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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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Nginga Murumba

Nairobi, Kenya

Jun 7, 2020

I had being experiencing hardships in trying to balance between my faith and worldly preasures but I found that mostly I was taken by the world. But not until I read this hymn that I decided to dedicate my life fully to serving Christ for it says,"I will cleanse you from all sins." Blessed!

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Anonymous

May 25, 2020

Thank you Lord for everything I love you

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Linda Mair

Ottawa, Ontario, Canada

Sep 29, 2019

Praise God this is what He wants of us ..... and causing us to want also

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Sharon

Nairobi, Kenya

Mar 20, 2019

What an awesome song.

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Shadreck Mumba

Lusaka, Zambia

Mar 9, 2019

Indeed am going to the cross... dear Lord please help my life to grow higher and higher in You God.

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Anonymous

Jan 28, 2017

Praise the Lord! Today I can say: I am on the cross! "I am crucified with Christ"! No more working, willing, or trying! For "it is Christ who lives in me"! Amen! Hallelujah!

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John Macdonald

Lower Hutt, New Zealand

Oct 4, 2016

Great gospel song. I just learnt it and now can't stop singing it. I like it how it puts together salvation and consecration, as they should not be separate events. When we see how sinful we are and experience the Lord's forgiveness, we should treasure His salvation and there should be such a response in us: "Here I give my all to Thee".

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Steve Miller

Detroit, MI, United States

Dec 13, 2014

"The hymn was writ­ten in 1870 in the ci­ty of Brook­lyn, New York, while I was pas­tor in that ci­ty. I had felt the need of a hymn to aid seek­ers of heart pur­i­ty while at the al­tar. I had de­sired some­thing, sim­ple in ex­press­ion, true to ex­per­i­ence, and end­ing in the full­ness of love. The tune com­posed by Mr. Fisch­er, with the first two lines of the chor­us, I had seen, and was much pleased with their sim­pli­ci­ty. And as I was sit­ting in my stu­dy one day, the line of thought came rush­ing in­to my mind, and I be­gan to write, and in a few minu­tes the hymn was on pa­per. It was first sung at a Na­tion­al Camp­meet­ing, be­ing held at Ham­il­ton, Mass., June 22, 1870. It has been trans­lat­ed into many lang­uag­es, and sung all round the globe." - William McDonald

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McDonald, Rev. William. (Belmont, Maine, March 1, 1820--September 11, 1901, Monrovia, California). Becoming a local preacher in the Methodist Episcopal Church at age 19, he was admitted to the Maine Conference in 1843, being transferred to that of Wisconsin in 1855 and of New England in 1859. For a number of years he was editor of the "Advocate of Christian Holiness". In addition to being a writer of biographies and religious books, he compiled, or assisted in compiling, a number of song books of the gospel song type, among them being the Western Minstrel (1840), Wesleyan Minstrel (1853), Beulah Songs (1870), Tribute of Praise (1874). From 1870 he spent many years in evangelistic work before his retirement to Monrovia. - DNAH Archives by Robert G. McCutchan

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In the 2nd stanza line 2, "evil dwelt" is usually changed to "evil reigned" because evil still is in us. McDonald's "The Tribute of Praise" 1874 says "dwelt", but "Precious Hymns" 1870 says "reigned". It seems that McDonald originally wrote "reigned" and later changed it to "dwelt".

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There is an additional last stanza which is sometimes omitted because it may reflect a Wesleyan perfectionism:

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

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Frank Pytel

Chicago, Illinois, United States

May 9, 2010

There is so much stuff that keeps a person away from coming to God. The pleasures of sin, a scientific argument, or a religious profession all seem to create such a resistance to hear and receive what the Savior has done. The God of this age has blinded the thoughts of those who have not yet believed. It was so hard for me to make my first decision to come to Christ, yet when I look back He would not let me go! His Word finally made it through that I could see Him as my Savior! May the Lord of the harvest send us forth in love to bring release to the captives around us.

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