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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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All things are ready, come to the feast

Gospel General

English1330
1
“All things are ready,” come to the feast!
Come for the table now is spread;
Ye famishing, ye weary, come,
And thou shalt be richly fed.
 
Hear the invitation,
Come, whosoever will;
Praise God for full salvation
For whosoever will.
2
“All things are ready,” come to the feast!
Come, for the door is open wide;
A place of honor is reserved
For you at the Master’s side.
3
“All things are ready,” come to the feast!
Come, while He waits to welcome thee;
Delay not while this day is thine,
Tomorrow may never be.
4
“All things are ready,” come to the feast!
Leave every care and worldly strife;
Come, feast upon the Christ of God
And drink everlasting life.

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Lorna

Pickering, Ontario, Canada

Jan 19, 2019

I woke up singing this song before devotion. Some how the Holy Spirit has be singing again without even thinking about it! But suddenly it became clear to me, He is actually speaking to me in this song! Have Your own way in my life, oh Lord. May Your will for my life be accomplished. Open my ears so l can hear You. Open my eyes to see what You have prepared for me in Jesus name l pray. Amen.

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Providence

Columbus, Ohio, United States

Jan 12, 2019

I praise God greatly for making this song I heard in my childhood available for me to sing the full words today. All words of prophecy are fast being fulfilled. Soon the Sunday law will be passed. Soon the unchangeableness of God's holy law will become well known to the world. Soon those who have kept God's commandments through the ages will come to the feast. Praise God for His full salvation! Amen.

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Ashley

Austin, TX, United States

Dec 16, 2018

Thank You Lord that You have qualified us to come feast on You!

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June

London, United Kingdom

Oct 19, 2018

All our character defects, mistakes and sins are due to malnutrition! We're famished, starving even! Christ, as our Passover Feast of unleavened bread is what we all need. We need to feed even feast on Christ. Let's come even now. "The door is opened wide. "Today may be ours tomorrow may not be ..."

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Andrew

Harvest, Alabama, United States

Jul 29, 2018

All things are ready, come to the feast. Amen!
Ye famishing, and weary, come,
And thou shalt be richly fed. Amen

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Mae B Stephens

Trevose, PA, United States

Apr 20, 2018

A blast from my childhood. The alto part with all the intricacies leading the chorus are fondly embedded in my mind. Praise God for the beauty of this hymn!

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Tim Ou

Austin, Texas, United States

Feb 4, 2018

All things are ready—come to the feast!

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Frank Pytel

Chicago, Illinois, United States

Feb 15, 2016

A brother shared with me that his daily morning prayer is that the Lord would give him two people each day to whom he could speak the gospel. May I also be one that gives out the invitation "Come, whosoever will!"

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Johann Yang

Long Beach, CA, United States

Dec 8, 2014

Singing this at the Lord's Table is sweet indeed. "All things are ready": everything has been accomplished by the Lord, and what we need to do is simply come and eat! Actually, our feast is nothing else but Christ Himself becoming our satisfaction and enjoyment. We turn away from everything else unto the Lord and eat Him. Praise the Lord!

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Steve Miller

Detroit, MI, United States

Aug 11, 2014

Born at Wilton, Iowa, Gabriel developed a love for music and singing at an early age yet never had any formal training. He wrote the music for all of his own hymns. He edited 35 gospel songbooks, 8 Sunday School songbooks, 7 books for male choruses, 6 for ladies, 10 children's songbooks, 19 collections of anthems, 23 choir cantatas, 41 Christmas cantatas, 10 children's cantatas, and books on musical instruction. His songs were used by Billy Sunday evangelistic crusades. He also wrote the music for the hymn by Rufus McDaniel, "Since Jesus came into my heart." - Songs of the Spirit by Martin

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Last stanza, 3rd line originally says, "Come, feast upon the love of God."

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