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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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I stand amazed in the presence

Assurance and Joy of Salvation Loved by the Lord

English290
1
I stand amazed in the presence
Of Jesus the Nazarene,
And wonder how He could love me,
A sinner condemned, unclean.
 
How marvelous! How wonderful!
And my song shall ever be:
How marvelous! How wonderful!
Is my Savior’s love for me!
2
For me it was in the garden,
He prayed: “Not my will, but Thine.”
He had no tears for His own griefs,
But sweat-drops of blood for mine.
3
In pity angels beheld Him,
And came from the world of light
To strengthen Him in the sorrows
He bore for my soul that night.
4
He took my sins and my sorrows,
He made them His very own;
He bore the burden to Calv’ry,
And suffered, and died alone.
5
When with the ransomed in glory
His face I at last shall see,
’Twill be my joy through the ages
To sing of His love for me.

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Obaka

Nairobi, Kenya

Sep 21, 2017

A wonderful song of all time. Focuses on the amazing love for Christ for each and everyone of us! "Oh How wonderful". Unquenchable unparalleled and deep love!

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Sif

Johannesburg, South Africa

Sep 12, 2017

Beautiful hymn. My 2 year old loves it and sings along with me...

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Mitaire Ikpen

Abuja, FCT, Nigeria

Jun 27, 2017

This hymn is one of those regularly sung in my congregation in First Baptist Church Garki-Abuja, evoking so much emotions anytime, in remembrance of the Saviour's love.

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Tom

Fox Point, WI, United States

Feb 26, 2017

Or you might use a comparative in verse 2: "he had less tears for his own griefs than sweat-drops of blood for mine".

This song has great depth. It focuses the sinner right back on the Savior, and away from his own sins, where Satan would love to keep you looking. On the other side of the coin, the temptation to think "I am ok, because I am saved" and become complacent is wiped away. Instead you enter into a thanksgiving and gratefulness for this impossible task that Jesus accomplished not only because of His great power but even more because of His unquenchable love for each of us. Not a general love for mankind, but a specific love for each and everyone of us, one by one, including me!! How can I not rejoice to the uttermost!

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Steve Miller

Detroit, Michigan, United States

Dec 30, 2016

Preston's question on 1/7/2015 is a good one. Jesus was fully God and fully human. He felt the pain as we do and shed tears for His own suffering which was on our behalf (Hebrews 5:7; Luke 22:42). So line 3 of stanza 2 is not quite true. That is why stanza 2 is omitted in many hymnals. And if stanza 2 is omitted, stanza 3 doesn't fit and needs to be omitted also, and you lose some marvelousness. What Gabriel meant is that the griefs Jesus bore were for us, not for Himself as he says in stanza 4, "He took my sins and my sorrows, He made them His very own." According to Hymnary.org's records, stanza 4 was not in oldest versions (1902), but first appeared in 1910. It appears that Gabriel added stanza 4 later, maybe to help explain stanza 2.

Some hymnals change the line, for example, to "He cried with tears in His sorrow, but ..." (RJ Steven's 'Hymns for Worship'). I would suggest: "He suffered not for His own life, but ...".

By the way, Hymnal.net has the unusual dash between "sweat" and "drops" in stanza 2. That is apparently how Gabriel wrote it because it is in the 1902 version, but the dash was gone by 1905.

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William Wood

Kirkintilloch, Scotland

Sep 13, 2016

What an amazing Saviour

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Steve Miller

Detroit, Michigan, United States

Jul 16, 2016

If you ever cease to wonder at the Savior's love for you, a sinner, you can be sure you no longer love Him as you should.

Charles H. Gabriel was born in the state of Iowa, in a shack made of crude boards plastered inside and out. There was not a tree nor a shrub to shelter the house from the howling winds and raging snow storms. He never saw a musical instrument until he was nine years old, and he never had a music lesson in his life. Mr. Gabriel was converted in his teens and began to teach music to black boys, although he had never had a lesson himself. - 'More Living Hymn Stories' by Wilbur Konkel

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Judy

Northport, Alabama, United States

Jun 7, 2016

This song truly tells us how much He loves us and how much we should love Him. What comfort these old hymns give us, how blessed we are to know Him who inspired it!!

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Mandy

United Kingdom

Mar 20, 2016

We sang this in church this morning. Beautiful song.

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Julie Gilligan

ChildsHill, London, United Kingdom

Mar 11, 2016

Such a sweet hymn yet so soulful hitting through your heart!

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