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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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Lord, Thou hast made Thyself to me

Experience of Christ As Everything

English526
1
Lord, Thou hast made Thyself to me
A living, bright reality,
More present to faith’s vision keen
Than any earthly object seen;
More dear, more intimately nigh
Than e’en the closest earthly tie.
2
And Thou, blest vision of my soul,
Hast made my broken nature whole;
Hast purified my base desires,
And kindled passion’s holiest fires;
My nature Thou hast lifted up,
And filled me with a glorious hope.
3
Nearer and dearer still to me,
Thou living, loving Savior be;
Brighter the vision of Thy face,
More charming still Thy words of grace;
So, life shall be transformed to love,
Thy grace and mercy more to prove.

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Christopher Burk

Seattle, Washington, United States

Oct 1, 2022

Amen! The Lord has made my broken nature whole! My nature He has lifted up and filled me with a glorious hope.

Praising the Lord at the Hsiung’s!

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Steve Miller

Detroit, Michigan, United States

May 13, 2018

This hymn has been wrongly attributed to J. B. French, Arthur W. French, & Francis Havergal. The actual author is Charlotte Elliott, who also wrote, 'Just As I Am'.

'Under the date of Jan. 26th. 1872, the Rev. J. Babbington, brother-in-law to Miss Elliott, wrote to the late D. Sedgwick concerning Miss Elliott's hymn "O Jesus, make Thyself to me", "the lines you refer to (O Jesus make Thyself to me) are Miss Charlotte Elliott's. They were for many years the private expression of her own daily prayers, and were so much a part of her own hidden life with her Saviour that they were rarely communicated by her to any one, and only to her most intimate friends. One of those had them printed on a card by Taylor (Edinburgh 1860) and at first she was rather disconcerted, till she was led to feel that this was her loved Saviour's way of leading others to the participation in her own sacred inner life. ' - John Julian's 'Dictionary of Hymnology'

----------------
The first line of the 1st stanza originally says:
O Jesus make Thyself to me
-----------------
The last 3 lines of the last stanza originally say:
More glorious still Thy words of grace;
Till life shall be transformed to love,
A heaven below, a heaven above.

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Frank Alcamo

Oceanside, NY, United States

Mar 4, 2017

What a beautiful prayer. What a beautiful hymn.

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Steve Miller

Detroit, MI, United States

Jan 12, 2013

Wow. Thanks for sharing, brother Roman.

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Roman

St. Petersburg, Russia

Mar 19, 2011

Brother Hudson Taylor once told a devastating news about his coworkers. So on learning the news he started singing this hymn. When asked by a brother who was with him at the moment why he wouldn't mourn or do something of this kind about the situation, he replied: Would that help them right now? His point was that we need to get strengthened in our inner man in whatever situation the Lord has arrange and help others to touch them. We need to make our soul happy on our God... I may not be correct in presenting all the details. Sorry about that. The general story I heard from the brothers.

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