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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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In loving-kindness Jesus came

Assurance and Joy of Salvation Saved by Grace

English320
1
In loving-kindness Jesus came
My soul in mercy to reclaim,
And from the depths of sin and shame
Through grace He lifted me.
 
From sinking sand He lifted me,
With tender hand He lifted me,
From shades of night to plains of light,
Oh, praise His name, He lifted me!
2
He called me long before I heard,
Before my sinful heart was stirred,
But when I took Him at His word,
Forgiv’n, He lifted me.
3
His brow was pierced with many a thorn,
His hands by cruel nails were torn,
When from my guilt and grief, forlorn,
In love He lifted me.
4
Now on a higher plane I dwell,
And with my soul I know ’tis well;
Yet how or why, I cannot tell,
He should have lifted me.

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Ana Lara

United States

Mar 29, 2020

One of the most influential songwriters of the early twentieth century was Charles H. Gabriel. He was born in a prairie shanty on August 18, 1856 at Wilton, Iowa. The settlers in that area would come to Gabriel’s home for singing and fellowship with Charles’s father leading the gathering. He developed a love for music when he was young and quickly his talent for composing emerged. One day he told his mother that he wanted to write a song that would make him famous to which his mother replied, “My boy, I would rather you write a song that will help somebody than for you to become President of the United States. ” Two years later he began teaching music in the surrounding schools without ever having taken a single music lesson himself. He wrote and sold many of his songs but did not receive more than two dollars and fifty cents for any one of them.

Mr. Gabriel edited many gospel song books, Sunday School song books, chorus books, children’s song books, anthems, and cantatas as well as numerous books for instruction. He was associated with the Homer Roadheaver Publishing Company from 1912 until his death in 1932. Gabriel became a famous composer and his popularity grew with the use of his songs by Roadheaver in the Billy Sunday evangelistic campaigns. Gabriel usually wrote the text and music for his songs. Some of his hymns are under the pseudonym, Charlotte G. Homer.

One of his most popular hymns, “O That Will Be Glory” first appeared in a publication entitled “Make His Praise Glorious” published in 1900 by a musician friend, Ed Card, Superintendent of the Sunshine Rescue Mission of St. Louis, Missouri. Ed was a joyful believer who always radiated Christ. His smiling face earned him the nickname “Old Glory Face. ” During a sermon or prayer meeting, he would often shout out the word, “Glory! ” He would often end his own praying making reference to heaven and then would end with the phrase “and that will be glory for me! ” It is said that just before going on to be with the Lord, he sang this hymn with the feeling that his Christian life had counted for Christ. The hymn has been translated into many languages and dialects with around 100 million publications.

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Ikuroaa Jack

Port Harcourt, Rivers, Nigeria

Jan 18, 2019

Great Song.... Truly, The LORD has lifted us above all pains and shame... This song inspires any day, any time...

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Bill Cooper

Jonesboro, Arkansas, United States

Jan 8, 2018

I grew up on we called the old hymns which included brother Gabriel & I’m so glad to have been reminded of this great hymn by a devotional I use.

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Nimrod Ojijo

Kisumu, Nyanza, Kenya

Sep 26, 2015

Good work of God.

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Peter Howarth

Belfast, Antrim

Jun 5, 2014

To the praise of the glory of HIS GRACE.

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Bob Baer

Brampton, ON

Apr 27, 2014

Your comments touched me brother Paul.

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Paul Nicholas

Coolum Beach, Queensland, Australia

Aug 29, 2013

I own this song. It speaks my story in every way. Saved by His tender mercy and grace He lifted me from the miry clay and sinking sand of self and sin.

Loved singing it as a kid 60 years ago and love it more now after spending many prodigal years in the pig pen. God has lifted me to plains of light from drug addiction, adultery and other pig pen activities. O praise His name He lifted me!

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Michael Moore

Morris Chapel, TN, United States

Jul 21, 2013

Each of the above comments do so reflect my own love for this beloved hymn. Until I found this page, I had thought I was alone and probably the only person who had such an affinity for this hymn. It is so meaningful to me, for it tells my own story of grace so vividly. Brother Eddie George Anderson was our music director at Woolmarket Baptist Church in Biloxi, MS during part of my father's tenure as pastor of that beloved church. He probably sang this hymn as much or more as a solo prior to Dad's preaching than any other selection. I was just a young boy during that time, not long saved and in the kingdom of the Lord when I first heard Brother Eddie sing it. However, from the first time I heard him sing it, it sounded to me as though the angel Gabriel was leading a heavenly chorus of praise to our dear Lord. I thought then how much those words fit my personal testimony. Little did I know then, some forty plus years ago, just how meaningful those lyrics and that heart touching melody would be to me through every valley and mountain I would pass through. I could never sing it like Brother Eddie or any of the gifted singers who have recorded this jewel of hymns. However, one day after awhile, I will, in my broken, cracked voice, sing it with pleasure and with a most grateful heart to my Lord, face to face as I kneel in humble adoration in His presence. I have sang it countless times to Him by faith here below, but someday, face to face. I only hope my humble rendition will be a fitting sacrifice of praise to our beloved Jesus! Thank you so much for adding this precious hymn to your collection.

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Kofi Owusu

Accra, Ghana

Jan 29, 2013

This is one of my favorite hymns. It expreses to me exactly what Jesus has done for me. Somehow I normally I am unable to sing through all the verses without shedding a tear. O praise His name He lifted me and made me belong to His kingdom of priests and a holy nation. (Exodus 19:6).

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Betty Jane Bonn

Dunlap, Illinois, United States

Oct 11, 2012

I enjoyed Sabina's comments so much. Here is another song you might enjoy.

O, Love that Wilt Not Let Me Go

(by George Mattheson, the blind preacher)

O Love that wilt not let me go,
I rest my weary soul in thee;
I give thee back the life I owe,
That in thine ocean depths its flow
May richer, fuller be.

O light that followest all my way,
I yield my flickering torch to thee;
My heart restores its borrowed ray,
That in thy sunshine’s blaze its day
May brighter, fairer be.

O Joy that seekest me through pain,
I cannot close my heart to thee;
I trace the rainbow through the rain,
And feel the promise is not vain,
That morn shall tearless be.

O Cross that liftest up my head,
I dare not ask to fly from thee;
I lay in dust life’s glory dead,
And from the ground there blossoms red
Life that shall endless be.

God bless you all.

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