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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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Not what I am, O Lord, but what Thou art

Comfort in Trials By the Lord’s Love

English672
1
Not what I am, O Lord, but what Thou art;
That, that alone, can be my soul’s true rest;
Thy love, not mine, bids fear and doubt depart,
And stills the tempest of my tossing breast.
2
It is Thy perfect love that casts out fear;
I know the voice that speaks the It is I,
And in these well-known words of heavenly cheer
I hear the joy that bids each sorrow fly.
3
Thy Name is Love! I hear it from yon Cross;
Thy Name is Love! I read it in yon tomb:
All meaner love is perishable dross,
But this shall light me through time’s thickest gloom.
4
It blesses now, and shall for ever bless;
It saves me now, and shall for ever save;
It holds me up in days of helplessness,
It bears me safely o’er each swelling wave.
5
’Tis what I know of Thee, my Lord and God,
That fills my soul with peace, my lips with song;
Thou art my health, my joy, my staff, my rod;
Leaning on Thee, in weakness I am strong.
6
More of Thyself, Oh, show me, hour by hour;
More of Thy glory, O my God and Lord;
More of Thyself in all Thy grace and power;
More of Thy love and truth, Incarnate Word.

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N.T.

Colorado, United States

Dec 13, 2024

So encouraging to see and enter into the fellowship saints throughout the centuries have experienced. “ ‘Tis what I know of Thee, my Lord and God…. ” That deep, inner knowing of God that the apostle John writes of in 1 John.

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Jack W

Austin, Texas, United States

Jan 23, 2019

Ana, thank you so much for sharing Bonar's history.

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Ana Lara

Tolls, Connecticut, United States

Oct 29, 2017

Horatius Bonar entered the ministry as a pastor of a North parish in the rural town of Kelso in Scotland. He spent 20 years there pastoring,writing and evangelizing. At the time, the Scottish Church had no substantial library of hymns but sang instead metrical Psalms.

Bonar began to write hymns before he was ordained when he was a Sunday school teacher. He found that young people had little love for words or tunes they were singing so he set out to write hymns with simpler words and already familiar tunes. The result was a positive one.

His love for children came from a tragedy in his life. He and his wife lost 5 children in rapid succession. Yet he had hundreds of children in Sunday school. In later life, his daughter widowed and came to live with him and her five children. Horatius said that God gave him back the five he lost with his five grandchildren.

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Ana Lara

Tolland, Connecticut, United States

Oct 29, 2017

Reference for Horatius BonR is from barryshymns.blog

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Ewald Seidel

Heathmont, Victoria, Australia

Nov 6, 2016

With the modern preoccupation with 'me' and 'myself', this hymn is a healthy reminder where our focus needs to be.

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