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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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Oh, safe to the Rock that is higher than I

Experience of Christ Abiding in Him

English566
1
Oh, safe to the Rock that is higher than I,
My soul in its conflicts and sorrows would fly,
So sinful, so weary, Thine, Thine would I be,
Thou blest Rock of Ages, I’m hiding in Thee.
 
Hiding in Thee, hiding in Thee,
Thou blest Rock of Ages, I’m hiding in Thee.
2
In the calm of the noontide, in sorrow’s lone hour,
In times when temptation casts o’er me its power;
In the tempests of life, on its wide, heaving sea,
Thou blest Rock of Ages, I’m hiding in Thee.
3
How oft in the conflict, when pressed by the foe,
I have fled to my Refuge and breathed out my woe,,
How often, when trials like sea-billows roll,
Have I hidden in Thee, O Thou Rock of my soul.

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Jennifer Beard

Brixham, Devon, United Kingdom

Nov 2, 2019

The Hymn Rock of ages was inspired by 'The cleft in the Rock'. Sorry my mistake! But the Hymn 'Safe to the rock' reminded me of that cleft not far from Cheddar Gorge. England.

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Jennifer Beard

Brixham, Devon, United Kingdom

Nov 2, 2019

This Hymn came to mind during my Bible reading this morning. Psalm 46:1-11.

"Troubles come, but God outlasts them all. Those who run to the Saviour discover that He can't be shaken. In the arms of His eternal love we find our place of peace"

James Banks . Our Daily Bread.

I had the privilege for many years to live near the cleft of the rock where the inspiration of this hymn was written.

Praise the Lord for His faithfulness.

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Gabriel Konayuma

Lusaka, Zambia

Nov 2, 2019

I thank God for this hymn and for the story behind it's origin. What a comfort and immense privilege that in the storms of life and whatever we are going through we can hide in Christ the Rock of our souls!

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Carol Anne Leonard Posey

Siloam Springs, Arkansas, United States

Aug 18, 2018

This hymn—particularly as sung by Robert Hale and Dean Wilder—has lifted my soul and sustained me through many times of grief. How I thank God for it. Thank you, Steve Miller, for posting the story of how it came to be written. Divinely given and inspired.

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Margaret Fortenberry

Clinton, Mississippi, United States

Apr 22, 2018

I just like Cynthia Stevens from Jamaica was going through some tough times (still am) and began to sing this hymn. I could remember all the words only several lines and the chorus. Thanks google for giving me the remaining words which offer an abundance of comfort and peace. God is indeed our safety!!

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Cynthia Stevens

Kingston, Jamaica

May 15, 2017

I was going through some conflicts ..spiritual and social....when this song popped in my head.

I didn't remember all of it so googled it. I began to sing it and it has has given me great assurance an peace of mind.

Thanks to to the author of this powerful hymn that give such great inspiration and peace of mind. Thanks also to google for making it available at the tip of a finger sort of speaking.

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Rev. Nsubuga Daniel

Kampala, Uganda

Jan 6, 2017

When I sing this hymn, I have not other need of prayer. I hide in Jesus and I feel safe. It will be all joy when I get to meet my Lord.

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Adeyinka Igbani

Lagos, Nigeria

Oct 1, 2016

Thank God for Google. As a member of the choir many decades ago, we sang this hymn several times and after a long time, I've forgotten the lyrics. Just thought on checking Google this morning, and saw this. The hymn is more than relevant even now.

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Steve Miller

Detroit, MI, United States

Jul 15, 2014

William O. Cushing was born in Hingham, Massachusetts. He was a successful pastor of Disciples of Christ churches for more than 20 years. After the death of his wife in 1870, he was forced to retire from ministering due to ill health. He then began to write hymns. He eventually wrote over 300 hymns. Concerning this hymn he says:

“‘Hiding in Thee’ was writ­ten in Mo­ra­via, New York, in 1876. It must be said of this hymn that it was the out­growth of ma­ny tears, ma­ny heart-con­flicts and soul-yearn­ings, of which the world can know no­thing. The his­to­ry of ma­ny bat­tles is be­hind it. But the oc­ca­sion which gave it be­ing was the call of Mr. Sank­ey. He said, ‘Send me something new to help me in my Gos­pel work.’ A call from such a source, and for such a pur­pose, seemed a call from God. I so re­gard­ed it, and prayed: ‘Lord, give me some­thing that may glor­i­fy Thee.’ It was while thus wait­ing that ‘Hid­ing in Thee’ pressed to make it­self known. Mr. Sank­ey called forth the tune, and by his gen­i­us gave the hymn wings, mak­ing it use­ful in the Mas­ter’s work. (Sankey's Story of the Gospel Hymns) - Songs of the Spirit by Martin

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Rebekah Lampley

Tallmadge, Ohio, United States

Jun 26, 2014

Oh my goodnes!! Born and raised a preacher's kid, I grew up with this hymn and many others. As a child, living under the roof of the security of my parents' spiritual passion, I did not realize as a child how much I would need these songs as a refuge in my adult years. This is priceless!!! It's unfortunate that this current generation aren't being introduced to the old hymns as much. I pray that today's contemporary music will have enough spiritual substance to carry them through the tough times we all experience, learning all the while to trust and depend on God. He's an amazing Savior!! :)

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