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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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As gathered in Thy precious name

Praise of the Lord Remembrance of Him

English218
1
As gathered in Thy precious name,
This table we surround,
Thy death, Lord Jesus, to proclaim,
O may our praise abound.
2
We give what from Thee we receive,
For all we have is Thine—
O may each heart with joy believe,
And echo “Thine is mine!”
3
Grace, grace it was that brought Thee down;
Love shone in all Thy ways;
Through death Thine is the Victor’s crown
And Thine the endless praise.
4
We, here, in silence, or in song,
Together worship Thee;
Before our God we shall ere long
Give praise eternally.
5
Lord Jesus Christ, Thou comest soon—
Today Thy death we show;
In light, eclipsing sun at noon,
Its myst’ry we shall know.

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Ana Lara

Storrs, Connecticut, United States

Apr 3, 2021

Douglas Russell was born at Old Cummock, Ayrshire and was saved at the age of nineteen, at the time of the Great Awakening in Scotland. Through the ministry of the American evangelist E. P. Hammond and author of “I feel like singing all the time, ” young Douglas received his first spiritual impression. Soon afterwards Mr. Douglas devoted Himself to the Lord’s work, preaching and singing the Gospel everywhere he traveled. During this time, he came in contact with most of the well-known preachers of his time. He also assisted Sankey in leading the singing on several occasions.

David J. Beattie, author of “Stories and Sketches of Our Hymns and Their Writers” writes of his experience in spending a day with then the aged hymn writer Mr. Douglas: “It was my privilege to hear from the lips of the veteran evangelist and hymn writer, the story of how the steps of D. L. Moody, that plain-looking American preacher, were directed to these shores of ours, and of his memorable visit a year later. And as we sat together in the sunshine of a beautiful summer day, I seemed to be transported to days and scenes which will ever be memorable. ”

It is not known for certain that Mr. Russell was instrumental in leading Mr. Moody to do evangelistic work in England but in 1870-72, the two evangelists met for the first time while Russell conducted a Gospel mission in New York. At the end of the mission, Moody said in his usual blunt manner, “I want you to come to Chicago”; to which Douglas replied, “I’ll go to Chicago if the way is clear, on condition you go back with me to England in the summer. ” The outcome was that the two evangelists embarked for England on May 24th, 1872.

They were together much of the time during Moody’s visit and God used him to such an extent that the American evangelist decided to return the following year. Moody and Russell traveled to Dublin where Mr. Henry, a renowned preacher, was delivering a series of messages to Christians. During his sermon Henry remarked, “The world has yet to see what God can do with a man who is fully consecrated. ” Moody then and there asked God if he could be that man— a prayer that was answered in a remarkable way.

In June of 1873, D. L. Moody returned to Great Britain with his gospel partner Ira. D. Sankey and continued to do so for nearly thirty years.

On November 14th, 1933, at the age of ninety-two Douglas Russell went to be with the Lord after a lifetime of service. He retained his youthful zeal until the end spreading the “Good News” in song and story.

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Kevin B.

Dedham, MA, United States

Mar 26, 2014

It's wonderful to think that you and your great grandfather are enjoying the same grace, love in Christ, your brother.

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Christine Davies

Teignmouth, Devon, United Kingdom

May 9, 2012

This hymn was written by my great grandfather, so it has special meaning to me.

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