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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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English486
1
Dying with Jesus, by death reckoned mine;
Living with Jesus a new life divine;
Looking to Jesus till glory doth shine,
Moment by moment, O Lord, I am Thine.
 
Moment by moment I’m kept in His love,
Moment by moment I’ve life from above;
Looking to Jesus till glory doth shine;
Moment by moment, O Lord, I am Thine.
2
Never a battle with wrong for the right,
Never a contest that He doth not fight;
Lifting above us His banner so white;
Moment by moment I’m kept in His sight.
3
Never a trial that He is not there,
Never a burden that He doth not bear;
Never a sorrow that He doth not share,
Moment by moment, I’m under His care.
4
Never a heartache, and never a groan,
Never a teardrop, and never a moan;
Never a danger but there on the throne
Moment by moment He thinks of His own.
5
Never a weakness that He doth not feel,
Never a sickness that He cannot heal;
Moment by moment, in woe or in weal,
Jesus, my Savior, abides with me still.

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Cy Wong

Cheras, Kuala Lumpur, Malaysia

Aug 12, 2023

I first read the refrain of this song reading a book by Andrew Murray and searched for the whole hymn. What truth the hymn conveys! Reminds me of the parable that Jesus gave of how He is the Vine and we the branches. The sap from the vine flows to the branches moment by moment, continuously. Never a moment that the sap stops flowing. O for grace to always be living in union with Him, moment by moment!

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Misty Shotts Harley

Columbia, SC, United States

Jun 17, 2023

Thank you!

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Matthew A.

Anchorage, AK, United States

Apr 18, 2023

Going through a difficult time and being persecuted for things outside of my control. In the end I have to remember that these things do not matter. Companies and people that oppress individuals will always exist, but the love and faithfulness of God is everlasting. Remember in every moment, God is there.

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Paul Sharp

Abbotsford, BC, Canada

Apr 1, 2023

God put these words in my mind about 6:00 a. m. today. I don't remember hearing them for 40 years or more.. I had journaled a day or two ago that "I need thee every hour" was inadequate. I need God every moment. God care and companionship in every moment is an incredible gift of intimacy!!

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Br.Jeff Hall

The Church In Worcester, Massachusetts, United States

Mar 28, 2022

Emmanuel:"God With Us!" This hymn reflects how when we are abiding, His ever presence never leaves or forsakes us! He is always here and readily available, it's US that drifts in and out of our spirit. Praise Him for His Mercy and Grace........................................................... How Comforting!

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Ruth Christina

Kadawatha, Sri Lanka

Jan 30, 2022

Thank you very much I am blessed with amen God bless you

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Abraham

Pelham, NC, United States

Nov 30, 2021

God bless you brothers and sisters, I first heard this on an audio recording of Andrew Murray a great man of God, as well as Oswald Chambers, D L Moody, Madam Guyon, Watchman Nee and so many others. We need man and woman of that age. Let us Pray the Holy Spirit uses us now in this day as He used them then. God bless you all 🙏

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Josephine McFarlane

Oct 13, 2021

I found the words of this hymn at the back page of Andrew Murray book Waiting On God

This is the first time l have heard it the words are absolutely beautiful what a wonderful Saviour we have who gives new life divine, He keeps us in His love, He keeps us in His sight, He bears our burden and shares our sorrows, He thinks of us and Abides every moment

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Nellie

Green Bay, WI, United States

Jun 20, 2021

Awesome. Thank you very much

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William

Indianapolis, United States

Oct 6, 2020

Story about this hymn by Sankey (from hymntime. com):

While I was at­tend­ing the World’s Fair in Chi­ca­go, Hen­ry Var­ley, a lay preach­er from Lon­don, said to Ma­jor Whit­tle: I do not like the hymn ‘I need Thee ev­ery hour’ ve­ry well, be­cause I need Him ev­ery mo­ment of the day. Soon af­ter Ma­jor Whit­tle wrote this sweet hymn…[He] brought the hymn to me in man­u­script a lit­tle lat­er, say­ing that he would give me the co­py­right of both the words and mu­sic if I would print for him five hun­dred cop­ies on fine pa­per, for dis­trib­ut­ing among his friends. His daugh­ter, May Whit­tle, who lat­er be­came the wife of Will R. Moo­dy, com­posed the mu­sic. I did as Mr. Whit­tle wished; and I sent the hymn to Eng­land, where it was co­py­right­ed on the same day as at Wash­ing­ton. In Eng­land the hymn be­came ve­ry pop­u­lar. Fall­ing in­to the hands of the well-known Rev. An­drew Mur­ray, of South Af­ri­ca, then vis­it­ing Lon­don, he adopt­ed it as his fav­o­rite hymn. A year lat­er Mr. Mur­ray vis­it­ed North­field [Mas­sa­chu­setts], and while hold­ing a meet­ing for men in the church he re­marked, If San­key on­ly knew a hymn which I found in Lon­don, and would sing it, he would find that it em­brac­es my en­tire creed. I was ve­ry anx­ious to know what hymn it was, and when he had re­cit­ed it I said to him: Doc­tor, that hymn was wri­tten with­in five hun­dred yards of where we are stand­ing. For years Dr. Mur­ray had his wife sing this hymn in near­ly all his meet­ings. It al­so became a great fav­o­rite in South Af­ri­ca dur­ing the war. Sankey, pp. 190–91

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