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About Numbered Notation

All steps
  1. The numbers are the notes of a scale
  2. “1=C” tells you where to start
  3. Dots make a note higher or lower
  4. How long each note lasts
  5. 0 means rest
  6. Bar lines and the time signature
  7. Curves: ties and slurs
  8. The words sit under the numbers
  9. Repeat signs and 1. 2. endings
  10. Minor keys: “6=A”
  11. Put it together: a line of a hymn
  12. Check yourself
  13. Try it on a hymn

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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Forward! be our watchword

Encouragement For Pressing On

English663
1
“Forward!” be our watchword,
Steps and voices joined;
Seek the things before us,
Not a look behind;
Burns the fiery pillar
At our army’s head;
Who shall dream of shrinking,
By our Captain led?
Forward through the desert,
Through the toil and fight;
Heaven’s Kingdom waits us,
Forward into light.
2
Glories upon glories
Hath our God prepared,
By the souls that love Him,
One day to be shared:
Eye hath not beheld them,
Ear hath never heard;
Nor of these hath uttered
Thought or speech or word;
Forward, marching forward
Where the kingdom’s bright,
Till the veil be lifted,
Till our faith be sight!

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Ana Lara

Storrs, Connecticut, United States

Jan 31, 2024

Henry Alford was born in London in 1810. He was nurtured by Christian parents, and though he lost his mother at a young age, he was greatly influenced by a father and grandfather, who were Anglican pastors. Their example guided him into a personal commitment to Jesus Christ. His spiritual development was such that he wrote an outstanding, short sermon at age 10. After he graduated from Trinity College and was ordained in 1833, he combined his ministry work with teaching, and founded a choral group for the development of music and the performance of oratorios in the Canterbury Cathedral. Henry could play the piano, the organ, and possessed a good singing voice. He also published a few Latin odes and an account of Jewish history. One of his greatest works was the Greek Testament in four volumes, published in 1849, which is still available today. Henry married his cousin Fanny Alford in 1836. Together they had four children. However, his two sons died at an early age but his daughters lived and were married during his lifetime. Alford was eventually appointed Dean of Canterbury Cathedral, known as the mother church of England. He composed one of the most memorable songs of Thanksgiving, in the hymn, “Come Ye Thankful People Come. ” It reflects on the harvest; the Lord’s second coming.

In 1870, Henry Alford suffered a physical breakdown due to his strenuous activities in the ministry and died the following year. His death at age 61 left a void in the hearts of many whom God had touched through his ministry.

The Christian harvest festival in England is a special occasion of Thanksgiving to the Lord for the abundant harvest. For this particular occasion, Alford was inspired to write, ”Come Ye Thankful People Come. ” It first appeared in the book, “Psalms and Hymns. ”

L. Codington

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Sunny Olatunji

Nigeria

Jul 17, 2020

Hallelujah... AMEN

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Steve Miller

Detroit, MI, United States

Feb 28, 2014

Dean of Canterbury, Henry Alford, was born in London. He wrote Latin odes and a history of the Jews before he was 10. At the age of 16 he wrote in his Bible: "I do this day, in the presence of God and my own soul, renew my covenant with God, and solemnly determine henceforth to become His, and to do His work as far as in me lies." Although he prepared a hymn book, which contained 55 of his own hymns, he is mainly known for his monumental commentary, "The Greek New Testament", which took him 20 years to complete. Alford was requested to write "Forward be our watchword", to be used as a processional in Canterbury Cathedral. He composed this song as he marched up and down the aisles. He died before this hymn was sung for the 1st time by the Canterbury choirs. The original has 8 stanzas. - Songs of the Spirt by Martin

-------------------

The 1st 8 lines of the original 1st stanza are the same as hymnal.net, but the last 4 lines differ:

1 Forward! be our watchword,
steps and voices joined;
Seek the things before us,
not a look behind;
Burns the fiery pillar
at our army’s head;
Who shall dream of shrinking,
by our Captain led?
Forward through the desert,
through the toil and fight;
Jordan flows before us;
Zion beams with light.
-----------------------------
2 Forward! When in childhood
buds the infant mind;
All through youth and manhood
not a thought behind;
Speed through realms of nature,
climb the steps of grace;
Faint not, till in glory,
gleams our Father’s face.
Forward, all the lifetime,
climb from height to height,
Till the head be hoary,
till the eve be light.
-----------------------------------------------
3 Forward! flock of Jesus,
salt of all the earth,
Till each yearning purpose
spring to glorious birth:
Sick, they ask for healing;
blind, they grope for day;
Pour upon the nations
wisdom’s loving ray.
Forward, out of error,
leave behind the night;
Forward through the darkness,
forward into light!
------------------------------

The original 4th stanza is the hymnal.net 2nd stanza. It is the same except for the 9th and 10th lines:

4 Glories upon glories
hath our God prepared,
By the souls that love Him
one day to be shared;
Eye hath not beheld them,
ear hath never heard;
Nor of these hath uttered
thought or speech a word;
Forward, marching eastward,
where the heaven is bright,
Till the veil be lifted,
till our faith be sight.
----------------------------------------
5 Far o’er yon horizon
rise the city towers
Where our God abideth;
that fair home is ours:
Flash the streets with jasper,
shine the gates with gold;
Flows the gladdening river
shedding joys untold.
Thither, onward, thither,
in the Spirit’s might;
Pilgrims to your country,
forward into light!
----------------------------------
6 Into God’s high temple,
onward as we press,
Beauty spreads around us,
born of holiness;
Arch, and vault, and carving,
lights of varied tone,
Softened words and holy,
prayer and praise alone.
Every thought upraising
to our city bright,
Where the tribes assemble
round the throne of light.
---------------------------
7 Naught that city needeth
of these aisles of stone;
Where the Godhead dwelleth,
temple there is none;
All the saints that ever
in these courts have stood,
Are but babes, and feeding
on the children’s food.
On through sign and token,
stars amidst the night,
Forward through the darkness,
forward into light.
------------------------------
8 To th’eternal Father
loudest anthems raise;
To the Son and Spirit
echo songs of praise;
To the Lord of glory,
blessed Three in One,
Be by men and angels
endless honor done.
Weak are earthly praises,
dull the songs of night:
Forward into triumph,
forward into light!

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