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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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My hope is built on nothing less

Assurance and Joy of Salvation Justified in Christ

English298
1
My hope is built on nothing less
Than Jesus Christ, my righteousness;
I dare not trust the sweetest frame,
But wholly lean on Jesus’ name.
 
On Christ, the solid Rock, I stand;
All other ground is sinking sand,
All other ground is sinking sand.
2
When darkness veils His lovely face,
I rest on His unchanging grace;
In every high and stormy gale,
My anchor holds within the veil.
3
His oath, His covenant, His blood,
Support me in the whelming flood;
When all around my soul gives way,
He then is all my hope and stay.
4
When He shall come with trumpet sound,
Oh, may I then in Him be found;
In Him, my righteousness, alone,
Faultless to stand before the throne.

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Dele Suru

Lokoja, Kogi State, Nigeria

Jul 31, 2016

From my experience in life all other grounds are really a sinking ground human, material and spiritual. Jesus is the Rock.

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Jeddy

Makurdi, Benue, Nigeria

Jul 14, 2016

My hope is built only on Jesus Christ, I trust only in Him.

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Connie Mitchell

Midlothian, Virginia (VA), United States

Jul 10, 2016

"On Christ the solid rock I stand"

Thank You Jesus for Your healing.

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Peter Takaro

Port Vila, Penama, Vanuatu

Jul 8, 2016

I woke up this morning, and could hear myself repeating the chorus line.. of the song My hope is built on Nothing else... 'all other ground is sinking sand'.

I was wondering why this lines pops up for me..

I believe this line was meant for me to really put my trust in Him as my rock in whatever I do today. Literally it means other than God Himself, all other things and areas are sinking sand awaiting to swallow me..

Thank You God.. That reminds me of Psalms 91..He who dwells in the secret place of the Most High Shall abide under the shadow of the almighty......

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Christiana

Benin City, Edo State, Nigeria

Jul 3, 2016

Mother will fail you, father will fail you, brother and sisters will fail you, wife will fail you, husband will fail you and even friends will fail, only Jesus Christ can never fail you. On Christ the solid rock I stand.

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Juliana Nyepan

Monrovia, Montserrado, Liberia

Jun 20, 2016

This song had built up my faith, whenever I am downhearted ,and disappointed, it always remind me that all other ground is sinking sand. I reflect on it and say thank You Lord.

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Steve Miller

Detroit, MI, United States

Jun 10, 2016

Here is more about the author of this hymn in addition to David's post on 4/9/2010, Deb's on 2/1/2012 and mine on 7/20/2012 & 12/30/2014:

As Edward Mote walked up High Holborn to his cabinet shop in London, his mind was filled with thoughts of a dispute about doctrine, which had turned a business meeting at his church into an unpleasant experience for him. One man was insisting on a point of doctrine that Mr. Mote did not feel to be essential to salvation or to spiritual growth in Christ. In answer to this brother, a thought came to his mind. 'On Christ, the Solid Rock, I stand; all other ground is sinking sand.' Other thoughts began to sing themselves in his mind. He reached his shop, told his workmen he was going home, but he did not go home. His thoughts were too pressing. He shut himself in a little office and wrote stanza 1.

He said later: 'Before the day was over I had 4 verses complete and wrote them off.' On Sunday he attended church as usual. The pastor asked him to pray for his wife, whom he feared was near death. 'Will you go with me to visit her in the hospital this afternoon?' he asked. Mr. Mote went gladly. He was not a talkative man. He did not know how to console a dying woman, particularly the wife of his pastor. He still had this poem in his pocket. He took it out and sang the words to a familiar hymn tune. After each verse he added the words: 'On Christ, the Solid Rock, I stand; All other ground is sinking sand.' A dying soul was comforted. Mr. Mote had 1,000 copies of his poem printed and gave them to friends. The poem was printed in a hymnbook, and it has become a favorite. ...

Mote was 34 years old when he wrote this hymn. Two years later, he decided to enter the Christian ministry. He built a church at his own expense. When his congregation offered to give him a deed to the church and property, he replied, 'All I want is the pulpit. If I ever cease to preach Christ you can turn me out of that.' - Hymn Stories by Wilbur Konkel

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Williams

Enugu, Nigeria

Jun 4, 2016

I am a living testimony on this song. Thank You Jesus for alloying my hope to be built on Your righteousness.

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Eric Bediako

London, United Kingdom

May 26, 2016

Christ the solid rock I stand, Zion Rock

Uttermost Christ Mission

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Nancy Zanni

Peachtree City, GA, United States

May 20, 2016

Where would I be without my Jesus. This is a song that I grew up with.

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