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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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Abide with me! fast falls the eventide

Longings For Fellowship with Christ

English370
1
Abide with me! fast falls the eventide;
The darkness deepens; Lord, with me abide!
When other helpers fail and comforts flee,
Help of the helpless, oh, abide with me.
2
Swift to its close ebbs out life’s little day;
Earth’s joys grow dim, its glories pass away;
Change and decay in all around I see;
O Thou who changest not, abide with me.
3
Come not in terrors, as the King of kings;
But kind and good, with healing in Thy wings:
Tears for all woes, a heart for every plea;
Come, Friend of sinners, thus abide with me.
4
I need Thy presence every passing hour:
What but Thy grace can foil the tempter’s power?
Who like Thyself my guide and stay can be?
Through cloud and sunshine, oh, abide with me.
5
I fear no foe, with Thee at hand to bless:
Ills have no weight, and tears no bitterness:
Where is death’s sting? where, grave, thy victory?
I triumph still, if Thou abide with me.

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Steve Miller

Detroit, MI, United States

Nov 27, 2014

Of Lyte's hymns, "Abide With Me" is the best known. According to the traditional story given in the "Remains", Lyte wrote it a few hours after conducting the final service at his church, which was probably 5 September 1847. More likely the hymn was actually written in July or August of that year. Lyte himself created for the hymn what his biographer has disparaged as "a dull tune." When "Hymns Ancient and Modern" was published in 1861, the editor, William H. Monk—whose three-year-old daughter had just died—composed his own tune, "Eventide," for Lyte's poem. The hymn became a favorite of Kings George V and George VI and was sung at the former's funeral. The hymn also inspired Field Marshal Herbert Kitchener and General Charles "Chinese" Gordon, and it was said to have been on the lips of Edith Cavell as she faced a German firing squad. "Abide with Me" has been sung at the Football Association Cup finals since 1927 when the association secretary substituted the hymn for the playing of "Alexander's Ragtime Band." In Rugby League, the hymn has been sung before the Challenge Cup final since 1929, the first year the match was staged at Wembley Stadium. The hymn is the also the Portora Royal School (where Lyte went to school as a boy) victory song and is sung its remembrance service.

Leon Litvack has written in the Oxford Dictionary of National Biography that although Lyte's "poetic energies were directed at scripturally and evangelically minded audiences, his lyric gift was universally appreciated. The example of ‘Abide with me’ is instructive: intensely personal and contemplative, yet nationally popular—even being sung (always, after its publication in 1861, to W. H. Monk's tune, ‘Eventide’) on secular occasions such as at football matches, and especially, since 1927, at the English cup final." The 20th-century hymnologist Erik Routley referred to the "much-loved H. R. Lyte" who "though scriptural and evangelical in his emphases, always writes good literature and is rarely deserted by an exquisite lyric gift. Perhaps the centrally 'romantic' hymn of all hymns is the intensely personal yet, as it has proved, wholly universal hymn, 'Abide with me.' - Wikipedia

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As others have pointed out, this hymn was sung by Emeli Sande at the 2012 Olympics opening ceremony in London.

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Adedapo jide

West Bloomfield, MI, United States

Nov 25, 2014

Thank You MOST HIGH LORD, EVERLASTING FATHER, ALMIGHTY GOD for giving us this beautiful hymn, it soothes, comforts and heals the soul. GLORY BE TO YOUR HOLY NAME FOR EVER. THANK YOU JESUS. Amen.

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C. Snow

Red Deer, Alta, Canada

Sep 29, 2014

This song brings such a healing and comfort to me. I am thankful for this man and his obedience to God to pen these words on paper. Still inspiring and encouraging for years to come.

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Gundo john

Nairobi, Kenya

Aug 26, 2014

I learnt the song from my late mother who sang it whenever she spiritually low. Very inspiring and is my favourite.

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Steve Ilo

Lagos, Nigeria

Jul 21, 2014

Awesome song to awesome God. A song I learnt as a primary school pupil; it makes more meaning to me now than back in the days. It rejuvenates the soul and renews faith in the Almighty God. Thank You Holy Spirit for putting this in my heart this day. What a blessing! Glory to Jesus - the Redeemer of my soul.

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Dorcas T. Adesanya

London, England

May 18, 2014

Abide with us oh Lord in Jesus Name. Please our Lord Jesus stay close to us forever and ever in Jesus Name. Thanks for uploading this beautiful song. God bless you.

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Angela Tangie

Newtown, Powys

Apr 15, 2014

My mother's and her mother's favourite hymn. I learnt it long ago. It always reduces me to tears.

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Nadira Tyabji

Hyderabad, Andhra Pradesh, India

Mar 6, 2014

So very beautiful.. . So Moving. So True...

I am not a Christian - but born a Muslim..

This hymn composed by a simple pastor in his Great Hour of Need is one I always turn to in my own hours of need.

It never fails to console - always strengthens me.

I believe in the Universality of Religion. Don't you??

What is religion for...but to bring about a Brotherhood of ALL Human Beings??

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Imo Isemede

Newcastle, Tyne And Wear, United Kingdom

Mar 4, 2014

Wonderful hymn, this is one of my favourite. I love it. Abide with me oh Lord. I need Thee always.

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Hanson Ikponmwosa

Austin, Texas, United States

Oct 27, 2013

Great hymn. I sang it out in my sleep three days ago. But maybe you will need to modify the beginning of the second line because a lot of born again Christians personalize their songs. Maybe we say: EVEN THROUGH THE DARKNESS, LORD WITH ME ABIDE.

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