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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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We praise Thee, O God

Worship of the Father His Redemption

English40
1
We praise Thee, O God,
For the Son of Thy love,
For our Savior who died and
Is now gone above.
 
Hallelujah! Thine the glory,
Hallelujah! Amen;
Hallelujah! Thine the glory,
We praise Thee again.
2
We praise Thee, O God,
For Thy Spirit of light,
Who has shown us our Savior,
And scattered our night.
3
All glory and praise
To Thee, Father of love,
For through Jesus’ redemption
Thy heart we may prove.
4
We praise Thee again;
We are filled with Thy love,
And each heart is rekindled
With fire from above.

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Israel Zhakom

Abuja, FCT, Nigeria

Sep 24, 2021

Great song, with pleasant melody and rich lyrics. To God be the glory!

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Bridget Idiagbor

Kaduna, Nigeria

Jun 4, 2021

This song came alive in my spirit this morning. Thank God for His love towards me and my family and keeping us together as a nation, I praise Him with this song now and always. Revive us again O Lord.

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Osasu

May 6, 2021

Just amazing I love it so much

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Ana Lara

Storrs, Connecticut, United States

Mar 19, 2021

Dr. W. P. Mackay, author of the book “Grace and Truth”’ was used of God to bring many souls to Christ and was also the author of a number of hymns. His best known being “We praise Thee O God. ” It is believed that it was during one of his earlier evangelistic missions, when, with a heart overflowing with love and thankfulness to God that he gave utterance to these words:

“We praise Thee, O God,
For the Son of Thy love,
For Jesus who died,
And is now gone above.

Later he adopted these words as the first verse of this popular hymn of praise.

William Paton Mackay was born at Montrose on May 13, 1839. He was educated at the University of Edinburgh with the intention of entering the medical profession but he was converted and as a result, his thoughts and desires began to sway in another direction.

One day he heard the Scottish evangelist, Duncan Matheson preach to a crowd at a fair some miles away and young Mackay decided to go and join him preach the Gospel. While he attended college, Mackay dedicated the greater part of his time the sharing the good news of salvation and thus began his work for God. When Mackay turned thirty, he gave up practicing medicine just at the time when he had received his M. D. diploma, and accepted an invitation to pastor a Presbyterian Church at Hull, where he continued until he died on August 22, 1885.

Dr. Mackay revealed remarkable energy and capacity for work due to his godly character and singleness of heart for God. He is said to have traveled over 6, 000 miles by train during the first months of 1875, preaching the Gospel in various parts of the British Isles, often returning home about midnight so he might be back to his flock on the Lord’s Day.

In 1873-74 Moody and Sankey visited Scotland for the first time and Mackay joined them in the great mission, this being the kind of work he delighted in. He was much sought after for being such a great expositor of the Scriptures: “men eminent in Christian work—Mr. D. L. Moody with others—have acknowledged their obligations to Dr. Mackay as a teacher of the English Bible, and have preached the Word with greater fullness and certainty for having been closeted with him over the pages which present it to people’s view. ”

For almost the entire time he pastored Hull Church, he took no fixed income looking alone to the Lord to supply his needs; and they were abundantly supplied through an offering box placed in the lobby of the church. Mackay had a spirit of self-denial guided by the desire that his congregation might be better able to devote more fully to the Lord’s work in other spheres of labor.

One of his biographers writes:

“His style of exposition and address was unique, and his matter bristled with illustrations and anecdote, drawn from his long and varied experience and capacious memory. He was often abrupt, sometimes startling his hearers by the oddity of his expressions and frequently humorous. His fervid, rugged eloquence at all times compelled the attention of his audience, whether he was speaking from the platform or the pulpit, and his congregation never left without having learned some fresh truth or gained further insight into an old one. ”

Dr. Mackay wrote a number of hymns but only a few achieved literary merit; yet God has used these songs of praise in their own particular sphere. Of his compositions, seventeen are found in William Reid’s “Praise Book, ”published in 1872. Two other hymns are equally familiar—

“Worthy, Worthy is the Lamb, ” and:

The Lord is risen: now death’s dark judgment flood is passed in Him who bought us by His blood.

He is also the author of the Gospel hymn:

“Look unto Me, and be ye saved ! ”
Look, men of nations all;
Look, rich and poor; look, old and young;
Look, sinners, great and small.

During the time he was on a holiday at Portree, Dr. Mackay was in a serious accident as he was going on board a ship which was to take him back to Oban. He was carried ashore and given immediate medical assistance but died the next day. His last words were, “For Thine own glory. ” He was forty-seven.

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Lillie

Milwaukee, WI, United States

Feb 22, 2021

THANK YOU!!! For posting the song.

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Joselito

Zamboanga City, Zamboanga Del Sur, Philippines

Dec 20, 2020

We praise you Father for your great love and mercy!

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John Tortuman

Gombe, Nigeria

Aug 25, 2020

It's my favorite song, especially the Hausa version. Mun Gode make, Ya Uba Allahnmu, Don ka aiko da ranks sabili da my.

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Jason Ramirez Gutierrez

Bakersfield, California, United States

Aug 14, 2020

I really enjoy this hymn. Always yours Lord Jesus

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Nonyelum Obiora

Ibeju-Lekki, Lagos, Nigeria

Jun 10, 2020

Revive us again (last chorus verse)

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Daniel Ahedor

Accra, Ghana

Jun 7, 2020

We praise you Lord again and again!!!!

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