiambu. They have really been a blessing to my heart.

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Veronica

Scarborough, Ontario, Canada

Nov 9, 2020

Please help me Lord.. I need you.. humbly at thy feet u bow.. Save me Yeshua.. Save me now..

Thank you Lord for saving grace.. and cleansing me from my sins.

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Carol Gann

Ringgold, GA, United States

Jun 26, 2020

I love these words. Help us, Lord to draw close to You

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