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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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Steven Price

Peterstown, WV, United States

Aug 23, 2013

Excellent, excellent song!

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Paul

Nelspruit, Mpumalanga, South Africa

Aug 21, 2013

Standing on Jesus Christ the solid Rock, all the world's numerous problems are nothing but sinking sand. This is our assurance of salvation. God bless you Edward Mote for such inspiring words.

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Samuel Nguru

Nairobi, Embu, Kenya

Jul 26, 2013

I thank God for the lyrics of this song, they are blessing to my soul—so refreshing.

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Kwame

Alexandria, VA, United States

Jul 20, 2013

Yes as we await the glorious advent of our Lord and Savior, we can't but stand on the solid rock which Christ. Praise God for such a hymn.

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Steve Miller

Detroit, MI, United States

Jul 20, 2013

The original 2nd line of the 1st stanza says,

Than Jesus' blood and righteousness.

Here is what the author of this hymn wrote about his writing of it:

One morn­ing it came into my mind as I went to la­bour, to write an hymn on the ‘Gra­cious Ex­per­i­ence of a Christ­ian.’ As I went up Hol­born I had the chor­us,

‘On Christ the solid Rock I stand,

All other ground is sinking sand.’

In the day I had four first vers­es com­plete, and wrote them off. On the Sab­bath fol­low­ing I met bro­ther King as I came out of Lisle Street Meet­ing…who in­formed me that his wife was ve­ry ill, and asked me to call and see her. I had an ear­ly tea, and called af­ter­wards. He said that it was his usu­al custom to sing a hymn, read a por­tion, and en­gage in pray­er, be­fore he went to meet­ing. He looked for his hymn-book but could find it no­where. I said, ‘I have some vers­es in my pock­et; if he liked, we would sing them.’ We did, and his wife en­joyed them so much, that af­ter ser­vice he asked me, as a fa­vour, to leave a co­py of them for his wife. I went home, and by the fire­side com­posed the last two vers­es, wrote the whole off, and took them to sis­ter King…As these vers­es so met the dy­ing wo­man’s case, my at­ten­tion to them was the more ar­rest­ed, and I had a thou­sand print­ed for dis­tr­ibu­tion. I sent one to the Spir­it­u­al Mag­a­zine, with­out my ini­tials, which ap­peared some time af­ter this. Bro­ther Rees, of Crown Street, So­ho, brought out an edi­tion of hymns [1836], and this hymn was in it. Da­vid Den­ham in­tro­duced it [1837] with Rees’ name, and others af­ter…Your in­sert­ing this brief out­line may in fu­ture shield me from the charge of stealth, and be a vin­di­ca­tion of truth­ful­ness in my con­nect­ion with the Church of God.

Edward Mote

Let­ter to the Gos­pel Her­ald

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Emmanuel

Kaduna, Nigeria

Jul 17, 2013

The Lord has shown me in every facet of life that just as the darkest time of the night is the closest to daybreak so the darkest time of my life is the closest I am to Him. PRAISE THE LORD!

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Pearlene

Accra, Ghana

Jul 15, 2013

Christ is indeed our solid rock. He has been faithful even when I have not. He loved me unconditionally and has been my rock in times where there was no hope because His word does not go and come back void until it has accomplished it purpose. What an awesome God we serve.

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Ebube

Enugu, Nigeria

Jul 1, 2013

Truly all other ground is sinking sand. Some may trust in horses, some may trust in chariots, but we trust in the name of our God. Tears are on my eyes as I sing this song.

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Hanson

Ho, Volta Region, Ghana

Apr 28, 2013

We just used this song in our youth meeting. In fact, the presence of the Holy Spirit was great. Thank God for the composer. Indeed all other ground aside JESUS is sinking sand.

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Crimson Jebakumar

Tharhuna, Mergeb, Libya

Apr 1, 2013

Each and every letter is encouraging in time of brokenness. Good music too is adding the sweetness.

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