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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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Amidst us our Beloved stands

Praise of the Lord Remembrance of Him

English231
1
Amidst us our Beloved stands,
And bids us view His pierced hands;
Points to the wounded feet and side,
Blest emblems of the Crucified.
2
What food luxurious loads the board
When, at His table, sits the Lord!
The wine how rich, the bread how sweet,
When Jesus deigns the guests to meet!
3
If now, with eyes defiled and dim,
We see the signs, but see not Him;
Oh, may His love the scales displace,
And bid us see Him face to face!
4
Thou glorious Bridegroom of our hearts,
Thy present smile Thy grace imparts!
Oh, lift the veil, if veil there be,
Let every saint Thy glory see!

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Steve Miller

Detroit, Michigan, United States

Feb 21, 2021

I called this hymn again today for the breaking of the bread at church. It was beautiful again.

Usually this hymn is sung to the tune of "When I survey the wondrous cross". That tune is too heavy for this song. That may be why this hymn is not so popular. This hymnal. net tune is a beautiful match for this hymn.

The 4th stanza of this hymn was written anonymously much later, first appearing in 1950, yet it is a perfect conclusion to the hymn, especially the last 2 lines. The original anonymous 4th stanza says "a heav'n" instead of "Thy grace".

Spurgeon had written a 4th stanza which is not very good and was not included in any hymnals other than his own. Here it is from hymnary:

4 Our former transports we recount,
when with Him in the holy mount:
these cause our souls to thirst anew
His marred but lovely face to view.
-------------------

"Mr. Spurgeon is chiefly known as a preacher and as the author of many vols. of sermons, expositions, and other homiletical literature; but he is also a hymn writer, and the compiler of a well-known hymn book. This book was prepared, in 1866, primarily for the use of the congregation at the Metropolitan Tabernacle. Hence its title 'Our Own Hymnbook, a collection of Psalms & Hymns for public, social, and private worship'. It contains 220 versions of the Psalms, and 910 hymns. Of Mr. Spurgeon's 20 contributions, only one, "Sweetly the holy hymn breaks on the morning air," can be regarded as possessing any particular merit. The others do not rise above respectable mediocrity." - John Julian 'Dictionary of Hymnology'.

I think 'Amidst us our Beloved Stands' has outstanding merit, especially with the hymnal. net tune and the later 4th stanza. Another of Spurgeon's hymns, which is also excellent is "The Holy Ghost is here, Where saints in prayer agree". This prayer hymn appears in more hymnals than any other of Spurgeon's hymns.

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John Purdie

Sarasota, Florida, United States

Sep 24, 2019

This hymn is not sung outside the Brethren Circles, in my experience..

Having been gloriously saved at a Gospel Hall meeting in Scotland, in 1959 where this song was often sung.

I had been a member of the Church of Scotland, actively involved playing the Church organ, piano, church bells. But was persuaded by a close friend to attend their youth rally, I did and thus, I was wondrously saved.

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Steve Miller

Detroit, MI, United States

Sep 27, 2013

I called this song at my church's Lord's Table this past Lord's Day. It was very touching. There were a lot of testimonies of how easy it is to see the signs that the Lord instituted, yet not see Him.

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Brad Mason

Shanghai, China

Jun 7, 2013

You shared this hymn with us in a meeting once brother Wes (maybe at the time that you first discovered it), and it made a real deep impression on me. I'm going to call it at our next table meeting!

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Wesley

Auckland, New Zealand

Jun 25, 2012

The week before my sister passed away I was introduced to this hymn. How wonderful that when we are gathered into the Lord's name at the breaking of bread we can behold our dear Lord. He desires that we stop all our working and allow Him to minister to us. His riches are unsearchable!

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Don Huntington

Bedford, Nova Scotia, Canada

Jun 9, 2008

I have heard this wonderful hymn sung at the Breaking of Bread for many years and it always thrills my heart with the reminder that our Glorious Lord desires to meet with us and we are have been left that wonderful feast whereby we remember Him.

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