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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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Father, long before creation

Worship of the Father His Election

English33
1
Father, long before creation,
Thou hadst chosen us in love;
And that love, so deep, so moving,
Draws us close to Christ above,
And will keep us, and will keep us,
Firmly fixed in Christ alone,
Firmly fixed in Christ alone.
2
Though the world may change its fashion,
Yet our God is e’er the same;
His compassion and His cov’nant
Through all ages will remain.
God’s own children, God’s own children,
Must forever praise His name,
Must forever praise His name.
3
God’s compassion is my story,
Is my boasting all the day;
Mercy free and never failing
Moves my will, directs my way.
God so loved us, God so loved us,
That His only Son He gave,
That His only Son He gave.
4
Loving Father, now before Thee
We will ever praise Thy love;
And our song will sound unceasing
Till we meet Thy Son above,
Giving glory, giving glory,
To our God and to the Lamb,
To our God and to the Lamb.

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Ana Lara

Tolland, Connecticut, United States

Dec 2, 2018

Francis P. Jones (1890-1975) was born in Dodgeville, Wisconsin. He entered Platteville Teachers Training College in 1907. In 1911 he continued his education at Northeastern University, Garret Evangelical Seminary and at the University of Chicago.

Jones went to Fukien, China in 1915 as a missionary. In 1930, he obtained a master of theology degree in Union Theological Seminary. He taught in Nanking and served in the hymnal committee which included Bliss Wiant to produce Hymns of Universal Praise (Pu Ti An Song Zan. )

In 1937, he taught New Testament studies in Nanking Seminary and founded the school of sacred music there.

In 1938, he began reading for his doctorate degree at Union Theological seminary.

During the Sino-Japanese War, he went to Szechwan Chanti to translate and edit classical Christian literature but had to stop because of the political upheaval.

In 1951, Jones returned to America and taught at Drew Theological Seminary and became the chief editor for China’s News in Brief for 11 years. He retired in 1960 but continued to translate in the Association of Theological Schools in S. E. Asia. His translations include works of E. D. E. Schleiermacher and Von Hagel. His contributions are commented as equivalent to that of Kumarajiva who in the Tang Dynasty translated major classical works of Buddhism.

methodistmission. org

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Ben Dover

Oct 28, 2018

Praise the Lord!

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Anonymous

Nashville, TN, United States

May 3, 2018

I appreciate stanza two. “ Though the world may change its fashion”. In light of Genesis 6:3 which says that indeed man is flesh we also have the full assurance that our God remains the same. Though the world may change praise the Lord we can lay our hands with full assurance on Christ who has completely fulfilled the type of the burnt offering for our sins and God is appeased.

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Jadyn Montegreen

Jul 23, 2017

We worship the Father!!

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Minnie Zhang

Oct 16, 2016

Loved this song!

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Bette Keith

Australia

Jan 24, 2014

God's merciful covenant I think of as like the game of tennis in that the means to accomplish it may have changed but it is still the same game. God's everlasting Covenant is the same yesterday, today and forever. Praise Him for drawing us to Himself in His time and Providence.

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Paul Tetteh

Germany

Nov 2, 2013

I am touched by stanza 3:

God’s compassion is my story,
Is my boasting all the day;
Mercy free and never failing
Moves my will, directs my way.

This corresponds to Lamentations 3:22-23 : It is Jehovah's lovingkindness that we are not consumed, For His compassions do not fail; They are new every morning; Great is Your faithfulness.

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