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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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When this passing world is done (Alternate Tune)

Experience of Christ Love for Him

English545b
1
When this passing world is done,
When has sunk yon glaring sun,
When we stand with Christ on high,
Looking o’er life’s history;
Then, Lord, shall I fully know,
Not till then, how much I owe.
2
When I stand before the throne
Dressed in beauty not my own,
When I see Thee as Thou art,
Love Thee with unsinning heart;
Then, Lord, shall I fully know,
Not till then, how much I owe.
3
E’en on earth, as through a glass
Darkly, let Thy glory pass;
Make forgiveness feel so sweet;
Make Thy Spirit’s help so meet:
E’en on earth, Lord, make me know
Something of how much I owe.

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Faith H

Allen, TX, United States

Mar 19, 2015

I also find this alternate tune more suitable for McCheyne's text, than the Redhead/Petra tune. Thank you so much for providing the audio files for hymns on your website. What a blessing!

Btw, this alternate tune's name is St. Petersburg. (I searched under the name of the composer Dmitri S. Bortianski). See:

hymnary dot org/tune/st_petersburg_bortnianski

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Steve Miller

Detroit, MI, United States

Dec 11, 2014

I also prefer this alternate tune to the original.

One of McCheyne's legacies to the church is a Bible Reading calendar, which takes you through the NT and Psalms twice/year and the rest of the OT once/year. For each day he has a reading to read together with your family and another reading in secret. Regarding the Psalms he says,

"The metrical version of the Psalms should be read or sung through at least once in the year. It is truly an admirable translation from the Hebrew, and is frequently more correct than the prose version. If three verses be sung at each diet of family worship, the whole Psalms will be sung through in the year." (Since there are 2461 verses in Psalms, which divided by 365 = 6.74, McCheyne must be considering 16 family worship times/week, probably 2 meals/day on the week days and 3 meals/day on Saturday and Lord's Day.)

I have not tried McCheyne's schedule before, but will start today.

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Tony Beasley

London, United Kingdom

Mar 29, 2013

This musical score of Bortnianski is so hard to find online. It is classified as the alternative tune, but for me this when played sightly slower is the superior. I have looked for this for some time and would recommend a listen. There are additional verses, some added here below.

When the praise of Heav’n I hear,
Loud as thunder to the ear,
Loud as many waters’ noise,
Sweet as harp’s melodious voice,
Then, Lord, shall I fully know
Not till then, how much I owe.

Chosen not for good in me,
Wakened up from wrath to flee,
Hidden in the Saviour’s side,
By the Spirit sanctified,
Teach me, Lord, on earth to show,
By my love, how much I owe.

Robert M'Cheyne was such a huge influence for one so young. In February 1843 he was away in the north west of Scotland, and preached twenty-seven times, in twenty-four different places often traveling through heavy snow. On his return to Dundee he confessed he felt "very tired."

He felt ill but took a wedding service, and afterwards spoke to a group of children, who informally gathered round him, on "The Good Shepherd." It was his last public appearance ; that evening he succumbed to a fever which was prevalent in the parish at the time.

After lying helplessly for a week with burning fever, a delirium overtook him on Tuesday 21st. His utterances now showed the thoughts which were uppermost in his mind. As if addressing his people he cried -

"You must be awakened in time, or you will be awakened in everlasting torment, to your eternal confusion."

Then he prayed, "This parish, Lord, this people, this whole place!"

Robert Murray M'Cheyne died on Saturday, March 25th, 1843.

"Oh to be like Jesus, and with Him through all eternity!" R.M. M'Cheyne

http://www.banneroftruth.co.uk/pages/articles/article_detail.php?37

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