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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 Music 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 Tempo menu slows it down without changing the pitch.

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O blessed Savior, is Thy love

Praise of the Lord His Love

English153
1
O blessed Savior, is Thy love
So great! so full! so free!
Fain would we have our thoughts, our hearts,
Our lives, engaged with Thee.
2
We love Thee for the glorious worth
Which in Thyself we see;
We love Thee for that shameful cross,
Endured so patiently.
3
No man of greater love can boast
Than for his friend to die;
Thou for Thine enemies wast slain!
What love with Thine can vie?
4
Though in the very form of God,
With heav’nly glory crowned,
Thou didst a servant’s form assume,
Beset with sorrow round.
5
Thou wouldst like wretched man be made
In everything but sin,
That we as like Thee might become
As we unlike had been:
6
Like Thee in strength, in meekness, love,
In life in ev’ry phase;
From glory into glory changed,
Till we behold Thy face.
7
O Lord, we treasure in our hearts
The mem’ry of Thy love;
And ever shall Thy name to us
A grateful odor prove.

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Daniel Dalmino

Deland, Florida, United States

Jul 29, 2026

Thank you Lord Jesus for going through all this for us!!!! We love you Lord Jesus!!!!

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Un Hermano

Nov 14, 2025

The Lord’s Ascension Being to Produce the Church for the Building Up of the Body

Philippians 2:6-11 says of the Lord Jesus, “Who, existing in the form of God, did not consider being equal with God a treasure to be grasped, but emptied Himself, taking the form of a slave, becoming in the likeness of men; and being found in fashion as a man, He humbled Himself, becoming obedient even unto death, and that the death of a cross. Therefore also God highly exalted Him and bestowed on Him the name which is above every name. ” These verses speak of a man who has been made both Lord and Christ in the universe.

We know that in His ascension the Lord Jesus was made both Lord and Christ and was given the name which is above every name. However, we may not know why the Lord Jesus was made both Lord and Christ. He was made both Lord and Christ for the producing of the church, that is, for the building up of His Body. Ephesians 4:8 says, “Having ascended to the height, He led captive those taken captive and gave gifts to men. ” Verses 11 and 12 say, “He Himself gave some as apostles and some as prophets and some as evangelists and some as shepherds and teachers, for the perfecting of the saints unto the work of the ministry, unto the building up of the Body of Christ. ” These verses show that in His ascension the Lord Jesus conquered and overcame Satan, rescued men from Satan’s captivity, made the rescued ones gifts, and gave them to His Body for its building up.

God’s intention in the Old Testament was to build the temple. However, after God gained His elect and after they entered into Canaan, the good land, there was still no possibility for them to build the temple. The Israelites could not build the temple because the land of Canaan was filled with enemies, and there was no peace within Israel’s territory. Not until the enemies were subdued and there was peace within Israel’s territory was Israel able to build the temple. This is a type. It shows that even though the Lord Jesus in His resurrection came into us as the life-giving Spirit to regenerate us and make us His spiritual Israel, we were still not able to build the church because He had not yet conquered the enemy. In order to conquer the enemy, the Lord needed to ascend to heaven and be made both Lord and Christ.

God's Creation, Man's Fall,
and the Lord's Redemption
Chapter 9 CWWL, 1965, vol. 4 (LSM)

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Un Hermano

Nov 14, 2025

THE ONENESS OF THE DIVINE TRINITY

In a previous chapter we saw that the Son came in the Father’s name (John 5:43a) and that the Son did things in the name of the Father (10:25). John 14:26 says that the Father sends the Spirit in the Son’s name. The first (the Father) sends the third (the Spirit) in the second’s (the Son’s) name. The Father does not do things by Himself alone. He does things in the Son’s name.

To do things in the name of another one is not only to be one with another person but also to be that other person. The Father sent the Spirit in the Son’s name. This is like writing a check but signing the name of another person instead of your own name. Usually, the person who writes the check signs his own name. But if I write a check and sign another brother’s name, it indicates, at least in part, that the other brother wrote the check. The Father “wrote the check” by sending the Spirit, but He “signed” the name of the Son by sending the Spirit in the name of the Son. The Father, as the Son, sent the Spirit.

In John 14:26 the Father sends the Spirit in the name of the Son, but in John 15:26 , the Son sends the Spirit from the Father. When these two portions are put together, you can see that when the Father sends the Spirit, He does so with the Son. In the same manner, the Son sends the Spirit with the Father. Neither the Father nor the Son would do anything without the other. When the Father sends the Spirit in the Son’s name, He does it as the Son. When the Son sends the Spirit from the Father, He does it as one with the Father. Then when the Spirit comes, He testifies concerning the Son (v. 26). This shows the oneness of the wonderful Divine Trinity.

The Son was made the Firstborn of all creation (Col. 1:15) and the Firstborn in resurrection (v. 18). In making the Son the Firstborn of the two creations, the Father gave the preeminence, the first place, to the Son. Colossians 1:19 says, “In Him all the fullness was pleased to dwell. ” The fullness mentioned in this verse is the fullness of the Godhead (2:9). This means that all the fullness of the Godhead was pleased to dwell in Christ, who is God’s embodiment. The Father, Son, and Spirit were pleased to dwell in Christ. As the embodiment of the divine Trinity, the Son did not “consider being equal with God a treasure to be grasped, but emptied Himself, taking the form of a slave, becoming in the likeness of men” (Phil. 2:6-7). The Son lowered Himself to be a slave, taking the form of man. He was happy to obey God even to the point of death—not an ordinary death but the death of the cross (v. 8). The Son was willing to be lowered and to obey the Father to such an extent. The Father honored the Son, the Son lowered Himself to obey the Father, and the Spirit, being sent by the Father and the Son, came to testify concerning the Son. While He was on earth, the Son did nothing from Himself (John 5:19, 30). Rather, He did everything by the Father according to the Father’s will. The three persons of the Godhead are mingled as one. The church’s oneness should be a duplication of the Divine Trinity’s oneness.

Messages to the Trainees in Fall 1990

Chapter 6 CWWL, 1990, vol. 2 (LSM)

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Robert Carbrey

Amherst, New York, United States

Sep 17, 2021

Lord grant us a love like this, that we would fain (treasure greatly, pleasure greatly) to have our thoughts, and heart and lives engaged in love and service to Thee. Thank you sister for the commentary of this family.

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Ana Lara

United States

Nov 25, 2019

Joseph Stennett, this “earliest of English writers” was born at Abingdon, Berks. , England, in 1663. He received a superior education at the Grammar School of Wallingford, and at age 22 moved to London. In 1688 Joseph married Susanna, the daughter of George Guill, a French Protestant refugee. The next year he became identified with the “Seventh Day Baptists” at Devonshire Square, London.

Someone said of Mr. Stennett “It is difficult to keep the genealogy of this Stennett family perfectly clear, especially as more than one wrote hymns and handed them down for singing among people who took very little trouble to keep literary titles distinct. ”

The beginning of the line was Edward Stennett, (1627-1705) whose son Joseph was born in 1663. Edward was a dissenting minister and suffered persecution. His son Joseph, was a minister of the gospel and his son Joseph, whom he named after himself, was born in 1692. Joseph the Second was zealous from the time he was very young. He had a son named Samuel at Exeter, England in 1727. Samuel assisted his father in a Baptist chapel at Little Wild Street, London. Later he took over the work completely for 37 years.

Joseph Stennett died July 11, 1713. Among his last words recorded were: “I rejoice in the God of my salvation. Who is my strength and God! ”

It is also said of the Stennett generations, “Though grace does not run like blood in the veins, from one generation to another, yet the virtue of the prayers, and Godly example of Christians, does often descend through the hearts of their children through succeeding ages. ” This is exemplified in the Stennett family line.

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