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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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Crown Him with many crowns

Praise of the Lord His Glory

English142
1
Crown Him with many crowns,
The Lamb upon His throne;
Hark! how the heav’nly anthem drowns
All music but its own!
Awake, my soul, and sing
Of Him who died for thee,
And hail Him as thy matchless King
Through all eternity.
2
Crown Him the Virgin’s Son,
The God Incarnate born,
Whose arm those crimson trophies won
Which now His brow adorn:
Fruit of the mystic Tree,
As of that Tree the Stem;
The Root whence flows Thy mercy free,
The Babe of Bethlehem.
3
Crown Him the Lord of Love:
Behold His hands and side;
Rich wounds yet visible above
In beauty glorified:
No angel in the sky
Can fully bear that sight,
But downward bends his burning eye
At mysteries so bright.
4
Crown Him the Lord of peace,
Whose power a scepter sways
From pole to pole, that wars may cease,
And all be prayer and praise.
His reign shall know no end,
And round His pierced feet
Fair flowers of glory now extend
Their fragrance ever sweet.
5
Crown Him the Lord of years,
The Potentate of time.
Creator of the rolling spheres,
Ineffably sublime.
All hail, Redeemer, hail!
For Thou hast died for me;
Thy praise shall never, never fail
Throughout eternity.

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Marc Knoedler

North Port, FL, United States

Apr 4, 2026

My hymnbook includes another verse as the third of five, maybe by Godfrey Thring:

Crown Him the Lord of life
Who triumphed o'er the grave,
And rose victorious in the strife
For those He came to saved.
His glories now we sing
Who died and rose on high,
Who died eternal life to bring,
And lives that death may die.

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Jobie

Indiana, United States

Mar 30, 2026

Christ in His people is enough. He comes and lives in us when He saves us. Salvation is by grace alone through faith alone in Christ alone.

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Un Hermano

Jul 23, 2025

THE MANIFESTATION OF THE ELECTRUM

The issue of the blowing of the wind, the covering of the cloud, and the burning of the fire is the radiant manifestation of the electrum. As we experience the burning of the consuming fire, God Himself is manifested in us. The more we pass through God’s wind, cloud, and fire, the more the Lord is manifested in us in a dignified and glorious way. When He is manifested in such a way, we sense that He alone is precious, lovely, bright, majestic, and glorious. Like the disciples on the Mount of Transfiguration, we see “no one except Jesus Himself alone” (Matt. 17:8). The only one in view, the only one in the scene, is the lovely, precious, glorious Lord Jesus. Then we can do nothing other than bow before Him, worship Him, exalt Him, crown Him, and pour out everything to Him. In this way we gain the Lord, and He gains us.

May we all be deeply impressed with the picture in Ezekiel 1:4, and may our Christian life be a continual and inexhaustible experience of the wind, the cloud, the fire, and the electrum.

Life-study of Ezekiel

Message 4 (LSM)

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Veris Tewagi

Nairobi, Kenya

Jun 13, 2025

No angel in the sky
Can fully bear that sight,
But downward bends his burning eye
At mysteries so bright.
This heavenly scene is sublime, so glorious!

Read more
Barbara Bates

Arlington, Texas, United States

Mar 20, 2025

"Creator of the rolling spheres,

Ineffably sublime."

I'm reading Psalm 19. The boiling sun with its solar flares is like your majesty and glory. Nothing is hidden from you. You are Lord over all. The sun is the great marker of time and space: exultant, magnificent, yet obedient, assigned its place.

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Ana Lara

Storrs, Connecticut, United States

Oct 15, 2023

Though he was born in England, Matthew Bridges lived a number of years in Canada, and then returned to England before his death. Raised in the Anglican Church, Bridges was part of a group, popular of the time, that sought to go back to the early church to investigate their traditions, liturgy, and ways of worship. In doing so, many of the folks in this movement, switched allegiances to the Roman Catholic church. Bridges himself was first a minister in the Anglican church, and then later became a priest in the Catholic Church. He wrote a number of hymns, and this one, which in his lyrics referred to the Virgin Mary, became accepted by the Protestant churches, after it was rewritten without references to Mary. Bridges’ hymn identifies Jesus Christ as the King of Kings and Lord of Lords, and perhaps was in part motivated by the reference in revelation, 5:13 to the Lamb on the throne, as well as Revelation, 19:12, which speaks of many crowns.

L. Codington

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Jim Smith

Mansfield, Ohio, United States

May 14, 2023

Christ was made a little lower than the angels because of the suffering of death. God the Father crowned Him with glory and honor that He might taste death for every man. That is you and me! That surely was a bitter taste. Only Christ

Is worthy of such great glory and honor! Lord, we worship you! You died for us!

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Carol N

Massachusetts, United States

Apr 27, 2023

Yes, Rodney. There's a family that sings this hymn beautifully. Their YouTube channel is called "Sounds like Reign."

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Rodney Wayne Farmer

Ocala, FL, United States

Apr 26, 2023

What a great old song, have you heard it any where recently

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Victor Turner

Charlotte, NC, United States

Mar 22, 2023

I hope to remember this hymn forever. Praise the Lord. ❤️

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