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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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All that we were—our sin, our guilt

Worship of the Father His Love

English31
1
All that we were—our sin, our guilt,
Our death—was all our own:
All that we are we owe to Thee,
Thou God of grace alone.
2
Thy mercy found us in our sins,
And gave us to believe;
Then, in believing, peace we found,
And in Thy Christ we live.
3
All that we are, as saints on earth,
All that we hope to be,
When Jesus comes and glory dawns,
We owe it all to Thee.
4
O God, how rich, how vast Thy love,
Whoe’er can Thee repay?
Thy love is past man’s finding out,
Thy grace no man can say.
5
But Lord, to me I pray Thee grant,
More clearly may I see,
That I may e’er more fully know
How much I owe to Thee.
6
But if man’s heart should e’er suppose
He could repay Thy love,
It only means he nothing knows
Of love, all loves above.
7
So may we never bargains make
With that dear love of Thine:
The love that made Thine heart once break,
Whoe’er that love could win?
8
Then nevermore suggest return,
His love is far too high;
But let our hearts with rapture burn
That He for us should die.
9
O Father God, we owe Thee all!
All that we are and have!
With grateful thanks before Thee fall,
’Tis all that we can give.

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Un Hermano

Aug 2, 2025

NEEDING CHRIST AS OUR SIN OFFERING

When we unintentionally sin, we need to realize that the cause is the indwelling sin in our fallen nature and that we need to experience Christ as our sin offering in order to deal with it. In order to solve the problem of sin, God sent His own Son in the likeness of the flesh of sin and condemned sin in the flesh ( 8:3 ). The flesh of the fallen human race is one with sin. As fallen human beings, we are flesh, and the flesh is sin. Therefore, when Christ became flesh, that is, a man in the flesh ( John 1:14 ), He as the One who did not know sin was made sin on our behalf in order to be judged by God. Our problem is not merely that we commit sins but that we are sin. Therefore, Christ not only bore up our sins in His body on the tree ( 1 Pet. 2:24 ) but also was made sin on our behalf ( 2 Cor. 5:21 ). We as sin itself were crucified when He was crucified.

Enjoying Christ as the Reality
of the Offerings for the Church Life
Chapter 5 (LSM)

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Ana Lara

Storrs, Connecticut, United States

Feb 4, 2022

The music for this hymn was written by Isaac Smith. He was born in 1734, London, England and died December 14, 1805, Walworth, Newington, Surrey, England. He was buried in Bunhill Fields, London, England

Smith was a precentor— a leader of a singing choir or congregation—at the Alie Street Meeting House, Goodmans Fields, East London, receiving 40 pounds per year, possibly the first salaried precentor. Later he became a linen draper— a dry goods merchant. Smith also wrote “The Collection of Psalm Tunes in Three Parts, ” circa 1770.

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Edward Chang

San Diego, CA, United States

Nov 26, 2018

I would personally recommend this hymn be sung to the alternate tune to better match the feeling of the writer (i. e. , the tune of hymn, #600).

This is truly a wonderful hymn. It may not be high in its revelation, but it is indeed deep in its feeling. The sentiment expressed in this hymn is not that of someone who is trying to teach us something of God, but of someone who truly knows just how much a sinner they are and how much a salvation the Savior, our dear, precious Lord Jesus Christ has won us. These stanzas touch me very deeply:

But Lord, to me I pray Thee grant,
More clearly may I see,
That I may e’er more fully know
How much I owe to Thee.

But if man’s heart should e’er suppose,
He could repay Thy love,
It only means he nothing knows
Of love, all loves above.

So may we never bargains make
With that dear love of Thine:
The love that made Thine heart once break,
Whoe’er that love could win?

I feel the writer here had a fundamental yet often overlooked realization (one I find very lacking among us younger ones today) which is that we owe our lives to the dying love of the Lord and of the love our Father had toward us.

The words of our Lord to the sinful woman caught in adultery come to mind: "... her sins, which are many, are forgiven, for she loved much; but he who is forgiven little, loves little" (Luke 7:47). I sense the words of this hymn can only have come from one who truly knew what it was to be forgiven. It dawned on me one day just how much our God has given to us, the sinful, prodigal children that today we should be called the sons of God. This hymn brought to me a deep repentance with tears and a heart full of love and gratitude toward our God and Father. And though seemingly so basic, I could not help but feel the freshness of my rekindled love for the Father. How short my realization had been all those years! "O Father God, we owe Thee all!"

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