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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 Tempo menu slows it down without changing the pitch.

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O Jesus, Jesus, dearest Lord

Praise of the Lord Satisfaction with Him

English208
1
O Jesus, Jesus, dearest Lord!
Forgive me if I say,
For very love, Thy sacred name
A thousand times a day.
 
O Jesus, Lord, with me abide;
I rest in Thee, whate’er betide;
Thy gracious smile is my reward;
I love, I love Thee, Lord!
2
I love Thee so I know not how
My transports to control;
Thy love is like a burning fire
Within my very soul.
3
For Thou to me art all in all;
My honor and my wealth;
My heart’s desire, my body’s strength,
My soul’s eternal health.
4
Burn, burn, O love, within my heart,
Burn fiercely night and day,
Till all the dross of earthly loves
Is burned, and burned away.
5
O light in darkness, joy in grief,
O heaven’s life on earth;
Jesus, my love, my treasure, who
Can tell what Thou art worth?
6
What limit is there to this love?
Thy flight, where wilt Thou stay?
On, on! our Lord is sweeter far
Today than yesterday.

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Pearl Odo

Festac, Lagos, Nigeria

Jan 14, 2024

Oh what a love that keeps burning in our soul that even teaches our love to not know our transport

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Anna

Santa Cruz, California, United States

Jan 1, 2024

Thy gracious smile is my reward;

I love, I love Thee, Lord!

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Jim Smith

Mansfield, Ohio, United States

Aug 23, 2023

This song truly is a treasure. This brother who wrote this shares about an intimate relationship of love with God. He keeps saying Lord abide in me. The more we know Christ the more we say abide with me. We must abide so He can abide. His abiding brings us more into His love. We then say “Oh Lord with me abide! ”. I like verse one where it says He is my reward. His very self is my reward!

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Remelyn Busse

Fort Pierce, FL, United States

Jul 7, 2023

Oh LORD JESUS!!!

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Tom

Manchester, United Kingdom

Mar 26, 2023

Very good song

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Edgar De La Cruz

Monterey Park, California, United States

Feb 26, 2023

Oh Lord Jesus we love you!

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Sister

United States

Dec 21, 2022

Lord Jesus graciously smile on us. Amen. Lord Jesus, abide with us. Amen. May we rest in You no matter what, Lord Jesus. Amen.

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Ana Lara

Storrs, Connecticut, United States

Oct 25, 2022

The author of this text, Frederick William Faber, born June 28, 1814, in Carverley, Yorkshire, England, was raised as a strict Calvinist by his Father who was an English clergyman. After Frederick graduated from Oxford University in 1843, he became a minister of the Anglican Church at a small parish in Elten England.

In his younger years Faber strongly opposed the teachings and practices of the Roman Church. However, this was the time when a movement known as the Tractarian or Oxford Movement was strongly influencing the Anglican Church. Whereas the Wesleys and their evangelical followers preached a message of being saved by faith in Christ, a message easily understood by the common masses, leaders of the more sophisticated Tractarian Movement believed that a meaningful religious experience could only be gained through church ceremony and liturgy.

From 1833-1850 the Oxford Movement directed religious England, and at that time Anglicans either joined the Catholic Church or developed a high church party known as the Anglo-Catholics.

Early in his ministry Faber became influenced by the Oxford Movement. After serving just three years as an Anglican minister, he left the Anglican Church and joined the Catholic Church. He became known as Father Wilfrid. Shortly after his secession to the Roman Church Faber noticed the lack of congregational hymnody in this group.

He believed congregational singing was important and influential as he was used to having in the Anglican Church. He made it his life’s mission to write hymns that promoted the history and teachings of the Catholic Church. In all Frederick Faber wrote 150 such hymns before his early death at the age of forty-nine. He was honored by the Pope with a Doctorate of Divinity Degree.

“Faith of Our Fathers” was written by Faber to remind Catholics of their leaders who were martyred during the reign of Henry VIII when England transitioned from Catholic to Anglican. The text first appeared in 1849 in Fabers collection, “Jesus and Mary” or “Catholic Hymns for Singing and Reading. ” He hoped one day England would return to Catholicism.

The tune for this hymn, a melody known as “St. Catherine’s Tune, ” was composed by a Roman Catholic, Henry Hemy, born at New Castle-Upon-Tyne, England, in November 12, 1818. He was an organist and composer at the Church of Tynemouth and in 1854 compiled a Catholic hymnal “ Crown of Jesus. ” It was originally written in honor of Catherine of Alexander, a fourth century martyr. The final eight measures or refrain-“Faith of our fathers, holy faith, we will be true to Thee till death” were added by James G. Walton, when he made a new arrangement and used it for his collection, “Plain Song Music for the Holy Communion Office” published in 1874.

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Sharon Wimer

Sacramento, California, United States

May 15, 2022

I love Thee so I know not how
My transport to control
Thy love is like a burning fire
Within my very soul

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Steve Miller

Detroit, Michigan, United States

May 2, 2022

We sang this hymn at church yesterday. There were 2 testimonies that I would like to share with everyone:

stanza 5 "O light in darkness, joy in grief,

O heaven's life on earth."

This gives an excellent description of what heaven's life on earth is: it is light in darkness and joy in grief.

-------

Stanza 6 gives another side of the chorus.
In the chorus we rest in Jesus whatever happens.
In the last stanza, we do not stay where we are at.

We keep going on in His love so that or Lord is sweeter today than yesterday.

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