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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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O Word of God incarnate

Study of the Word The Function of the Word

English803
1
O Word of God incarnate,
O Wisdom from on high,
O Truth unchanged, unchanging,
O Light of our dark sky,
We praise Thee for the radiance
That from the hallowed page,
A lantern to our footsteps,
Shines on from age to age.
2
The Church from her dear Master
Received the gift divine,
And still that light she lifteth
O’er all the earth to shine:
It is the golden treasure
Where gems of truth are stored;
It is the heaven-drawn picture
Of Christ, the living Word.
3
It floateth like a banner
Before God’s host unfurled;
It shineth like a beacon
Above the darkling world;
It is the chart and compass
That, o’er life’s surging sea,
’Mid mists and rocks and quicksands
Still guide, O Christ, to Thee.
4
O make Thy Church, dear Savior,
A lampstand of pure gold,
To bear before the nations
Thy light, that all behold;
O teach Thy wandering pilgrims
By this their path to trace,
Till, clouds and darkness ended,
They see Thee face to face.

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Chun Wang

Odessa, TX, United States

Sep 25, 2025

Love it!

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Maria L

Fremont, California, United States

Sep 13, 2025

Hallelujah! God is light, and in Him there’s no darkness at all. The divine light is the nature of God’s expression. Spirit is the nature of God’s person, love is the nature of God’s essence, and light is the nature of God’s expression. Praise the Lord 😀

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Ana Lara

United States

Apr 2, 2020

William W. How, was born in Shrewsbury, England, on December 13, 1823, is considered to be one of the outstanding English hymnodists of the nineteenth century. He composed sixty hymns, (twenty-five still in use) as well as served as an Anglican Bishop for the east section of London, the slum district of the city. He was known affectionately as the poor man’s bishop for helping with the impoverished social conditions in that area. Unlike other bishops who would ride in a private coach, he rode on public transportation thus earning the nickname “omnibus bishop. ” He did not live in a palace like his fellow clergymen but instead lived and worked with his people. He maintained a special interest in the hymns of the church. William and his friend Sir Arthur Sullivan, a famous composer and who developed a distinctive style of English opera, became editors of a popular Anglican hymnal of the day.

The tune for this hymn “Munich, ” is named after the German city. It was adapted from a melody found in an old German hymnal of 1693. It was later used by the nineteenth century German composer, Felix Mendelssohn, for a choral, “Cast Thy Burden on the Lord, ” from his oratorio Elijah, first heard in England on August 26, 1846.

“O Word of God Incarnate” appeared in the 1867 supplement to “Psalms and hymns, ” edited by T. B. Morrell and William How. In the first verse of this hymn, he clearly establishes the Bible as the inerrant Word of God. In verse two he follows the thought that the Church is the means by which the Bible is transmitted to mankind. Then in verse three he uses metaphors to compare the Scriptures to daily living--banner, lighthouse, chart and compass. Verse four concludes with a prayer that the Church may be the faithful administrator of guiding men to salvation.

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Page Thompson

Greensboro, NC, United States

Jan 20, 2018

Just simply beautiful in every way! The lyrics are so rich. The Lord spoke to me when I began to go over the music. The fourth verse is my favorite. Thank You, Lord God, for these divine words of Truth and Grace.

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Margaret Weir

Sanjose

Dec 27, 2015

Beautiful prayer to pray for my churches.

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Joanna L Smathers

Baton Rouge, LA

Oct 14, 2015

This is the song for week 15, volume three of the crystallization of Exodus. It touched me deeply. Seems to me so applicable for the refugee situation in Europe right now. What a Grace and Mercy we could know the church in these days. Yes Lord in these days make us Your golden lampstand to bear before the nations Thy light that all behold.

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Steve Miller

Detroit, MI, United States

Aug 11, 2013

William Walsham How served a rural congregation on the Welsh border for 28 years and then ministered in London's East End. He loved children and wrote hymns for them. One of them began like this: "It is a thing most wonderful, almost too wonderful to be, that God's own Son should come from heaven, and die to save a child like me."

William How also loved the Bible. On his symbolic pastoral staff, he engraved the words of St. Bernard: "Pasce verbo, Pasce vita," which means "Feed with the Word, feed with the Life." - Great Songs of Faith by Brown & Norton

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