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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, the sinner’s Friend

Praise of the Lord His Redemption

English111
1
Jesus, the sinner’s Friend,
We hide ourselves in Thee;
God looks upon Thy sprinkled blood,
It is our only plea.
2
He hears Thy precious Name,
We claim it as our own;
The Father must accept and bless
His well-beloved Son.
3
Thou hast fulfilled the law,
And we are justified:
Ours is the blessing, Thine the curse;
We live, for Thou hast died.
4
Jesus, the sinner’s Friend!
We cannot speak Thy praise;
No mortal voice can sing the song
That ransomed hearts would raise.
5
But when before the throne,
Thy face we all shall see,
Clothed in our blood-bought robes of white,
We’ll stand complete in Thee.
6
Jesus, we’ll give Thee then
Such praises as are meet,
And give ten thousand thanks to Thee,
Adoring, at Thy feet.

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Un Hermano

Oct 24, 2025

After creation, before the fall of man, God offered Himself to man as the tree of life (Gen. 2:9, 16). After the fall of man, God offered Himself as a lamb (3:21; 4:4) because there was the need of redemption. With the tree of life before the fall, there was no need of redemption because there was no sin. With the fall sin came in (Rom. 5:12); thus, redemption is required. After the fall the tree of life alone is not sufficient to meet man’s need. After the fall man needs redemption (Heb. 9:22), and with the lamb, there is redemption. Before the fall God ordained that man should eat only vegetables (Gen. 1:29), not animals. After the fall and its development, God changed His ordination, giving man not only vegetables but also animals to eat (9:3).

The tree of life is a matter of nourishment, and the lamb is a matter of redemption. Yet even with the lamb there is something for nourishment. The Lord’s word in John 6 is difficult for many readers to understand. Even many of the Lord’s disciples at that time stumbled at His word. They said, “This word is hard; who can hear it? ” (v. 60b). The Lord said that He was the bread of life (v. 35) and that His blood was true drink (v. 55). It is not possible for physical bread to have blood. Yet the Lord Jesus as the bread of life said, “My flesh is true food, and My blood is true drink” (v. 55). The Lord Jesus as the bread of life indicated that He was a continuation of the tree of life for man’s nourishment. The blood and the flesh are two items indicating that Christ is the Lamb of God (1:29).

After the fall of man, if Christ were not the Lamb, He could never be the bread. Without redemption, He could never be our nourishment. Redemption is not the goal, the aim, but the procedure to reach the goal. The Lord Jesus shed His blood for redemption so that we might eat His flesh for our nourishment. In a similar way, the passover lamb was slain, the blood of the lamb was sprinkled upon the doors, and in the house under the covering of the sprinkled blood, the children of Israel rested and enjoyed the meat of the lamb (Exo. 12:3-11).

The Tree of Life

Chapter 5 CWWL, 1965, vol. 2 (LSM)

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Dr. George McIntosh

Skipton, United Kingdom

Jul 31, 2021

Sang this now for over 70 years and still can say, He is this sinner's friend

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Stephen Gibney

Fords, New Jersey, United States

Feb 6, 2009

This hymn beautifully and profoundly demonstrates the doctrine of justification and "the Great Exchange" between Christ and His elect people. It shows how hymns and doctrine go hand in hand and if pure doctrine is preached our worship will express it.

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