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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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Praise, praise ye the name of our Savior and God

Praise of the Lord His Kingdom

English150
1
Praise, praise ye the name of our Savior and God;
Declare, oh, declare ye His glories abroad;
Proclaim ye His mercy, from nation to nation,
Till the uttermost islands have heard His salvation.
 
For His love floweth on, free and full as a river;
And His mercy endureth forever and ever.
2
Praise, praise ye the Lamb, who for sinners was slain;
Who went down to the grave, and ascended again;
And who soon shall return, when these dark days are o’er,
To set up His kingdom, in glory and power.
3
Then the heav’ns and the earth, and the sea shall rejoice;
The field and the forest shall lift their glad voice;
The sands of the desert shall flourish in green,
And Lebanon’s glory be shed o’er the scene.
4
Her bridal attire, and her festal array,
All nature shall see on that glorious day;
For her King cometh down with His people to reign,
And His presence shall bless her with glory in men.

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Un Hermano

Nov 12, 2025

THERE NEEDING TO BE A PLURALITY OF APOSTLES, PROPHETS, AND ELDERS

According to the Bible, there should always be a plurality of apostles, prophets, and elders. After calling His disciples, the Lord appointed twelve apostles (Matt. 10:2). Whenever the Lord sent out His disciples, He sent them two by two (Mark 6:7; Luke 10:1). The Lord never sent out an apostle alone. In Acts 13:2 Paul and Barnabas were sent out together as apostles. There is always a plurality in the apostleship. The same is true of the prophets and elders. There should always be several elders in a local church. The plurality in the apostleship, the prophethood, and the eldership is crucial because it helps prevent anyone from becoming a king among the churches.

There was no permanent leadership among the early apostles. Peter took the lead in Acts 2:14 , but in 15:13 James rose up to take the lead. This record shows that Peter was not the permanent, unique, official, or organizational leader. Instead, he was only a momentary leader; later, James became another momentary leader. If there is one apostle, prophet, or elder above the others, that one is a king, which is an insult to Christ’s headship and kingship.

The Lord has shown us that God does not want to have a human king in His administration. There was a king in the Old Testament, but that was against God’s desire. Thus, there is no king among God’s people in the New Testament age. It was the degradation among the children of Israel in the Old Testament that caused a king to come in. The desire of the children of Israel for a king was according to the custom of the nations, which is abominable in the eyes of God. We must be impressed that we should not have a king. We welcome the apostles, prophets, and elders, but we have only one king, who is our God, Savior, and Lord.

Basic Principles concerning the Eldership

Chapter 1 CWWL, 1978, vol. 3 (LSM)

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