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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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Gazing on the Lord in glory

Praise of the Lord His Glory

English136
1
Gazing on the Lord in glory,
While our hearts in worship bow,
There we read the wondrous story
Of the cross—its shame and woe.
2
Every mark of dark dishonor
Heaped upon the thorn-crowned brow
All the depths of Thy heart’s sorrow
Told in answ’ring glory now.
3
On that cross, alone, forsaken,
Where no pity’ng eye was found;
Now, to God’s right hand exalted,
With Thy praise the heavens resound.
4
Did Thy God e’en then forsake Thee,
Hide His face from Thy deep need?
In Thy face once marred and smitten,
All His glory now we read.
5
Gazing on it we adore Thee,
Blessed, precious, holy Lord;
Thou the Lamb, alone art worthy—
This be earth’s and heaven’s accord.
6
Rise our hearts, and bless the Father,
Ceaseless song e’en here begun,
Endless praise and adoration
To the Father and the Son.

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Un Hermano

Nov 8, 2025

Just as it is difficult to begin a meeting, it is also difficult to conclude a meeting. If we sing a hymn that is not fitting at the conclusion of a meeting, the meeting will be interrupted. For example, in a Lord’s [584] table meeting, eating the bread and drinking the cup should be followed by worshipping the Father. At that time the saints should have the sense that the Father and the Son are one. Hence, someone should choose a hymn to conclude the section for remembering the Son and begin the section for worshipping the Father. For this we may use stanzas 1 and 6 of Hymns, #136: “Gazing on the Lord in glory, / While our hearts in worship bow, / There we read the wondrous story / Of the cross—its shame and woe... / Rise our hearts, and bless the Father, / Ceaseless song e’en here begun, / Endless praise and adoration / To the Father and the Son. ” After the singing, a brother or a sister should offer a prayer according to the feeling of this hymn and bring the meeting into the section of worshipping the Father.

Concerning the Practice Needed in the Meetings

Chapter 3 CWWL, 1955, vol. 4

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Un Hermano

Nov 8, 2025

We need to be watchful in spirit in the table meeting. We must bless the bread and the cup when the meeting reaches a climax and cannot go any higher. After we bless the bread and the cup and pass them around, there is a need to maintain the spirit with a hymn. We may use Hymns, #136, “Gazing on the Lord in glory, / While our hearts in worship bow, ” or Hymns, #226, “For the bread and for the wine, / For the pledge that seals Him mine. ” In contrast, Hymns, #226 bears a flavor of ritualistic formalities. We must touch the feeling of the meeting. In order to not allow the spirit to be weakened when we pass the bread and cup, we need to select a hymn that can maintain the spirit. At this point the selection of a hymn greatly depends on the prayers offered during the blessing of the bread and the cup. After singing Hymns, #158, someone may bless the bread and the cup, praying, “O Lord, thank You for first remembering us. You shed Your blood and died for us in this wilderness. The bread and the cup show us the story of Your giving up Your life and shedding Your blood for us. The scene of Your crucifixion is before our eyes. You wore a crown of thorns, and Your head was full of bruises. Lord, we thank You. ” Someone else may continue and pray, “Lord, the picture of Your coming down to the earth from heaven to shed Your blood and die for us is vividly before us. ” In such a case it would be good if someone selected Hymns, #95, “O Head once full of bruises, / So full of pain and scorn. ” The hymn selected should be according to the prayer that blessed the bread and the cup.

Guidelines for the Lord's Table Meeting and the Pursuit in Life Chapter 4 CWWL, 1952, vol. 1 (LSM)

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Janet Crawshaw

Sydney, NSW, Australia

Dec 26, 2023

I sang this hymn in my childhood in a small family meeting and I have thought of it often throughout my life. As I prepare to lead a ladies' Bible study group on Revelation and meditate on the scene of chapter 5, the words of this hymn have gained fresh meaning. It's pure worship and praise which will resonate in our hearts until we stand with the great multitude of the redeemed before the throne of God.

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Joanna Smathers

Baton Rouge, Louisiana, United States

Jan 31, 2022

Three of us reading Watchman Nee collected Works vol. 23 are enjoying the Little Flock hymnal. This is a hymn I have never seen or heard. Hopefully we can learn and sing at the table meeting in remembrance of the Lord.

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Chuang

中壢區, 桃園市

Aug 20, 2020

A nice song will inspire our spirit to go with our Lord.

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Ana Lara

United States

Nov 26, 2019

Miss Cenita Thompson was born in 1822 and died in 1909. This hymn first appeared in the 1881 Little Flock Hymn Book. Miss Thompson contributed poems to the periodical “A Voice to the Faithful” and these were published after her death in 1909 as “ Songs of Praise” She resided in Clapham, England for many years along with Miss E. J. Elwood who was also a writer of hymns.

This hymn is on the Lord’s suffering and glory.

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Paul Kuriakose

Kayanad, India

Jul 21, 2017

Inspiring song.

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John Corson

Yass, NSW, Australia

Aug 15, 2014

From my earliest days I have sung this hymn in the morning meeting on sundays. It evokes lovely stirring memories of that wondrous time when we remembered our Lord. Now that I am in my late seventies this hymn and so many like it from the little flock hymn book stir my spirit and bring praise and adoration from my heart to my Saviour Jesus.

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Brent

Calgary, AB, Canada

Feb 3, 2013

This is a beautiful hymn reminding us of the place my Saviour occupies today: seated at the right hand of the Father in glory.

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Dan D Kilcup

Olympia, WA, United States

Aug 25, 2011

Raises the praise in our hearts to our Lord.

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