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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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Revive Thy work, dear Lord

Prayer For Revival

English798
1
Revive Thy work, dear Lord!
Thy mighty arm make bare;
Move in the hearts and wake the souls,
And make Thy presence dear.
 
Revive Thy work, dear Lord!
And manifest Thy power;
O come upon Thy church as in
The Pentecostal hour.
2
Revive Thy work, dear Lord!
Disturb this sleep of death;
Quicken the smouldering embers now
By Thine almighty breath.
3
Revive Thy work, dear Lord!
Create soul-thirst for Thee;
And hungering for the Bread of Life,
O may our spirits be!
4
Revive Thy work, dear Lord!
And give abounding joy;
O fill our hearts with perfect love,
And burn out all alloy!
5
Revive Thy work, dear Lord!
Repeat Thy deeds of grace;
Thy mighty name be magnified,
To Thee be all the praise.

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Ana Lara

Storrs, Connecticut, United States

Nov 11, 2019

Albert Midlane was born January 23, 1825, on the Isle of Wight in the town of Newport near Carisbrooke Castle. He was not brought up in a Christian home. He did get some help from his mother and a devoted sister but not from his father. He took up printing as a trade, but later switched to that of a helper to an ironmonger - someone who manufactures as well as sells iron-for over 50 years.

He started to write poetry and hymns at an early age. Like Solomon who wrote over 1, 000 songs Albert Midlane came close to that number.

On February 7, 1856 he composed the hymn “A Little Lamb Went Straying” after a hard days work at business. He finished it at 2 a. m. but was so exhausted by his efforts that he ended up needing medical attention.

Albert lived to see the celebration of the jubilee of his best known hymn, and had the experience of listening to 3, 000 children in St. Paul’s Cathedral sing together “There’s a Friend for Little Children”.

On February 7, 1909, his voice was heard publicly for the last time as he spoke to crowds of young and old as to the eternal things in his home town. On Thursday morning on the 11th of February, 1909 at the age of 84 he was seized by a fit of apoplexy and never recovered, but passed away quietly in his sleep as Lord’s day morning was approaching on February 28, 1909.

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Tamara De Hart

Oceanside, CA, United States

Feb 14, 2012

Our being broken and living before the Lord, His being built within us, and the church being the expression of Christ’s Body cannot be faked. People can sense this immediately when they meet with us. Similarly, the condition of our locality cannot be faked. It is cold or hot, poor or rich, in the flesh or in Christ. As soon as people touch us, they will touch the inward reality. Nothing is as real as spiritual matters; they cannot be faked at all.

Some people are in Christ, allowing Him to rule in them and to overflow out of them. They are persons who are broken, restricted, and ruled by the Holy Spirit. When we come into their midst, we are released and freed, regardless of how heavy a burden or how difficult a situation may be pressing upon us. As soon as we enter into a meeting with them, our entire being is released and freed. This is because there is freedom in the fullness of Christ. If the Son of God sets us free, we are free indeed. Of His fullness we have all received, and grace upon grace. If we live in Him and allow His fullness to be expressed, there will be something in us that sets others free.

Church as the Body of Christ, The, Chapter 11, Section 3

May the Lord have mercy on us, revive us, and make us persons who live not by ourselves but by another life which is the processed and consummated Triune God as the seven-fold intensified life-giving Spirit.

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