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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 Tempo menu slows it down without changing the pitch.

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Sov’reign grace o’er sin abounding

Assurance and Joy of Salvation Saved by Grace

English314
1
Sov’reign grace o’er sin abounding,
Ransomed souls, the tidings swell;
’Tis a deep that knows no sounding,
Who its breadth or length can tell?
On its glories, on its glories,
Let my soul forever dwell!
On its glories, on its glories,
Let my soul forever dwell!
2
What from Christ the soul can sever,
Bound by everlasting bands?
Once in Him, in Him forever,
Thus th’ eternal cov’nant stands.
None shall pluck thee, none shall pluck thee
From the Savior’s mighty hands!
None shall pluck thee, none shall pluck thee
From the Savior’s mighty hands!
3
Heirs of God, joint-heirs with Jesus,
Long ere time its race begun;
To His name eternal praises,
O what wonders love has done!
One with Jesus, one with Jesus,
By eternal union one.
One with Jesus, one with Jesus,
By eternal union one.
4
On such love, my soul, still ponder,
Love, so great, so rich, so free;
Say, while lost in holy wonder,
Why, O Lord, such love to me?
Hallelujah! Hallelujah!
Grace shall reign eternally!
Hallelujah! Hallelujah!
Grace shall reign eternally!

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Hschulte

Kassel, Germany

May 13, 2024

Always beautiful !

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Caspian Mitchell

United States

Apr 12, 2022

Hallelujah, Grace, unmerited and unearned favor from God, the only God shall reign eternally. How I long await the day we meet before the Throne of the Most High, singing his praises forevermore.

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Ana Lara

Storrs, Connecticut, United States

Nov 5, 2019

John Kent was born at Bideford , Devonshire, England in December 1766. He was the son of a shipwright in Plymouth Dock, now Devonport, and had very little opportunity of getting an education. At 14 years old he became an apprentice to his father but in his spare time he worked on improving his knowledge and ability. There is no knowledge of how he was saved but soon after he became interested in writing verses of a spiritual nature.

In 1803 some of these verses were published in a small volume titled “A Collection of Original Gospel Hymns”. John was said to be a modest and genuine Christian in his life. After many years he suffered the loss of his eyesight. He accepted his condition with great patience and at the time of his death he passed away peacefully and with unwavering faith in the Lord on November 15, 1843. His last words were, ”I’m accepted! ”

He wrote the first stanza of this hymn in 1827.
“Sovereign grace o’er sin abounding,
Ransomed souls the tiding swell !
‘Tis a deep that knows no sounding;
Who its length or breath can tell? ”

The rest of the hymn was written by George Horne who died in 1792.

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Mark John

Philippines

Mar 3, 2007

This song keeps me burning. How graceful is our Lord Jesus. Lord Jesus, I love You.

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