Skip to content
hymnal.net
hymnal.net
My Songs

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.

Open this guide as its own page

Download limit reached

Wrecked outright on Jesus’ breast

The Way of the Cross The Way of Rest

English637
1
“Wrecked outright on Jesus’ breast”:
Only “wrecked” souls thus can sing;
Little boats that hug the shore,
Fearing what the storm may bring,
Never find on Jesus’ breast,
All that “wrecked” souls mean by rest.
2
“Wrecked outright!” So we lament;
But when storms have done their worst,
Then the soul, surviving all,
In Eternal arms is nursed;
There to find that nought can move
One, embosomed in such love.
3
“Wrecked outright!” No more to own
E’en a craft to sail the sea;
Still a voyager, yet now
Anchored to Infinity;
Nothing left to do but fling
Care aside, and simply cling.
4
“Wrecked outright!” ’Twas purest gain,
Henceforth other craft can see
That the storm may be a boon,
That, however rough the sea,
God Himself doth watchful stand,
For the “wreck” is in His hand.

Delete Comment

Delete this comment? This cannot be undone.

Ana Lara

Storrs, Connecticut, United States

May 4, 2026

When Abraham was called by God, he went up by faith not knowing where he was going

(Heb. 11:8). In August 1970 I migrated with 40 or more saints from Southern California to Chicago. Although only one brother among us had a job waiting for him in Chicago, and no one had a place to live, we rented moving trucks, loaded our earthly goods in the trucks, and drove to Chicago. We did not know where we would live or how we would support ourselves when we arrived in Chicago. Although we initially had to rent rooms at the YMCA, we eventually had a place to live. Almost miraculously I got a job teaching at a city public school. Although the head teacher openly stated that he intended to give my position to another person, I felt at peace. I simply brought the report to the brothers and said, “let us stand with the Lord for what is of Him, I am not fighting for this job. ” However, the other person never came, and I stayed there.

Part of me longs for the days of not knowing. I am not suggesting that this becomes the pattern of migration. On the one hand, it is not wrong to plan ahead, on the other hand, part of me wishes that we could simply obey and go, knowing nothing but God. If we have never followed the Lord practically in the way of “not knowing, ” there is a considerable gap in our spiritual biography. Hymn number 637 by M. E. Barber mentions “little boats that hugged the shore, /Fearing what the storm may bring. ” If we go out by faith, not knowing, there will be storms but we will experience God in a way that we cannot when everything is secure.

It is up to the Lord as to how to apply this to each one of us, but it is when we go out, not knowing, that we truly need God. He will not give us a map. All we will have is God. It is impossible to describe how exhilarating and liberating it is to have only God and nothing else holding us. To risk everything in this way is crazy, but it is normal. This experience needs to be recovered among us. The Lord Himself decides the specific circumstances of how each one of us will have such experiences.

R. K. “ The God of Abraham (pgs. 38-39) The Ministry Magazine. Vol. 9 No. 9, October 2005.

Read more
DK

Indianapolis, Indiana, United States

May 4, 2025

Faith in God

Read more
Anonymous

Jun 18, 2021

'Twas purest gain

Read more
Doreen Wheeler

Australia

Sep 7, 2020

This is the place of the Believer's authority and victory! Nothing can separate us from the Love of God!

Read more
Joanna Smathers

Baton Rouge, LA, United States

May 2, 2020

A friend’s Facebook post reminded me of this song I have enjoyed through the years. Sharing

Read more
Rosita Enriquez

Anaheim, Ca

May 12, 2013

Simply resting, there is nothing that a wreck can do but fling to the Loving Arms and simply cling.

Read more
Isaiah Tor

Sydney, NSW, Australia

Sep 28, 2008

This hymn describes with full poetically translated quality, the depths of human suffering, traversing the unpredictable intricacies of one's course in human life whilst "enbosomed" in the Lord's love. To "hug the shore" means seeking a "safe" course in life without abandoning the courses of our lives to the direction of the Lord's hand, taking Him daily as our Head. We escape suffering, mollify its effects by refusing to submit to the arrangement and discipline of the Spirit in ordering the trials of our lives (i.e. not being in spirit, but rather as Jacob struggling to have the comforts and security of life apart from Him). This hymn concerns not "heroes" but those who would see the "storm" as a "boon", whereby whilst suffering in trials we enjoy the Lord's "nursing" comfort to fully work Himself into us deeply and thoroughly, so that the "wreck" of our consumed outer man would under His renewing work be brought entirely under His "hand", under His full control, thus "anchored to Infinity"!

Read more