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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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The churches here below, so narrow bound

The Church Her General Definition

English828
1
The “churches” here below, so narrow bound,
Reach not the hungry throngs which us surround;
They run partway with truth, but miss the goal.
Earth-vision blurred and dim, their eyes doth hold—
But broken gleams have they of radiance gold;
Too dazzling is the splendor of the whole.
2
Brothers with brothers have not all one heart,
In wrath they turn away and walk apart,
Who from one stream of life had common birth.
What fight for forms! O’er doctrines what vain strife!
Instead together sharing God’s one life,
Who worshipped is by heaven and by earth.
3
“Where is the truth?” I asked; for this I longed:
None answered right ’mid all the answering throng;
For ever side by side lay light and shade.
“Where is,” I cried, “the one communion pure?
Where is the Church in which, clear-traced and sure,
The Spirit’s very likeness is portrayed?”
4
So sought I long, and hopeless was my quest;
These eyes grew dim and blind and found no rest,
Till God’s touch opened them, and I was freed.
I found the Spirit’s Church in souls made one
In this, that they in troth to Christ had come—
His Bride, to follow where the cross may lead.
5
Thus when I see this small world’s narrow thought,
Behold the brother not with brother brought,
Yet serving Christ—as each one deemeth right—
Ah, then a voice from realms of glory calls,
Where the last veil is rent and earthward falls,
And where God’s love, eternal, burneth bright.
6
No more we put that query without end,
To which self-chosen church our feet did trend—
What doctrines we believed, what sacred rites.
In Christ we were in bonds that nought could break;
Who, by His cross and death, do all forsake,
Such as were far asunder He unites.
7
No longer does one heed mere formal phrase,
Or seek for others’ creeds through winding maze,
For in Himself was truth made manifest.
And out of every tongue and every land
He formed one Church to meet His own demand—
His Body, where His fullness is expressed.

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Nisu

Kigali, Rwanda

Apr 5, 2021

Am blessed by the message of my fellow Christian Steve Miller

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Steve Miller

Detroit, MI, United States

Jul 30, 2014

Born Eva von Tiele-Winckler in southeastern Germany into a family of wealth, Eva had a conversion experience at the age of 17 after reading John 10. She established a home called Friedenshort (abode of peace) for women who desired to follow and serve the Lord. With these sisters, she opened homes for orphans, widows, the poor, and the infirm. By the end of her life, over 40 homes were set up around Germany through her labor. These sisters also preached the gospel to women in prison and established homes for them when they were discharged from prison. Although she was brought up in wealth, she lived a simple life using her wealth for the benefit of others. She eventually sent out a number of sisters to serve in China with the China Inland Mission, and to Guatemala, Africa, and India. She was helped in her spiritual pursuit through contact with Mrs. Jessie Penn-Lewis, Hudson Taylor, the Welsh Revival, and the Keswick Convention. Sister Eva enjoyed fellowship with all true believers. She would not let any sectarian attitude or doctrinal differences hinder her fellowship with other saints. This hymn describes the divisive conditions of the church and her longing to find believers who live in oneness, not letting doctrines and practices divide them. It is a sober reminder to us that our divine birth is a common birth and that Christ's death has torn down all that divides believers. - Songs of the Spirit by Martin

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