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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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I take my portion from Thy hand

Comfort in Trials By the Lord’s Will

English673
1
I take my portion from Thy hand,
And do not seek to understand;
For I am blind, while Thou dost see,
Thy will is mine, whate’er it be.
 
Whate’er it be! whate’er it be!
I do not fear, whate’er it be!
Thy love divine sustaineth me;
Thy will is mine, whate’er it be.
2
When darkness doth Thy face obscure,
And many sorrows I endure,
I think of Christ’s Gethsemane;
Thy will is mine, whate’er it be.
3
When tender joys to me are known,
I render thanks to Thee alone;
I know my cup is filled by Thee;
Thy will is mine, whate’er it be.
4
Thus calmly do I face my lot,
Accept it, Lord, and doubt Thee not;
Lo! all things work for good to me;
Thy will is mine, whate’er it be.

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Lydia

Accra, Ghana

May 25, 2026

This is touches me so much it is very deep .

To realise that all that happens to us we are blind but He sees . O choose your will Lord. Thy will indeed is mine whatever it is.

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James Smith

Mansfield, Ohio, United States

Apr 2, 2025

What a deep hymn about experiencing Christ in hard dark places of suffering. It seems the sister who wrote this may have suffered for a long period of time. Possibly she wrote this she was loosing her eyesight. She must have taken these hard times from the Lord as her portion. It seems she has been transformed through the things she suffered. She loves the Lord through it all. She proclaims. Thy will is mine what’re it be! This is the power of love through the working of the cross.

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Hs

China

Jan 6, 2021

I'm humbled by what Brother/Sister KC shared before me.

"And they overcame him because of the blood of the Lamb, and because of the word of their testimony, and they loved not their soul-life even unto death." (Rev 12:10)

I desire to live a life that is joyfully submissive to Lord's will and that becomes the word of my testimony to the enemy -- "Lo, all things work for good to me."

Lord, make Your will mine.

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KC

Mar 16, 2020

Reading about transformation today I felt like I wanted to sing a hymn that said I wasn’t afraid so I looked up “I do not fear” and I found this hymn. I realize so many saints in years past experienced the Lord in his transforming work being submissive to his will. They may not have been able to articulate anything about transformation, but they were experiencing it in a deep and real way

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Frank Pytel

Chicago, Illinois, United States

Aug 2, 2017

As the man Jesus lined up His will with the Father’s will in his intense prayer at Gethsemane, may I be in line with the Father’s will to do it for His pleasure. Not in line with circumstances and situations that seem so big and unchanging, but only focused on doing the will of the Father in the midst of all of it! “Not as I will, but as you will” (Matt. 26:39)!

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Ana Lara

Tolland, Connecticut, United States

Feb 9, 2017

This hymn was written by Elta M. Lewis. Her biography remains obscure as there is no other information about her other than she lived in the 19C.

The composer of this tune is James Kirkpatrick (1828-1921). He was an American sacred music composer who published over eighty gospel song collections over a period of seventeen years. He composed for Fanny Crosby the tune to "He hideth my soul" If you find any information on Ms Lewis, please be sure to add a comment.

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Malcolm Meetze

Mar 11, 2005

This hymn just reminds me that whatever it is that I go through in life, the Lord has it there for a reason unknown. We just need to take our portion from the Lord and accept "whate'er it be! whate'er it be!"

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