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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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When morning gilds the skies

Praise of the Lord General

English238
1
When morning gilds the skies,
My heart awaking cries:
May Jesus Christ be praised!
Alike at work and prayer
To Jesus I repair:
May Jesus Christ be praised!
2
To Thee, my God above,
I cry with glowing love,
May Jesus Christ be praised!
The fairest graces spring
In hearts that ever sing,
May Jesus Christ be praised!
3
Does sadness fill my mind?
A solace here I find,
May Jesus Christ be praised!
Or fades my earthly bliss?
My comfort still is this,
May Jesus Christ be praised!
4
When evil thoughts molest,
With this I shield my breast,
May Jesus Christ be praised!
The powers of darkness fear,
When this sweet chant they hear,
May Jesus Christ be praised!
5
When sleep her balm denies,
My silent spirit sighs,
May Jesus Christ be praised!
The night becomes as day,
When from the heart we say,
May Jesus Christ be praised!
6
Be this, while life is mine,
My canticle divine,
May Jesus Christ be praised!
Be this th’ eternal song
Through all the ages long,
May Jesus Christ be praised!

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Carol

Lebanon, Pennsylvania, United States

Jan 27, 2023

Another new day as the morning awakens! Amidst the difficulties of health and daily pressures, I must look for God’s presence and guidance. Each verse of this hymn expresses a bit of the life I face on earth. Throughout my life, may Jesus Christ be praised!

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Barbara

Downingtown, PA, United States

Jan 18, 2022

The beautiful winter sun rises and peeks through the bare trees to reveal its lovely colors, this song comes to mind. May Jesus Christ be praised knowing that He is ever present in our daily lives.

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William Jeng

Irvine, CA, United States

Jan 2, 2022

Whatever happens to us, You are still worthy of our praises! You are enthroned upon our praises. No matter how our outward situations or inward conditions may be, we will still praise You, worthy One! We begin this year by praising You for who you are. Keep us praising You all the days of our lives!

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Laura

Alfreton, Derbyshire, United Kingdom

May 15, 2021

The Lord brought this song of praise to me this morning after an attack from Satan last night He is worthy to be praised who lifted me and at the name of Jesus demons will have to flee

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Ruthie Percentie

Freeport, Grand Bahama, Bahamas

Nov 18, 2020

GOOD MORNING This Hymn is so Divine As the sun gild. the skies in the morning and this song is sung with sincere meditation bring SUCH comfort to the SOUL LOVE IT

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Frank Bbacchus

Bristol, Connecticut, United States

May 7, 2020

It soothes my heart and mind and blesses me.

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Mirzah

Dumaguete City, Philippines

Apr 16, 2020

Thanks Steve for the additional stanzas/verses. Appreciate it!

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Mrs Josephine Mensah

Mansfield, Nottinghamshire, United Kingdom

Apr 15, 2020

Every morning is a gift from God. May Jesus Christ be praised.

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Ana Lara

United States

Mar 17, 2020

English hymnody derives its richness from earlier Latin, Greek and German sources which were translated during the mid-nineteenth century. These English hymn writers were a part of a movement within the Anglican Church called the Oxford Movement. The rediscovery of the writings of the Middle Ages became important during this time. Another goal this movement had was to recover the Anglican Church to the true Apostolic Church ordained by Jesus Christ Himself. Many felt that looseness within the church had creeped in as a result of the Evangelical influence with its stress upon the individual and his need for a personal conversion experience.

The Oxford Movement began in 1833 with a sermon by John Keble titled “National Apostasy.” For several years this movement tenaciously directed religious England. Some Anglican leaders joined the Catholic Church preferring the liturgical-hierarchical church.

One of these leaders was Edward Caswall, one of the best known scholars and translators of his time. He was born in Edgbaston, Birmingham, England in 1814. Caswall graduated from Oxford College and was ordained a minister of the Anglican Church at the age of twenty-six. While in Oxford he became involved in the Oxford Movement. After pastoring a church in Stratford for seven years, he resigned and traveled to Rome with his wife where they were accepted into the Roman Church. From then on until his death in 1878 Caswall made it his life’s mission to translate early hymns for the services of the Catholic Church. One well known hymn is “Jesus, the Very Though of Thee.”

Nothing is known of the original writer of this text other than the fact that he was German. The hymn first appeared in a German hymnal in 1828. Other writers also attempted English translations of this text, but Caswall’s version in 1853 became the most popular in England and the United States. Throughout his life he kept adding verses until the hymn included twenty-eight stanzas.

The tune called, “Lauded Domini” (Praises of the Lord) was composed for this text in 1868 by Joseph Barnby. Born in London, England, Barnby achieved many musical accomplishments including editing five important hymnals and being knighted by Queen Victoria in 1892.

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Ebun Bamgboye

Lagos, Nigeria

Nov 9, 2019

May His name be forever praised!

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