Skip to content
hymnal.net
hymnal.net
My Songs

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.

Open this guide as its own page

Download limit reached

Behold how good a thing

The Church Oneness

English1244
1
Behold how good a thing
It is to dwell in peace;
How pleasing to our King,
This fruit of righteousness;
When brethren all in one agree,
They know the joy of unity!
They know the joy of unity!
2
When all are sweetly joined
(True followers of the Lamb),
They’re one in heart and mind,
They think and speak the same;
When all in love together dwell;
The comfort is unspeakable!
3
Where unity takes place,
The joys of heav’n we prove;
This is the gospel grace,
The unction from above;
The Spirit on all saints is shed,
Descending swift from Christ the Head.
4
Where unity is found,
The sweet anointing grace
Extends to all around,
And shines from every face;
To every praising saint it comes,
And fills him with divine perfumes.
5
On all His chosen ones
The precious oil comes down:
Anointing as it runs,
Anointing on and on.
E’en to His skirts (the meanest name
That longs to love the bleeding Lamb).
6
From Aaron’s beard it rolls,
(Those nearest to His face),
The humble, trembling souls
Who know abundant grace;
The grace, the grace for all is free,
For, lo, it reaches now to me!

Delete Comment

Delete this comment? This cannot be undone.

James Smith

Mansfield, Ohio, United States

Mar 2, 2024

This adapted hymn should have been credited to Charles Wesley because the main thought is clearly from his original hymn.

I like the 6th stanza. It is clearly talking about the Spirit’s anointing. This is the bases or ground our oneness. The Spirit comes to those who seek His face. Even when we are like a beard which is not alive. We must be the humbled trembling souls that know abundant grace. We should not be the proud ones who say we have it all. It is by grace that we can be one. And this ointment reaches down to all that will receive it. Psalms 105:4 we must look to the Lord and seek His face. This is grace which can make us one.

Read more
Steve Miller

Detroit, Michigan, United States

Nov 28, 2020

This hymn is written by Charles Wesley in 1743 and has more verses:

stanza 1: last line originally says "who knows the joys of unity!

------------

stanza 2 slightly different in original:
When all are sweetly join'd
(True followers of the Lamb,
The same in heart and mind, )
and think and speak the same,
and all in love together dwell;
the comfort is unspeakable.
---------------

stanza 3 line 5 originally said "believers" instead of "saints is". "saints is" fits the meter better.

-------------

stanza 4 lines 4-6 are different:
And overspreads the place;
to every waiting soul it comes,
and fills it with divine perfumes.
---------------
stanza 4a usually omitted:
Jesus, our great High Priest,
for us the Gift received,
for us, and all the rest,
who have in Him believed;
forth from our Head the blessing goes,
and all His seamless coat o'erflows.
------------------

stanza 5 lines 3-4 originally are:
It runs, and as it runs,
it ever will run on,
----------------

stanza 6 lines 4-5 are different:
who feebly sue for grace:
I know the grace for all is free,
for lo! it reaches now to me.
---------------

stanza 7 :
7 Grace every morning new,
And every night we feel
The soft, refreshing dew,
That falls on Hermon’s hill;
On Zion it doth sweetly fall:
The grace of one descends on all.
------------------
8 E’en now our Lord doth pour
The blessing from above,
A kindly, gracious shower
Of heart-reviving love,
The former and the latter rain,
The love of God, and love of man.
----------------
9 In Him when brethren join,
And follow after peace,
The fellowship divine
He promises to bless,
His chiefest graces to bestow,
Where two or three are met below.
-------------
10 The riches of His grace
In fellowship are giv’n
To Zion’s chosen race,
The citizens of Heav’n;
He fills them with His choicest store,
He gives them life for evermore.

Read more