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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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Now in a song of grateful praise

Praise of the Lord His Goodness

English168
1
Now in a song of grateful praise,
To Thee, O Lord, my voice I’ll raise;
With all Thy saints I’ll join to tell,
My Savior has done all things well.
 
And above the rest this note shall swell,
This note shall swell, this note shall swell,
And above the rest this note shall swell,
My Savior has done all things well.
2
How sov’reign, wonderful and free,
Has been Thy love to sinful me!
Thou sav’dst me from the jaws of hell;
My Savior has done all things well.
3
Since e’er my soul has known His love,
What mercies He has made me prove,
Mercies which do all praise excel,
My Savior has done all things well.
4
And when on that bright day I rise,
And join the anthems of the skies,
Above the rest this note shall swell,
My Savior has done all things well.

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Ana Lara

Storrs, Connecticut, United States

Nov 11, 2019

It is said that Samuel Medley wrote 230 hymns. His hymns are marked by the spirit of praise and worship. He was born at Cheshunt, Hertfordshire, June 23, 1738. He was first apprenticed to an oilman in London, but disliking it he exercised his legal right to finish his term in the Royal Navy.

In 1755 he served aboard King George the Second’s ship the “Buckingham” and was transferred to the “Intrepid” under Admiral Boscawen.

In 1759 he was severely wounded in the leg during the Battle of Cape Largos with the French. He went to be with his grandfather, Mr. Tongue who endeavored to bring Samuel into a different and better kind of life.

One Lord’s day evening Mr. Tongue stayed at home with Samuel to read to him hoping to reach his heart. He read a sermon by Isaac Watts on Isaiah 42:6-7. Samuel’s eyes were opened and he received the One that had been preached to him and was brought out of bondage into freedom. After his health was restored he listened to the preaching of George Whitefield.

Mr. Medley was assured of a promotion in the Navy but resigned and opened a school near Seven Dials.

He married in 1762 and moved his school to King Street, Soho. He began preaching the Word In 1766 and in 1767 he became pastor of the Baptist Church in Watford, Hertfordshire, and later moved to Liverpool in 1772. The Lord blessed his work and he was especially helpful to sailors. When nearing death, a friend said to him, “Sir, Christ is your center. ” “Yes, yes, he replied, “He is, He is! ” Later he added “I am now a poor, shattered bark, just about to gain the blissful harbor, and, oh, how sweet will be the port after the storm! ” Again he said, “Dying is sweet work! My Heavenly Father! I am looking up to my dear Jesus. My God, my portion, my all in all! ” He continued, “Glory! Glory! Home! Home! ” and then passed away in peace on July 17, 1799.

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Brent Rawlings

Calgary, Alberta, Canada

Oct 29, 2018

This is a wonderful hymn. We sing it to the tune of Ernan LM. I much prefer it to the tune posted here.

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Rev. Andrew Mackenzie

Dumfries, United Kingdom

Mar 18, 2013

('Now in a song of grateful praise'). The chorus used to be sung at Methodist Circuit teas as a refrain to the grace 'We thank the Lord for this our food', and/or 'Be present at our table, Lord', to the same tune.

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