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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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Gracious God, we worship Thee

Worship of the Father His Grace in Sonship

English49
1
Gracious God, we worship Thee,
Rev’rently we bow the knee;
Jesus Christ, our only plea:
Father, we adore Thee.
2
Vast Thy love, how deep, how wide,
In the gift of Him who died;
Righteous claims all satisfied:
Father, we adore Thee.
3
Low we bow before Thy face,
Sons of God, O wondrous place;
Great the riches of Thy grace:
Father, we adore Thee.
4
By Thy Spirit grant that we
Worshipers in truth may be;
Praise, as incense sweet to Thee:
Father, we adore Thee.
5
Yet again our song we raise,
Note of deep adoring praise;
Now, and soon through endless days:
Father, we adore Thee.

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Anonymous

Fort Collins, CO, United States

Oct 15, 2026

Yes! AMEN!!

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Anonymous

Sep 14, 2025

Hallelujah

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Ana Lara

Storrs, Connecticut, United States

Jan 18, 2021

Samuel Trevor Francis has written just a few hymns but each of them are said to be of outstanding quality. He was born at Chestnut, Hertz, November 19th, 1834, and taken to Hull when he was still a child. As he was growing up, he came under the influence of a godly grandmother who taught him the alphabet by using the Bible as the reading book.

“One of my earliest recollections, ” wrote Samuel, “ is going with my eldest brother into my mother’s room, and made to kneel with her, while she poured out her soul in earnest supplication that her boys might grow-up to be God-fearing men. ”

When he was a little boy, Samuel began to put together rhymes, which were scribbled for his own and his friends’ amusement. His small poems showed signs of poetic abilities which developed as he grew up. Before reaching young adulthood, he gathered together his various compositions, and copied them into a manuscript which Samuel made himself. He later destroyed it, tearing the book from cover to cover, in a fit of irritation brought on by his eldest brother, who, jealous of the attention Samuel was getting, persistently annoyed and persecuted the young poet. As a result, many of his earliest poems were irretrievably lost.

After the family moved to London, it had been decided that Samuel would enter the medical profession. He studied for about twelve months, but after the death of his father, the plans for his future career ended. It was around this time that he became greatly concerned about his soul’s eternal welfare and would cry to God for forgiveness and peace. He met a prominent businessman, a faithful servant of God, who gave most of his time to care for the spiritual well-being of young men. Young Samuel felt the weight of his sin increasing more than ever until it hit a peak. “ I was on my way home from work, ” he said as he recollected the story, “and had to cross Hungerford Bridge to the south of the Thames. It was a winter’s night of wind and rain, and in the loneliness of that walk I cried to God to have mercy upon me. Staying for a moment to look at the dark waters flowing under the bridge, the temptation was whispered to me, ‘Make an end of all this misery. ’ I drew back from the evil thought, and suddenly a message was borne into my very soul, ‘You do believe in the Lord Jesus Christ? ’ I at once answered, ‘I do believe, ’ and I put my whole trust in Him as my Savior. Instantly there came this reply, ‘Then you are saved! ’ and with the thrill of joy I ran across the bridge, burst through the turnstile and pursued my way home, repeating the words again and again, ‘Then I am saved! then I am saved! ’”

Samuel Francis associated himself with the assembly of believers meeting at Kennington, which was the first stepping stone towards the many services in the Lord’s work in which he served faithfully during his lifetime.

As a singer of the Gospel, Mr. Francis was much used by God, and during the Moody and Sankey mission, when a great wave of revival swept over British Isles, he assisted in the musical part of the services held in the Agricultural Hall, London, where, on several occasions he was Mr. Sankey’s deputy.

The poems and hymns of S. Trevor Francis were collected and published in book form, after he passed away seventy years later.

A hymn which appears in one or two collections, ranks among his best, and is worthy of a place in every hymnal:

“ O the deep deep love of Jesus
Vast, unmeasured, boundless, free;
Rolling as a mighty ocean
In its fullness over me!
Underneath me, all around me,
Is the current of Thy love,
Leading onward, leading homeward,
To Thy glorious rest above.

On December 28, 1925, Samuel T. Francis entered the glorious rest above, of which he loved to sing about, at the age of ninety-one.

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Jean Patience

Kolwezi, Lualaba, Democratic Republic Of Congo

Nov 29, 2017

FATHER, for all You are, for all You did for us, for Your wonderful plan for us, for forgiveness, for being alive, for being Your Son, for Your Son Jesus Christ given for us, for..., for... for all Your blessings, for what I can see and what I cannot see...

Father I adore Thee...
Millions and millions of thanks to You, my God and Lord.
Although all my weakness You know, I love You...

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Elinor Gorton

Milwaukee, WI, United States

Nov 28, 2011

I discovered this hymn in a book by James Stewart, the evangelist/missionary. Thank you so much for giving me the rest of the words and the music. The hymn is such a blessing.

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Barbara Felix

Miami, Florida, United States

Oct 20, 2010

Thanks to the Lord for all His gifts, especially His gift of this site, and this song. I am sixty and have sang many hymns, but cannot remember singing this one, but God has poured out such a blessing since I found it. He has also called me to note it to be sang at my funeral. No, I am not "dying" or "ill", as we know it on earth, but in truth we all grow closer each day. I have also been sharing the site and this hymn with others as God leads. So thank you His servant, for your service to Him.

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