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About Numbered Notation

All steps
  1. The numbers are the notes of a scale
  2. “1=C” tells you where to start
  3. Dots make a note higher or lower
  4. How long each note lasts
  5. 0 means rest
  6. Bar lines and the time signature
  7. Curves: ties and slurs
  8. The words sit under the numbers
  9. Repeat signs and 1. 2. endings
  10. Minor keys: “6=A”
  11. Put it together: a line of a hymn
  12. Check yourself
  13. Try it on a hymn

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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How I praise Thee, precious Savior

Fullness of the Spirit The Filling

English268
1
How I praise Thee, precious Savior,
That Thy love laid hold of me;
Thou hast saved and cleansed and filled me,
That I might Thy channel be.
 
Channels only, blessed Master,
But with all Thy wondrous grace,
Flowing through us, Thou canst use us
Every hour in every place.
2
Just a channel, full of blessing,
To the thirsty hearts around;
To tell out Thy full salvation,
All Thy loving message sound.
3
Emptied that Thou shouldest fill me,
A clean vessel in Thine hand;
With no strength but as Thou givest
Graciously with each command.
4
Witnessing Thy grace to save me,
Setting free from self and sin;
Thou hast bought me to possess me,
In Thy fullness, Lord, come in.
5
O Lord, fill now with Thy Spirit
Hearts that full surrender know;
That the streams of living water
From our inner man may flow.

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Manyi Marcelle

Bloemfontein, Free State, South Africa

May 12, 2026

GOD make me YOUR Channel of blessings here on Earth as YOU are a Channel of blessings to me. Thank you LORD for I have humbly prayed in JESUS MIGHTY Name. AMEN

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Un Hermano

Sep 18, 2025

THE ALL-INCLUSIVENESS OF CHRIST

In the four books that make up the heart of the divine revelation—Galatians, Ephesians, Philippians, and Colossians—Paul opens the veil to show us who Christ is and what Christ is. Christ is all-inclusive and all-extensive, the reality of every positive thing in the universe. He is the reality of God, man, eternity, light, and life. We simply do not have adequate words to declare who and what Christ is.

What was the extent of your knowledge of Christ before the books of Galatians, Ephesians, Philippians, and Colossians were opened to you in the Lord’s recovery? Perhaps you knew only that Christ is the Son of God sent by the Father in His mercy to die on the cross for the salvation of sinners. You knew that He was born of a virgin, that He died on the cross, that He was raised from among the dead, and that He was exalted to the heavens. You believed in Him as your dear Redeemer and precious Savior, and in this way you were saved. Then you realized that you need Him to help you live in such a way as to glorify the Father. It is good to know Christ in this way, but this knowledge of Him is far too limited.

Life-study of Philippians

Message 19 (LSM)

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Ana Lara

Storrs, Connecticut, United States

May 13, 2025

Hymns 268 and 630 were written and composed by two women who lived around the same time and were both associated with the Keswick Convention in Northern England.

Mary E. Maxwell was born in 1846, in Islington, London, England. She was the eldest daughter of H. W. Dobell of Eltham, London. (Her mother‘s maiden name was Smith). Mary married William Maxwell on February 13, 1873, in Eltham Congregational Church. She died on March 24, 1936, Eastbourne, Sussex, England. Mary Maxwell is associated with the Keswick Convention and is credited for producing various hymn-tunes.

The tune (Channels) for “Channels Only” (268) was however composed by Ada Rose Gibbs who was born Oct. 5, 1863, at Whitechapel in London, England.

Ada’s parents were George Edward Rose and Erllen S. Reeve Rose. Ada sang at City Temple, Holborn, London and studied at the Royal Academy of Music, London for five years. She began working for the Salvation Army in 1890. She also sang for Dwight Moody’s evangelistic missions, and was part of the Keswick Convention movement. Her husband was William J. Gibbs, a former superintendent of the Methodist Central Hall in Kent. They married on August of 1898, in Islington, London. Ada Gibbs died on April 16, 1905.

The hymn first appeared in a 1900s booklet entitled “Twenty-Four Gems of Sacred Song” edited by Mrs. Gibbs who provided the music published for the Keswick Convention.

This hymn is based on 2 Tim. 2:21 “A vessel unto honor…. fit for the Master’s use. ”

From stanza one we learn that we must be saved, cleansed, and filled with Christ.

From stanza two, we must tell others of God’s salvation.

From stanza three, we see that we must look to Christ in order to be emptied, cleansed and filled with His Spirit of power to carry out His Economy (command as stated in the text).

From stanza four, we must allow Christ to save us and possess us fully.

Stanza five admonishes us to be filled with Christ, surrender our hearts to Him that the streams of living water may flow.

The chorus is a prayer, asking the Lord for help and direction to apply these principles in our lives.

This is the highest calling …. for us to serve God as “Channels Only. ”

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Chukwuemeka Kalu Ekeh

Aba, Abia, Nigeria

Mar 18, 2025

This song has been my mum's favorite hymn and I remember vividly listening to her sing this song over and over again while growing up. It just came to mind and as I googled a line of the song, it popped up.

Lord, make me your channel of blessing. Amen.

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Abiola Olayeri

FCT Abuja, Nigeria

Dec 28, 2024

I am blessed with the lyrics of this hymn it is indeed streems of living water that flows from the sanctuary to our hearts.

Lord make me a channel were other may others may find their way to see you.

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Ogedengbe Nathaniel

Akure, Ondo, Nigeria

Jun 21, 2024

I just came back from the hospital for a bacteria infection treatment, as I lay down on my bed this hymn keeps coming to my heart.

How I praise Thee, precious Savior,
That Thy love laid hold of me;
Thou hast saved and cleansed and filled me,
That I might Thy channel be.
Oh Lord thank you for touching me.
I am grateful father.

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Maria L.

Fremont, California, United States

Apr 27, 2024

How I praise Thee, precious Savior, That Thy love laid hold of me;

Thou hast saved and cleansed and filled me, That I might Thy channel be.

Lord, we take You as our King to be under Your ruling and enjoy You as our blessing. You are our unique and all-inclusive blessing and we enjoy You as our portion for our enjoyment. Make us those who are channel of blessings for others to grow and enjoy the Lord!

Praise the Lord!

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David Michael Smith

Nov 27, 2023

I remember the chorus differently
channels only blessed Master
But with all thy wondrous power
Flowing through us Thou canst use us
Every day and every hour

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Chinagozim

Abuja, FCT, Nigeria

Sep 24, 2022

Thank God, l got this again. This song has been so much impressed in my heart. l decided to goggle it, thank God for the song. lt is such an inspirational song that brings revival to me personal .

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Ezinne Onuoha

Enugu, Nigeria

Aug 28, 2022

One of my favourite songs as a child. How I long to be used of you O Lord as a channel of your greatness 🙏

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