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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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Thy Life was giv’n for me

Consecration Constrained by the Lord’s Love

English436
1
Thy Life was giv’n for me,
Thy blood, O Lord, was shed,
That I might ransomed be,
And quickened from the dead;
Thy Life was giv’n for me, for me;
What have I giv’n for Thee?
2
Long years were spent for me
In weariness and woe,
That through eternity
Thy glory I might know;
Long years were spent for me, for me;
Have I spent one for Thee?
3
Thy Father’s home of light,
Thy rainbow-circled throne,
Were left for earthly night,
For wanderings sad and lone;
Yea, all was left for me, for me;
Have I left aught for Thee?
4
Thou, Lord, hast borne for me
More than my tongue can tell
Of bitterest agony,
To rescue me from hell;
Thou suff’redst all for me, for me;
What have I borne for Thee?
5
And Thou hast brought to me
Down from Thy home above
Salvation full and free,
Thy pardon and Thy love;
Great gifts, great gifts Thou broughtest me;
What have I brought to Thee?
6
Oh, let my life be given,
My years for Thee be spent;
World-fetters all be riven,
And joy with suff’ring blent;
Thou gav’st Thyself for me, for me,
I give myself to Thee.

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Un Hermano

Nov 12, 2025

V. THE RESULT OF CONSECRATION

1) “Christ’s slave... bought with a price”(1 Cor. 7:22-23).

The first result of our consecration to the Lord is that practically we become slaves bought by the Lord, submitting to His authority in all things.

2) “For we are His workmanship, created in Christ Jesus for good works”(Eph. 2:10).

We are God’s workmanship under His molding, just as the clay vessel is molded in the hands of the potter (cf. Isa. 64:8). Another result of our consecration to the Lord is that the Lord has our consent to freely mold us.

3) “Present yourselves to God... and your members as weapons of righteousness to God. For sin shall not Lord it over you”(Rom. 6:13-14); “Present your members as slaves to righteousness unto sanctification”(6:19).

When we present ourselves and our members to the Lord, there is still another result; that is, our members become weapons of and slaves to righteousness that we may be freed from sin, no longer being Lorded over by sin, unto sanctification.

4) “The priest shall burn all on the altar, to be a burnt sacrifice, an offering made by fire, of a sweet savor unto Jehovah”(Lev. 1:9).

The result of offering a burnt sacrifice in the Old Testament was that the burnt offering became ashes before men and a sweet savor to God. If we present ourselves as a living burnt offering to the Lord, and if we are truly faithful to Him, we will be like ashes before men and a delightful savor to God.

Life Lessons, Chapter 18

Vol. 2 (LSM)

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Ana Lara

Storrs, Connecticut, United States

Jul 4, 2022

This was written in her youth by Frances Ridley Havergal and was inspired by the words over the head of Christ in the great picture, “Ecce Homo (behold the man), ” in the art gallery of Düsseldorf, Germany where she was at school. The site—as was the case with young Count Zinzendorf-– seems to have had much to do with the gifted girl’s early spiritual experience, and exerted its influence on her whole life. The words read “I did this for thee; what doest thou for Me? “ And the effect of the picture and its question soon appeared in the hymn that flowed from Miss Havergal’s heart and pen.

Miss Frances Ridley Havergal sometimes called “the Theodosia of the 19th century, ” was born at Astley Worcestershire, England, December 14, 1836. Her father, Reverend William Henry Havergal, a clergyman of the Church of England, was himself a poet and a skilled musician, and much of his daughter’s ability was a natural gift as well as by education. Born a poet, she became a fine instrumentalist, a composer and an accomplished linguist. Her health was frail, but her life was a devoted and a consecrated one. Her hymn would last for many generations after her passing.

“Writing is praying with me, ” she said. She went to be with her beloved Lord Jesus in 1879 when she was still a young woman in her forties.

The music that has made this hymn familiar in America was composed by Phillip P. Bliss, a pupil of Dr. George F. Root.

He was born in Rome, PA. Jan. , 9, 1838, and died suddenly at age 38, a victim of the railroad disaster at Ashtabula, OH. His wife, Lucy Young Bliss died with him there, in the flames that enveloped the wreck of the train. Mr. Bliss’s’ name had become popular through numerous Christian melodies, and were the American beginning of the series of Gospel Hymns. Many of these are still favorite prayer-meeting tunes throughout the country and are heard in song-service at Sunday-school and city mission meetings.

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Becky Lindberg

Kingman, Arizona, United States

Jul 21, 2020

I believe this is the hymn Frances wrote after gazing for hours on the painting by Sternberg in Dusseldorf, Germany, "Ecce Homo." It portrays Christ, wearing a crown of thorns, standing before Pilate. Under the painting are these words: "This have I done for thee, what hast thou done for Me?"

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Henrich Brockhaus

Bellingham, WA, United States

Dec 7, 2016

Looking back at a long life and comparing what the Lord has given to me and what I have given to Him, I can only say with tears in my eyes that He is such a wonderful Lord: caring, forgiving and patient. He does want us to daily give ourselves to Him, so He can daily bless us and use us. I need Him everyday. I give myself to Thee. Worthy is the Lamb that was slain to receiver power and riches and wisdom and might and honor and glory and blessing.

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Steve Miller

Detroit, Michigan, United States

Jul 10, 2016

Frances Havergal was born at the Rectory, Astley, Worcester, England. Her father was Rector there. Five years later they moved to the beautiful city of Worcester, where her father was Dean of the Cathedral. She tells us that when she was about 5 she told the minister that she was troubled about her sins, but he did not know how to help her. He told her that her feelings were caused by her having moved away from Astley, with all the beautiful surroundings there for a little girl to enjoy. She did not mention her feelings to anyone again for several years. At the age of 13 or 14 she went to a boarding school conducted by a most Godly lady, Mrs. Teed. Several girls in the school were converted and testified to the joy they found in the Lord. Frances confided in Mrs. Teed about her feelings, and that she so wanted the Lord Jesus in her life, too. Mrs. Teed referred her to a Miss Cooke, who wisely asked, ""Why can you not trust yourself to your Savior at once?" Miss Havergal said: "Then a flash of hope came across me, which made me feel literally breathless. I remember how my heart beat. 'I could surely,' was my response. I ran upstairs. I flung myself on my knees. I was very happy at last. I committed my soul to my Savior. I do not mean to say without any trembling or fear - but I did - and earth and heaven seemed bright from that moment - I did trust the Lord Jesus."

Miss Havergal wrote: "Trusting Thee! For Thee! That is the end of the whole matter of consecration. 'The Son of God, who loved me, and gave Himself for me.' I realized it was 'for me;' it is then practical to say, 'for Thee.' 'For Thee.' this makes the difference between slave labor and free work. For Thee, my Redeemer; for Thee, Who hast spoken to my heart; for me!"

She passed away at Swansea, Wales, in her 43rd year. She exclaimed, "It is all perfect peace. I am only waiting for Jesus to take me in."

The great missionary to China, Dr. J. Hudson Taylor, said that his favorite hymn, after he was able to trust the Lord for his complete salvation, was ""I am Trusting Thee, Lord Jesus" by Frances Havergal. Her consecration hymn, "Take My Life and Let it Be" is considered one of the greatest hymns ever written. - 'Hymn Stories' by Wilbur Konkel

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Oje

Lagos, Nigeria

May 1, 2013

This hymn summarises God's defiant love for man.

Never sang this hymn without my spirit confirming God is too good to be questioned. He knew from the beginning we were unworthy....yet made us righteous and gave us His word to ensure we had hope and later sent His word to become flesh just to guarantee we spend eternity in His presence.

Only the true God who made man could give all...Hossanah in the highest

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Frank Pytel

Chicago, Illinois, United States

May 1, 2010

Whenever I sing this hymn before the Lord, I realize He is so much, and I am so little. I cannot match Him, or compare! One day as I was singing this hymn verse two became real to me. He had given His years as man, that I can share in His eternity and glory. I decided to leave my job, and give Him one year to be in His Word and share His gospel. As the years go on I can increase in possessions, or in a bank account, but my time is not increasing. My time is being spent year by year, day by day, and hour by hour! How many years are left for me? I don't know. "My years for Thee be spent."

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Sabrina

London, United Kingdom

Jun 10, 2009

Yes the Lord has left all His glory in heaven for us to have life. Oh Lord, Thou hast suffered all the shame and pain. The question remains what have I done for You. Your commission we know Lord but need the strength to do. Praise You Lord You are our strength and ability. Fill us today Lord with Thyself and take the gospel to the ends of the world. Christ is the gospel and the gospel is Christ. Oh brothers and sisters we need to release Christ, minister Christ and preach Christ and preach Christ from our spirit to sinners.

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