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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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Laboring on the good land, laboring in the morning

Experience of Christ As the Good Land

English1167
1
Laboring on the good land, laboring in the morning,
Laboring through the noontime to the early eve,
Laboring for a harvest, reaping all the produce,
Coming to the meeting, bringing in the sheaves.
 
Bringing in the sheaves, bringing in the sheaves,
Here we are rejoicing, bringing in the sheaves!
Bringing in the sheaves, bringing in the sheaves,
Here we are rejoicing, bringing in the sheaves!
2
Reaping wheat and barley, death and resurrection,
Though the loss sustained our old man often grieves;
But in life abundant, life in resurrection,
Coming to the meeting, bringing in the sheaves.
3
Grain and wine and oil—bringing in the surplus
Of the wheat and barley, vine and olive trees:
Wine to cause rejoicing, oil to give anointing,
Bringing in the top tenth, bringing in the sheaves.

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Un Hermano

Jan 13, 2026

THE LAND,
THE SEED,
AND THE PRODUCE
--------------------------

What they produced from laboring on the good land was of two kingdoms: the vegetable kingdom and the animal kingdom. In the vegetable kingdom there were mainly three things: wheat to produce the flour, olive trees to produce the olive oil, and grapevines to produce the wine. The second kingdom was the animal kingdom that produces oxen and sheep (Deut. 14:22-23). All these things are very, very meaningful. The good land is Christ. God has given Him to us as the good land. The seed is also Christ. Both the land and the seed are Christ. Now God charges us to labor on Christ with Christ. Daily we have to labor on Christ with Christ. Then we will have the produce. Every day we will have the produce. We live by this produce, which is also Christ. The land is Christ, the seed is Christ, and the produce is Christ. The land is Christ not yet labored on; the seed is Christ not yet sown into the land; the produce is Christ labored on, sown, and reaped. Once there is the reaping, we need to eat for our living. We live by the very Christ whom we labor on and whom we have sown into the good land and who now becomes our produce.

Then we bring the top portion, the top tenth, of this Christ whom we have labored on, whom we have sown, whom we have reaped, and whom we have enjoyed to the meeting to present Him to God as food and to have a feast for all the saints to eat together with God.

Experiencing Christ
as the Offerings
for the Church Meetings
Chapter 5 CWWL, 1982, vol. 1
(LSM)

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Lucy Michener

Flushing, NY, United States

Apr 17, 2025

The Lord is using this hymn to remind us we need to labor on the word so we can go out to sow may also reap !

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Amos Kimani

Naivasha, Nakuru, Kenya

Apr 25, 2020

Amen. Bringing The Christ that we have laboured

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Kimon Vassilopoulos

Germany

May 25, 2017

Beaudiful

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