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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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I was lost in sin but Jesus rescued me

Assurance and Joy of Salvation A Wonderful Savior

English335
1
I was lost in sin but Jesus rescued me,
He’s a wonderful Savior to me;
I was bound by fear but Jesus set me free,
He’s a wonderful Savior to me.
 
For He’s a wonderful Savior to me,
He’s a wonderful Savior to me;
I was lost in sin, but Jesus took me in,
He’s a wonderful Savior to me.
2
He’s a Friend so true, so patient and so kind,
He’s a wonderful Savior to me;
Everything I need in Him I always find,
He’s a wonderful Savior to me.
3
He is always near to comfort and to cheer,
He’s a wonderful Savior to me;
He forgives my sins, He dries my every tear,
He’s a wonderful Savior to me.
4
Dearer grows the love of Jesus day by day,
He’s a wonderful Savior to me;
Sweeter is His grace while pressing on my way,
He’s a wonderful Savior to me.

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Chidiebere Felix

Myanmar, Imo State, Nigeria

Feb 4, 2020

Wonderful saviour to me also
I was lost in sin
JESUS TOOK IN
IS A WONDERFUL SAVOUR TO US

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Anonymous

Jan 20, 2019

Yes my Lord is a Wonderful Savior to me every day Amen 🙏🏻

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Steve Miller

Detroit, MIchigan, United States

Oct 15, 2017

In his book of memoirs, written 2 years before his home-going in 1976 at the age of 91, Virgil Brock recalls numerous incidents from his active and colorful Christian life:

I was the 6th of 8 sons born to my Quaker parents. My parents were devout and firm in their spiritual convictions. They abhorred liquor, tobacco, and corrupt speech, and ardently practiced what they believed to be the teaching of the Bible. I was converted at the age of 16 at a nearby church revival meeting. Soon I felt the call for Christian service and prepared myself with studies at the Fairmont Friends Academy and Earlham College in Indiana. During this time I pastored several small Quaker churches. Some time later, I met and married a talented singer and pianist named Blanche Kerr - 'The Belle of the Community'.

Until Blanche's death from cancer in 1958, the Brocks were actively involved in evangelism and much song writing. In the Warsaw-Winona Lake cemetery, a large monument was erected for Blanche with the words and music of the most famous hymn that they wrote together, "Beyond the Sunset, O blissful morning," fully engraved in stone as a tribute to the dedicated ministries of this talented couple. Most of the more than 500 gospel songs written by Virgil Brock were in collaboration with his wife Blanche.

---------------

Virgil writes: "Beyond the Sunset" was born during a conversation at the dinner table on evening in 1936. We had been watching a very unusual sunset at Winona Lake, Indiana, with a blind guest - my cousin Horace Burr - and his wife Grace. A large area of the water appeared ablaze with the glory of God, yet there were threatening storm clouds gathering overhead. Returning to our home, we went to the dinner table still talking about the impressive spectacle we had witnessed.

Our blind guest remarked, "I have never seen a more beautiful sunset."

"But cousin Horace, people are always amazed when you talk about seeing, when they know that you have always been blind."

"But I can see .... for I see through other people's eyes; and I think I often see more clearly than they do - because I see beyond the sunset."

It was that phrase, "beyond the sunset," and the striking inflection of his voice that struck me so forcibly ... I began singing the first few measures. Then his wife interrupted me - "That's beautiful .... Virgil; please go to the piano and sing that phrase again." We went to the piano nearby and soon completed the first verse.

Horace then said, "Virgil, now you should have a verse about the storm clouds."

And the words for this verse came quickly as well. Recalling how closely our guests Horace and Grace had walked hand in hand together for so many years due to his blindness, the 3rd verse was soon added. Before the evening meal was finished, all 4 stanzas had been written and we sang the entire song together with much excitement. - '52 Hymn Stories Dramatized' by Kenneth W. Osbeck

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June Estelle Cash

Blaine, WA, United States

Apr 29, 2017

Thank you that I can listen and love my Savior - I belong to a Church that still sings the old songs - I hope and pray God uses this site to encourage many.

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Jean Patience

Kolwezi, Katanga, Democratic Republic Of Congo

Jun 1, 2015

O yes, His is a wonderful Savior to me and He cares for me. Thank You Jesus my Savior for Your blood.

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Steve Miller

Detroit, MI

Apr 9, 2014

Born near Celina, Ohio, Virgil Brock grew up in a Quaker home and became a Quaker pastor. He and his wife, Blanch Kerr, were involved in evangelism and song writing. He, together with his wife, wrote more than 500 gospel songs. He especially enjoyed leading congregational singing where his vibrancy was contagious. His last days were spent at Youth Haven Ranch, a mission for underprivileged children at Rives Junction, Michigan. - Songs of the Spirit by Martin

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