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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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She only touched the hem of His garment (gospel)

Gospel Testimony

English1072
1
She only touched the hem of His garment
As to His side she stole,
Amid the crowd that gathered around Him;
And straightway she was whole.
 
Oh, touch the hem of His garment!
And thou, too, shalt be free!
His saving power this very hour
Shall give new life to thee!
2
He’s pow’rful, present, real and gracious;
Thou too canst touch Him now!
Just come and touch while He is still passing,
His power thou shalt know.
3
Just touch in faith and touch Him in spirit,
And He will make thee whole;
And peace that passeth all understanding
With joy will fill thy soul.

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Diane Jones

Wrexham, United Kingdom

Sep 12, 2025

Just been reading the story in Mark 5 v25-34. I tried to put myself in the lady’s shoes. What she must have felt…. being healed instantly…and then to be told “Go in peace. ”

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Ana Lara

Storrs, Connecticut, United States

Jul 11, 2023

The Reverend W. O. Cushing wrote a hymn with the beautiful thought in Malachi 3:17a (“And they will be Mine, says Jehovah of hosts, a personal treasure, in the day that I prepare; ”) singing in his soul, composed this hymn which has gone around the world.

When He cometh, when He cometh
To make up His jewels,
All the jewels, precious jewels,
His loved and His own.
Like the stars of the morning,
His bright brow adorning
They shall shine in their beauty
Bright gems for His crown. (stanza1)

The composer of the hymn for the music “Jewel Hymn” was George F. Root, then living in Reading Massachusetts.

A minister returning from Europe on an English steamer visited the steerage, (the part of the ship providing the cheapest accommodations for emigrants) and after some friendly talk proposed a singing service—if something could be started that “everybody” knew—for there were hundreds of emigrants from nearly every part of Europe. “It will have to be an American tune, ” “said the steerage-master; “try ‘His jewels. ’”

The minister immediately began to play the melody and the words, —

When He cometh, when He cometh,

—and many of the poor passengers joined in the singing with him. Many probably recognized the music, and some had heard the sweet hymn played back home. Other voices followed, male and female, catching the tune, and sometimes the words—they were so easily and so many times repeated—and the volume of the song increased until the singing minister stood in the midst of an international concert, the most novel that he ever led.

He tried other songs in similar visits during the rest of the voyage with some success, but the “Jewel Hymn” was the favorite; and by the time they reached the port, the whole crowd of immigrants had learned it by heart.

The steamer landed in Quebec, and when the trains, filled with the new arrivals, rolled away, the song was heard from nearly baggage-car.

The composer of the tune with all the patriotic and sacred masterpieces standing to his credit —never received a richer triumph than he shared with his writing-partner that day, when “Precious Jewels” came back to them from over the sea. More than this, there was great joy for them both that their hymn had done something sacred for these European immigrants with an American Christian psalm.

George Frederick Root, Doctor of Music, was born in Sheffield, Massachusetts, 1820, eldest of a family of eight children, and spent his youth on a farm. His genius for music drew him to Boston where he became a pupil of Lowell Mason, and soon his career advanced until he began to teach music and lead the choir in Park Street Church. Afterwards he went to New York as director of music in Dr. Deem’s Church of the Strangers. In 1852, after a year’s absence and study in Europe, he returned to New York, and founded the Normal Musical Institute. In 1860, he moved to Chicago where he spent the remainder of his life writing and publishing music. He died August 6, 1895, in Maine.

(Brown and Butterworth)

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Anonymous

Jul 5, 2021

Amen

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Emily

Nairobi, Kenya

Jan 31, 2021

Reaching out in faith.. O, let me touch, for I know I, too, shall be healed..

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Edward Lloyd Chamberlain

Runcorn, Cheshire, United Kingdom

May 8, 2016

The Lord will always show His healing mercy to those who have true faith xx Love the Lord with your whole heart and be saved xx

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Job Omwenga

Nairobi, Kenya

Apr 24, 2016

Singing this song in college made my heart learn how to trust even humanly impossible situation.

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Kenneth Stephens

Freetown, Western, Sierre Leone

May 9, 2015

The touch of His garment brought Healing, Restoration and General Breakthrough to every believer. The Lord Jesus Christ is my Insurance.

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Barbara Mugisha

Kampala, Central, Uganda

Jan 7, 2015

Amen

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Siby

Nairobi, Kenya

Oct 19, 2013

Beautiful hymn. I have searched for this hymn for about 15 years not knowing that it was just under my nose, within my reach.

May as many as are willing be blessed with the beauty of the Gospel in this score.

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Oladipo Olayemi

Owerri, Imo State, Nigeria

Jun 5, 2012

The touch of His garment in faith brings healing, may the Lord give us the great faith as of old to touch Jesus in our prayer in spirit.

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