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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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Changed into His likeness

Longings For Likeness to Christ

English399
1
Changed into His likeness!
This my heart’s desire!
May the Lord fulfill it,
All my soul inspire.
2
Changed into His likeness!
He the Spirit is!
If the Spirit governs,
He’ll fulfill my wish.
3
As a glass, beholding
With uncovered face,
I can see His glory
And reflect His grace.
4
O that no more covering
May the Lord obscure,
That I may reflect Him
With a heart made pure.
5
Gazing on His glory,
Face to face to see;
Constantly beholding,
Ever would I be.
6
Changed into His likeness!
This my heart’s one quest!
From my heart reflected,
He will be expressed.
7
Changed into His likeness
And reflecting more
Glory unto glory,
Boundless evermore.

Copyright Living Stream Ministry. Used by permission.

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Un Hermano

Nov 3, 2025

TO BE WITH GOD IN THE

TENT OUTSIDE THE CAMP

Exodus 33:7 says, “Now Moses used to take the tent and pitch it outside the camp, far off from the camp, and he called it the tent of meeting. And it came about that everyone who sought Jehovah would go out to the tent of meeting, which was outside the camp. ” According to verses 9 and 10 , the glory of the Lord was at the door of the tent. In verse 11 we are told that “Jehovah would speak to Moses face to face, as a man speaks to his companion. ” All the children of Israel who wanted to seek the Lord went out to the tent of meeting which was outside the camp.

Moses, an experienced person, knew that God according to His holiness would no longer stay among the people, for the camp had become idolatrous. Therefore, Moses took his tent, which formerly had been in the camp, and pitched it outside the camp. This action was according to God’s heart.

Knowing the heart of God, Moses realized that he could not stay in an idolatrous situation. This was the reason he moved his tent outside the camp. This tent then became the tent of God. The tabernacle had not yet been constructed. Hence, Moses’ tent became the tent of meeting for the meeting between God and His people. “And it came about, when Moses went into the tent, the pillar of cloud would descend and stand at the door of the tent, and He would speak with Moses” (v. 9). If the people wanted to seek God, they had to go to the tent of Moses.

Moses’ tent outside the camp is a type. In Hebrews 13:12 and 13 we have the fulfillment of this type: “Wherefore also Jesus, that He might sanctify the people through His own blood, suffered outside the gate. Let us therefore go forth unto Him outside the camp, bearing His reproach. ” The Lord Jesus was crucified outside the city of Jerusalem. The people of God rejected Him, the sent One of God. Even though He is the Son of God, the children of Israel had Him crucified outside the city. In Hebrews 13:13 we are urged to go forth unto Christ outside the camp, which signifies human organization.

In the last century certain teachers wrote strongly on this matter. They pointed out that today’s Christianity is a “camp, ” and this camp has become idolatrous. The Lord would not remain in such an idolatrous camp. Because He has come out of that camp, whoever seeks the Lord must go forth unto Him outside the camp. We need to go unto this rejected One, the One rejected by idolatrous religion. We need to leave the idolatrous camp and go to the rejected One. This is the narrow way we must follow.

We need to ask ourselves if we are still in the “camp, ” or if we have gone forth unto the Lord outside the camp. We may be able to testify that we are outside the camp. Nevertheless, we need to be careful lest we again become a camp. As soon as there is idolatry among God’s people, they become a camp.

Whatever Moses did in these chapters was according to God’s heart. He made propitiation in behalf of the children of Israel according to God’s heart, and he moved his tent outside the camp also according to God’s heart. Moses, therefore, had the ground to bargain with God for His presence and glory (33:12-23).

Life-study of Exodus

Message 177(LSM)

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Un Hermano

Nov 3, 2025

EPHESIANS 4:4-6

Ephesians 4:4 reveals that there is one Spirit for one Body with one hope. Without Paul’s prayer in Ephesians 3 , there would be no way for the believers to be one Body. Because the believers’ inward parts have been taken over, occupied, by the settling Christ, the Spirit can be the very essence of the Body. The church as the Body of Christ has the Spirit as its essence with a hope. The hope is that the entire Body of Christ will be fully transfigured. Today much of our being still remains in the old creation, but we have a hope that one day the Lord will transfigure even our physical body into His likeness. Today the Spirit is the Body’s essence. The Spirit as the essence of the Body needs to saturate our entire being until we are transfigured. We have a hope for this transfiguration.

Ephesians 4:5 speaks of one Lord [the Son] with one faith and one baptism. Faith united us to Christ in the organic union, and baptism cut us off, separated us, from the world. In other words, faith joins and baptism cuts. Now we are of the Lord because we have faith and baptism.

Verse 6 says that there is one God and Father of all—over all, through all, and in all. We need to be those who are enjoying the Father as the source of the Trinity. This One is in three directions. He is over all, through all, and in all. This means that the Father is triune. Actually, the Father is over all, the Son is through all, and the Spirit is in all. This shows that the Triune God is embodied in the Father who is also over all, through all, and in all.

Living in and with the Divine Trinity

Chapter 6 CWWL, 1988, vol. 1 (LSM)

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