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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 Tempo menu slows it down without changing the pitch.

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Returning to the Lord Himself

Consecration Returning to the Lord

English6454
1
Lord, dearest to my heart, I to Thine arms return;
All things from Thee apart can nevermore disturb.
When first in love Thou called, my heart to Thee was drawn;
On silent paths we trod, love’s covenant, our bond.
2
I consecrated, then, by mighty love constrained;
This Thou would’st ne’er forget; ’twas in Thine heart engraved.
At dawn of youthful days, what lay ahead shined bright;
The altar should have blazed till day of radiant light.
3
Man’s hearts do idols snare, befuddle, captivate;
They steal them unaware, beguiling them astray.
But love of youth, I found, called ceaselessly, always;
How could I let heart’s ground uncultivated stay?
4
Though timid, slow my stride, Thou tender yet dost guide,
My vineyard dost provide, enrapture me with wine.
Here I respond to Thee, in Achor’s Vale, hope’s door;
Thy face unveiled I see, my long-lost Love’s restored.
5
I labored long and hard; as “Master” knowing Thee;
Now Thou my “Husband” art; in love I’m trothed to Thee.
Dry cisterns I forsake, life’s Fount again embrace;
Love’s feast with joy partake, immersed in depths of grace.
6
Dear Lord, I’m wholly Thine: our hearts are twined today;
I’d live, yet “No more I,” be one with Thee for aye.
One space for Thee and me, so loving, intimate,
I’d disappear in Thee, fore’er inseparate.

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Shod

Manila, Philippines

Aug 13, 2025

Whenever I find myself straying away, this hymn is what always brings me back to Him. The meaning of every line, along with the slow tempo and rhythm uniquely exposes me of my own disposition. Oh how wonderful the feeling is when you return to the Lord Himself!

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Rebecca

Salem, OR, United States

Jun 13, 2022

I love this one so much!

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Allen Palama

Lagos, Nigeria

Apr 26, 2021

Dear Lord, I’m wholly Thine: our hearts are twined today;
I’d live, yet “No more I, ” be one with Thee for aye.
One space for Thee and me, so loving, intimate,
I’d disappear in Thee, fore’er inseparate.

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Marilyn Lumicday

Cebu, Ronda, Philippines

Jan 4, 2021

We return unto Thee, our Beloved Husband! We love You dear Lord!

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Bob Baer

Brampton, Ontario, Canada

Jan 3, 2021

This is an excellent hymn on returning to the Lord. The slow tempo suits the delicate feelings expressed of renewing consecration. Thank you for translating it.

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MB

Philippines

Dec 30, 2020

Though timid, slow my stride, Thou tender yet dost guide,
My vineyard dost provide, enrapture me with wine.
Here I respond to Thee, in Achor’s Vale, hope’s door;
Thy face unveiled I see, my long-lost Love’s restored.

Read more
Jacinth Lee Siew Ling

Kuala Lumpur, Wilayah Persekutuan, Malaysia

Dec 29, 2020

Tears flowing as I enjoyed this song. Such a deep, close & intimate relationship our Lord wants to have with us. Lord, praise You. Thank you, Lord. We love You... Amen...

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Chao

CA, United States

Dec 28, 2020

This hymn has been sung and enjoyed by the Chinese-speaking saints since Brother Andrew Yu first wrote it in 2005. Thank the Lord that now we have an English version. Although the tune is obviously a Chinese tune (a very beautiful one), hopefully this will not become a hindrance to any non-Chinese saints, for in the new man there should be no cultural distinction! This hymn is very special and precious because it speaks of the deep experience of a servant of the Lord (Brother Andrew's own experience), who though having been diligent and faithful in serving the Lord for years, experienced a deeper, inward return to the Lord as his first love and advanced in his experiential knowledge of the Lord from knowing Him mainly as his Master in service to knowing Him as his Husband in love. This is a transition that every servant of the Lord must have in order for our service to be pleasing to the Lord, and may this hymn inspires us all to gain this experience and to know and serve the Lord in this way.

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