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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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Anthony Mbithi Musau

Queenstown, Southland, New Zealand

Aug 13, 2020

When I turn inward there's a lot to make me be afraid, dispair, wear out but my saviour Christ Jesus comforts me through this hymn"i fear no evil with thee at hand to bless"Amen.

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Ana Lara

United States

Aug 9, 2020

Henry F. Lyte, an obscure English pastor wrote the text for this hymn in 1847, shortly before his passing on to be with his Lord and Savior. It has since rendered comfort to Christians during times of sorrow and distress

Henry F. Lyte was born in Scotland on June 1, 1793. He was educated at Trinity College, Dublin, Ireland, and was a member of the Church of England all of his life. Henry had a frail constitution, battling asthma and tuberculosis but was strong in spirit. He was an established poet, musician and minister and coined the phrase, “It is better to wear out than to rust out. ” Wherever he ministered, he was greatly loved and admired by those he ministered to.

The last twenty-three years of his life were spent in a poor parish church among a finish congregation at Lower Brixham, Devonshire, England. During these years his health became progressively worse and as a result traveled to Italy in search for a warmer climate. It is said that during his last sermon to his parishioners on September 4, 1847, Lyte nearly had to crawl to his pulpit and his message came as from a dying man. His final words impacted his poor parishioners when he said it was his desire to “induce you to prepare for the solemn hour which must come to all by a timely appreciation and dependence on the death of Christ. ” He died in Nice, France on his way to Rome, Italy and was buried in the English cemetery on November 20, 1847.

Lyte is said to have written this text along with his own tune shortly before his last sermon at the Lower Brixham Church. It became widely used after a was published in a book, “Lyte’s Remains, ” in 1850, London. Its first appearance in America was in 1855, with Henry Ward Beecher’s “Plymouth Collection” with the notation that “this hymn was meant to be read and not sung. ” Later it was discovered by William Henry Monk, music editor of the Anglican Church hymnal, “Hymns Ancient and Modern, ” and it was included in the first edition of that hymnal published in 1861.

William Monk contributed fifty original tunes for the hymnal. It is said that it took him less than half an hour to compose for Lyte’s text named “Eventide. ” He was inspired by the beauty of a beautiful sunset while experiencing a deep personal sorrow. In addition to his work as editor of the hymnal, he was also choir director and organist at King’s College, London.

Henry Lyte’s text for this hymn was taken from the account of Christ’s appearance with the two disciples on the way to Emmaus and what they told the Lord, “Abide with us: for it is toward evening and the day is far spent” (Luke 24:29).

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Oluremi

Hull, United Kingdom

Jul 24, 2020

Thanks You Jesus for bringing this Hymn back to me and Finding the Lyrics here to Sing it to my Heart's Content. Bringing back memories when we use to sing it in the Assembly in Primary school and Secondary school days. Thank You Lord!

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Hon Obinna Iloefe

Port-Harcourt, Rivers State, Nigeria

Jul 2, 2020

I am glad always to abide in his presence with this hymn,

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Segun

Lagos, Nigeria

Jun 30, 2020

I need Thy presence every passing hour:

What but Thy grace can foil the tempter’s power?

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Sonate

Lagos, Nigeria

May 13, 2020

I'll triumph still if thou abide with me 🙏

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Elizabeth Timothy

Uyo, Akwa Ibom, Nigeria

May 11, 2020

When other helpers fail and comfort flee

Help of the helpless Lord abide with me... This line gives me hope it strengthens me 😍

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Iniabasi Okulaja

Calabar, Cross River, Nigeria

May 2, 2020

*I triumph still if thou abide with me*

This brings so much comfort because I know He is always with me . I triumph always!! Halelujah!

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Knii Fiofio

Ghana

Apr 15, 2020

Aww! Such soothing hymn especially in times as these. May God continually abide with us!

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Wendy Bridge

Mono, Ontario, Canada

Apr 2, 2020

At times like we are going through now, when all around us things are changing, possibly forever, what wonderful, inspirational words to remind us there is still hope. There will be a future because covid 19 is NOT the ultimate power of the Universe. The love of God remains with us always, through life and death.

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