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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 to the Lord, the Almighty

Praise of the Lord His Goodness

English166
1
Praise to the Lord, the Almighty,
the King of creation!
O my soul, praise Him, for He is thy
health and salvation!
All ye who hear,
Now to His temple draw near;
Sing now in glad adoration!
2
Praise to the Lord, who o’er all
things so wondrously reigneth,
Who, as on wings of an eagle,
uplifteth, sustaineth.
Hast thou not seen
How thy desires all have been
Granted in what He ordaineth?
3
Praise to the Lord, who hath fearfully,
wondrously, made thee!
Health hath vouchsafed and, when
heedlessly falling, hath stayed thee.
What need or grief
Ever hath failed of relief?
Wings of His mercy did shade thee.
4
Praise to the Lord, who doth prosper
thy work and defend thee,
Who from the heavens the streams of
His mercy doth send thee.
Ponder anew
What the Almighty can do,
Who with His love doth befriend thee.
5
Praise to the Lord! Oh, let all that
is in me adore Him!
All that hath life and breath, come
now with praises before Him!
Let the Amen
Sound from His people again;
Gladly for aye we adore Him.

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Ana Lara

United States

Apr 16, 2020

Joachim Neander, called the greatest of all German-Calvinist Reformed hymn writers, was born in Bremen, Germany on May 31, 1650. He wrote approximately sixty hymns and composed many tunes most of them being hymns of praise. He was known as a scholar in theology, literature and music as well as pastor of the Reformed Church in Düsseldorf, Germany. “The Julian Dictionary of Hymnology calls this hymn “a magnificent hymn of praise, perhaps the finest production of its author and of the first rank in its class. ” Sadly Joachim Neander died when he was only thirty years old in 1680.

Catherine Winkworth was born in London, England, on September 13, 1827. She was a pioneer in the higher education of women. Miss Winkworth was regarded as one the finest translators of the German language into English. Her translations helped to make German hymns popular in England during the nineteenth century. Miss Winkworth translated several German hymn books which became popular. One of them was “The Chorale Book for England” published in 1863 which contained the translation of this hymn. She also translated “Now Thank We All our God. ”

The tune “Lobe Den Herren” ( “Praise to the Lord” ), first appeared in the “Stralsund Gesanbuch, ” 2nd edition, in 1665. It is said Joachim personally chose this tune for his text, and his words have never been used with any other melody. The tune first appeared in England in the 1904 edition of “Hymns Ancient and Modern. ”

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RV

Apr 10, 2020

Let the Amen sound from His people again!!!

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Tochukwu Nwazota

Abuja, FCT, Nigeria

Apr 10, 2020

Endless worship adoration and praise to the Lord Jesus.

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Heiress of God

FCT, Abuja, Nigeria

Mar 22, 2020

Glory to God. All that is within me praise him

The more I praise the more corona goes.

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Hannatu Monday

Lafia, Nasarawa, Nigeria

Feb 23, 2020

The Lord is good! Let all that has breath praise Him! As long as I breathe, I will praise Him!

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Dr Godwin Iko Ayuba

Lagos, Nigeria

Feb 22, 2020

Very inspiring

May God be praised

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Nancy Tipton

Tempe, Arizona, United States

Feb 21, 2020

Amazing song thank you for keeping the message alive today

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Gideon Kofi Antwi(Manofvalour)

Mogadishu

Jan 31, 2020

Praise to the Lord! Oh, Let all that has breathe, come now with praises before Him...

Hymns are timeless!!!

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Georgia

St. Ann, Jamaica

Jan 5, 2020

This song just popped up in me.... I am really excited about this verse.... praise to the Lord, the Almighty,

the King of creation!
O my soul, praise Him, for He is thy
health and salvation!

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Tba

Abuja, Nigeria

Jan 2, 2020

This is the song for this New Season

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