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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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Far away the noise of strife upon my ear

Assurance and Joy of Salvation Satisfied with Christ

English324
1
Far away the noise of strife upon my ear is falling,
Then I know the sins of earth beset on every hand;
Doubt and fear and things of earth in vain to me are calling,
None of these shall move me from Beulah Land.
 
I’m living on the mountain, underneath a cloudless sky,
I’m drinking at the fountain that never shall run dry;
O yes, I’m feasting on the manna from a bountiful supply,
For I am dwelling in Beulah Land.
2
Far below the storm of doubt upon the world is beating,
Sons of men in battle long the enemy withstand;
Safe am I within the castle of God’s word retreating,
Nothing then can reach me, ’tis Beulah Land.
3
Let the stormy breezes blow, their cry cannot alarm me,
I am safely sheltered here, protected by God’s hand;
Here the sun is always shining, here there’s naught can harm me,
I am safe forever in Beulah Land.
4
Viewing here the works of God, I sink in contemplation,
Hearing now His blessed voice, I see the way is planned;
Dwelling in the spirit, here I learn of full salvation,
Gladly will I tarry in Beulah Land.

Beulah means Married in Hebrew (cf. Isaiah 62:4)

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Steve Miller

Detroit, MI, United States

Dec 24, 2014

Born in Lakehurst, New Jersey, Miles attended Philadelphia College of Pharmacy and the University of Pennsylvania. In 1892, he abandoned his ca­reer as a phar­ma­cist and wrote his first Gos­pel song, He served as ed­i­tor and man­a­ger at the Hall-Mack pub­lish­ers for 37 years. In his own words:

"It is as a writ­er of gos­pel songs I am proud to be known, for in that way I may be of the most use to my Mas­ter, whom I serve will­ing­ly al­though not as ef­fi­cient­ly as is my de­sire." - hymntime

Miles was an amateur photographer who wrote many of his hymns in a darkroom, while waiting for the photographs to develop. - hymnpod

He also wrote the words and music for "I come to the garden alone", which tune is used for "O glorious Christ, Savior mine" #501, and which lyrics were probably the inspiration for #554 "I come to His presence afresh".

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Caroline Krise

Pottstown, PA, United States

Dec 12, 2014

love this song!

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Olusegun Oyedeji

Hyde Park, Massachusetts, United States

Oct 29, 2014

This is one of the inspirational song ever written. Its lyrics and rhythms soothes hopeless heart knowing fully well that in spite of life difficulties and uncertainties, they still have the hope that one day they will see the Lord and nothing else can move them from HIM for ever. Praise the Lord.

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Joshua

Watertown, Wisconsin

Apr 30, 2014

I love this song because we can know we can spend eternal life with our Lord. Amen.

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Kitty Joubert

Bloemfontein, Free State, South Africa

Oct 20, 2013

Hallelujah, we are fed by CHRIST's bountiful supply.

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Leslie

Cavite, Philippines

Dec 3, 2012

Proverbs 16:3- Commit to the Lord, all thy works and thy thought shall be established!!!! To God be the glory!!!

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Sarah

Oct 21, 2012

Halellujah. Praise the Lord. Satisfied with Christ fully.

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Dn

Surabaya, Jawa Timur, Indonesia

Jul 15, 2012

None shall move me from Christ our Land!!! Amen.

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Rosita Enriquez

United States

Nov 30, 2011

Isaiah 62:4 says "And it will no longer be said to you, Forsaken! / Nor to your land will it be said any longer, Desolate!,/ But you will be called, My delight is in her, and your land, Married;/ For Jehova delights in you, / And your land will be married." The word Beulah stands for "Married" in this verse.

Lord, no longer forsaken nor desolate, but we are called "My delight is in you," we are called "Married."

Self, I do not believe your lies, I am in another realm, my mingled spirit, where I am in full satisfaction with my Lord.

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Michael Paulo Zamora

Meycauayan, Bulacan, Philippines

Aug 23, 2008

Amen! Christ is our Land! Here we find rest, enjoyment, peace, joy, everything! Let's dwell live in the spirit and enjoy this Land!

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