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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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Like a river, glorious

Comfort in Trials By Peace in the Lord

English719
1
Like a river, glorious
Is God’s perfect peace,
Over all victorious
In its bright increase;
Perfect, yet it floweth
Fuller every day,
Perfect, yet it groweth
Deeper all the way.
 
Stayed upon Christ Jesus,
Hearts are fully blest;
Finding, as He promised,
Perfect peace and rest.
2
Hidden in the hollow
Of His blessed hand,
Never foe can follow,
Never traitor stand;
Not a surge of worry,
Not a shade of care,
Not a blast of hurry
Touch the spirit there.
3
Every joy or trial
Falleth from above,
Traced upon our dial
By the Sun of Love.
We may trust Him fully
All for us to do;
They who trust Him wholly
Find Him wholly true.

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Tom

Henrico, VA, United States

Dec 4, 2025

Isaiah 26:3 says something like: thou wilt keep him in perfect peace, whose mind is stayed on Thee, because he trusts in Thee.

I was looking for Waze to keep myself walking by faith, and I found three:

This one which tells you that if your mind is stayed on the Lord, you will trust in him

Romans, chapter 10 that tells you that faith comes by hearing, and hearing comes through the word of Christ;

And finally, Hebrews chapter 11, that tells you that faith is the substantiation of things unseen, so when you see the unseen, things that are in the spiritual realm, it generates faith.

But I think the best one is still having your mind stayed on Jesus, that has been so powerful to me and that’s what this song is about.

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James L Welch

Blaine, WA, United States

Jun 28, 2025

Personally, I like Yahweh or Yeshua

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Sally Tan

Richmond, Virginis, United States

Mar 4, 2025

I opened my eye this morning to this hymn, the Holy Spirit is speaking to me through the lyric of this song that I will have peace if I rest upon Jehovah over an on going struggle. Thank You Father.

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Sandra and John Johnson

Mechanicsburg, Pennsylvania, United States

Aug 12, 2024

Thank you Lord for the beautiful words of this hymn that draw us close to you.

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Edwin Maternaghan

Ballymena, Co. Antrim, United Kingdom

Mar 24, 2024

My darling wife Muriel she was called home to be with her Saviour on 18th June 2023. This hymn came into my mind today. Also Psalm 34.

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Maurine E Katcher-Young

Crown Point, Indiana, United States

Feb 2, 2024

Thank you! I so needed to sing this lovely hymn!

Shalom!

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Benbella

Kampala, East Africa, Uganda

Aug 6, 2023

I first learnt this song from my mother in my local language. The spirit of the most high God told her to sing this song in a time when everything had fallen apart for her. I was young back then (about 2015) but everyone of her children could read from her face that things were not right. She would gather us in the night for prayers before bed and we wouldn't miss singing this song. Everytime I sing it, the memory of how she used to weep while singing this song makes me break too.

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Ken Oswald

Shoreline, WA, United States

Aug 23, 2022

A elderly blind woman sitting outside a photography studio was singing and playing her harp. I walked back her way after my shopping. After I added an unknown amount of contribution to her jar. The words “God bless you, keep making music” is what I told her. In joy she smiled and then poured forth with this song, apropos are the words:

Hidden in the hollow
Of His blessed hand,
Never foe can follow,
Never traitor stand;
Not a surge of worry,
Not a shade of care,
Not a blast of hurry
Touch the spirit there…
We may trust Him fully
All for us to do;
They who trust Him wholly
Find Him wholly true

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Wilbroad Mwila

Lusaka, Central, Zambia

Jul 9, 2022

I like this song

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Ana Lara

Storrs, Connecticut, United States

Feb 15, 2022

Francis Ridley Havergal, daughter of the Reverend W. H. Havergal, was born at Astley Worcestershire December 14, 1836. Five years later her father moved to the Rectory of St. Nicholas, Worcester.

In August 1850, she entered Mrs. Teed’s school, whose influence over her was very beneficial. In the following year she says, “I committed my soul to the Savior, and earth and heaven seemed brighter from that moment. ” A short trip to Germany followed, and on her way back home she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester after her father resigned the Rectory of St. Nicolas, and resided at different periods in Liamington, and at Caswall Bay, Swasnea, broken up by visits to Switzerland, Scotland, and North Wales. She died at Castle Bay Swasnea, June 3, 1879.

Reverend James Davidson commented concerning her life, her prose, and her poetry:

“Miss Havergal’s scholastic requirements were extensive, embracing several modern languages, together with Greek and Hebrew. She does not occupy, and did not claim for herself, a prominent place as a poet, but by her distinct individuality she carved out a niche which she alone could fulfill. Simply and sweetly she sang the love of God, and His way of salvation. To this end, and for this object, her whole life and all her powers were consecrated. She lives and speaks in every line of her poetry. Her poems are permeated with the fragrance of her passionate love of Jesus.

Her religious views and theological bias are distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings is a free and full salvation through the Redeemer’s merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labors, literary efforts, and earnest interest in Foreign Missions. ”

Her most famous hymn is “Take my Life and Let it Be”. She also wrote hymn-melodies, spiritual tracks, and works for children.

Ms. Havergal’s Poetical Works were published in 2 volumes in 1884; and the hymns therein are accompanied by notes. At least 60 hymns are published in these volumes.

The writer for this hymn-tune was James Mountain (1844-1933). Born at Leeds, Yorkshire, England, he attended Gainford Academy, Rotherham College, Nottingham Institute, and Cheshunt College. He became a pastor at Great Marlow, Buckinghamshire. Leaving the clerical field due to ill health, he conducted evangelistic campaigns in Britain (1874-82) and worldwide (1882-1889). As an author, he wrote a number of books. He published a handbook, “hymns of consecration and faith”, and “sacred songs for missions, prayer, and praise meetings” (1876). He died at Tunbridge Wells, Kent, England.

He is the composer of “WYE VALLEY “
in Psalter Hymnal.
(Hymnary. org)

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