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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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O Lord, You’ve called to us, and Canaan we would win

Experience of God His Appearing

English1190
1
O Lord, You’ve called to us, and Canaan we would win,
To be Your corporate man and dwell with You therein;
But how the darkness of this world does hold us in—
O Lord, appear to us, we pray.
 
O Lord, appear to us today;
We see this is the only way.
The idols to forsake
And Canaan land partake,
O Lord, appear to us today.
2
O God of glory, shine; draw and we’ll follow You.
Our strength and motive be, it’s nothing we could do.
Your light attracts us, Lord, ’til all else fades from view—
O Lord, do shine on us, we pray.
 
O Lord, do shine on us today;
Till all our background fades away,
Till You alone we see,
Shining so gloriously—
O Lord, do shine on us today.
3
In Your appearing, Lord, we have Your speaking clear;
Your word empowers us and drives away all fear.
So, Lord, keep calling us, Your voice we need to hear.
O Lord, do speak to us, we pray.
 
O Lord, do speak in us today;
You know the words You need to say.
To open all our heart,
Your very Self impart.
O Lord, do speak in us today.
4
O Lord, it’s not of us, we’ve seen it’s all of You;
You are the calling One, Originator too!
We can receive this call by our beholding You—
O God of glory, come, we pray.
 
O God of glory, come today;
We’ve seen this is the only way
To answer Your dear call
That You might be our all—
O God of glory, come today.

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Lamar Davici

Melbourne, Victoria, Australia

May 12, 2024

Praise the Lord!

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Lanre

Lagos, Nigeria

Nov 12, 2018

Amen to Sis. Chang's prayers.

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Amelia

San Antonio, Texas, United States

Aug 2, 2015

Lively and beautiful.

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Jubilee Jhrung (Chang)

Round Lake, IL, United States

Jul 19, 2014

Thank you for writing a song that is very experiential and applicable to our normal Christian living on this bewildered earthly journey. How precious that this God of glory is for us to experience individually and corporately. It is only His personal and vivid: appearing, drawing, strengthening, attracting, shining, speaking, empowering, calling, opening, imparting, keeping, and coming perpetually, relentlessly, regardless of our unending failures, shortcomings; our being in the valleys and dungeons, that we can aspire to be as the forefathers of faith "seeing" the Invisible One to ultimately enter, partake, experience and enjoy the good land, our all-inclusive Christ, the reality of this God-expressed One being—Hallelujah, not as theories, laws, traditions, forms, or religion, but our personal and corporate portion and reality!

O God of glory, today and day-by-day!

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Efren Mazo

Sydney, NSW, Australia

May 23, 2014

Hallelujah! I've been learning and enjoying this hymn, as a hymn of the week in Week 20 of Volume 4, HWMR on Crystallization-study of Genesis....Jehovah God, the originator, the God of the Most High, the Possessor of heaven and earth, had been a compassionate friend to Abraham, appearing to him in human level again and again, in fact for the twelfth time, so He can infuse His glory to His friend Abraham! Lord, we all as seeds of Abraham, may You also continue to appear to us, again and again, until we all gain the Canaan land—it's today's our all-inclusive land—Christ—the real Isaac!

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