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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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He lives, the great Redeemer lives

Assurance and Joy of Salvation Secured by Divine Provisions

English326
1
He lives, the great Redeemer lives,
What joy the blest assurance gives!
And now, before His Father, God,
Pleads the full merits of His blood.
2
Repeated crimes awake our fears,
And Justice armed with frowns appears;
But in the Savior’s lovely face
Sweet Mercy smiles, and all is peace.
3
Hence, then, ye black, despairing thoughts;
Above our fears, above our faults,
His mighty intercessions rise,
And guilt recedes, and terror dies.
4
In every dark, distressful hour,
When sin and Satan join their power,
Let this dear hope repel the dart,
That Jesus bears us on His heart.
5
Great Advocate, almighty Friend!
On Him our humble hopes depend;
Our cause can never, never fail,
For Jesus pleads, and must prevail.

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Ana Lara

Storrs, Connecticut, United States

May 14, 2021

Some of the best hymns written of heavenly song have been penned by those who have suffered through physical illnesses or impediments. Such was the life of Miss Anne Steele the writer of this hymn who was an invalid and spent the greater part of her life in confinement to her room. She was born in 1716, at the village of Broughton in Hampshire, Where her father, a timber merchant, regularly officiated as pastor of a Baptist church.

Because Anne grew up in a spiritual atmosphere she very soon opened her heart to receive the Savior, and at the age of 14 she confessed her faith in Christ by being publicly baptized. Anne was gifted in the area of literature and began writing at an early age, but it was not until later in life that she could be convinced to publish her various compositions.

The mark of a tragic event, which happened when Anne was quite young, rarely left her, and at times revealed itself in the tone of her many sacred poems. Her betrothed, a young man of promising ability, was accidentally drowned while swimming, not long before the day arranged for the wedding; and the very time when the two should have been joined together as husband and wife, his lifeless body, which had been recovered from the river, was carried home. It was following this sad event that Anne wrote one of our sweetest Hymns:

When I survey lives varied scene,
Amid the darkest hours,
Sweet rays of comfort shine between,
And thorns are mixed with flowers.
Thy powerful Word supports my hope,
Sweet cordial to the mind,
And bears my fainting spirit up,
And bids me wait resigned.

She never fully recovered from the shock sustained by her great loss, which accentuated an already frail frame, brought about by a slight accident during her childhood, and for the remainder of her life was spent in retirement.

Miss Steel is said to be the first English woman who takes a permanent place among to hymn writers and has been referred to as the Frances Ridley Havergal of the 18 century. For more than 200 years her hymns have been used extensively, and a great many of them are still in use today. Anne Steel passed away in 1778, at the age of 61.

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Okewolestar

Lagos, Nigeria

Apr 8, 2021

Am greatly blessed with your song.

God bless you.

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