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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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In A Lifetime Never Met A Clever Rival

Longings For Knowing the Flesh

English8310
1
My cleverness no match had met
In Esau, Isaac of the past;
But now it’s life or death, and yet
I still in self would place my trust.
My hands are tied — submitting not,
I still would struggle, scheme and plot.
2
It seems one comes to rob my home;
Afraid, yet stubborn, I persist,
I fear my final day has come—
With every ounce of strength, resist.
He comes to wrestle; I defend:
I’ll fight Him to the bitter end.
3
How strange! Though every wile I’ve used,
For one whole night, yet still He stands.
I see my strength has been reduced,
And yet revenge is not His plan.
How strange! Although I can’t get free,
My courage grows exceedingly.
4
I’ve never met with such a foe,
And even if He states His name,
Of this opponent naught I know,
But that from Him reward I’d gain.
I’d force Him blessing to bestow,
And, blessing, His surrender own.
5
’Tis dawn, yet have I won, or He?
It’s still impossible to see.
My Rival, forced, now blesses me,
To me concedes the victory .
Says “Israel” is my new name;
But when I rise, my thigh is lame.
6
The faintest light in darkened heart
Begins to shine — I realize:
If I’m so strong, why grasp the heel?
If victor, why the crippled thigh?
’Twas He who won and left this sign,
From folly warning me thereby.
7
A flood of light: This heart of mine,
As breaks the dike by swelling tide,
At once in radiance divine
Must worship, and in shame must hide.
So great my sin, I must confess:
I’m lawless, full of filthiness.
8
Alas! To think: I overcame
Creator God Omnipotent!
Ridiculous! Oh, woe is me!
Death is my fitting punishment.
That these, mine own two hands, rebelled
The mighty God to stop and held!
9
Thou, God, dost shine so gloriously;
Thou, Lord of hosts, resplendent, bright,
At once, at recognizing Thee,
And realizing who Thou art,
I cry aloud, and tearfully
I must repent and bow the knee.
10
How can it be that I could see
Him face to face and hand to hand?
If only earth would swallow me,
My shame to hide, my life to end.
Why did I not, at life’s first start,
Pass on, from earth in sleep depart?
11
I hate myself; my heart was dim,
For blinded were mine eyes by pride;
Now, at the thought of conquering Him,
I tremble and am terrified.
Not just my thigh, but all my strength
I’ve lost; I’m broken, paralyzed.
12
As I look back at all my life,
I see that it’s corrupt entire.
For self, my God I sacrificed;
My foolish heart knew but desire.
What then I thought that “blessing” be
Was forcing God to grant my plea.
13
“I wish: the heav’n must fall in line.
I plan: my Lord must coincide.
I want: my God should step aside.
I work: my God must be my guide.
When I am rushed, He must not stay,
For once, His victory to display.”
14
There’s one so evil here below,
So proud, deceitful, obstinate;
Lord, that I’m Jacob Thou dost know:
One Thou should’st but detest and hate;
No hope have I but mercy Thine
Upon this wretched heart of mine.
15
I grope — at once His mercy find.
At first lame step — His grace is mine!
If I forget, my wounded thigh
Reminds: on naught can I rely.
Though Israel I’m named by Thee,
Yet Jacob ever lame shall be.
16
O Lord, ‘twas Thou that overcame;
In Thy defeat, defeat I’d claim;
To Thee I yield my victory;
Thy weakness drops me to my knees.
In fear and trembling all my days
Thy will I’d do, Thy name I’d praise.

Copyright Living Stream Ministry. Used by permission.

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Pwt

Burlington, MA, United States

Jan 3, 2026

BEING TOUCHED BY THE LORD

The Lord touching us is to deal with our flesh, natural strength, our self, our soul-life, sins, defects, shortcomings, idols, impurities, mixture, …anything that does not match Him in us.

The Lord’s touching us is for dealings.

The Lord’s touching us is to apply the cross to our entire being in a subjective way to make the accomplishments of the cross real and genuine to us.

Being touched by the Lord is a necessary experience before transformation, conformation and glorification can take place.

Genesis 32:24 And Jacob was left alone, and a man wrestled with him until the break of dawn.

Genesis 32:25 And when the man saw that He did not prevail against him, HE TOUCHED the socket of his hip; and the socket of Jacob’s hip was dislocated as he wrestled with Him.

Genesis 32:26 And the man said, Let Me go, for the dawn is breaking. But Jacob said, I will not let You go unless You bless me.

Genesis 32:27 And He said to him, What is your name? And he said, Jacob.

Genesis 32:28 And He said, Your name will no longer be called Jacob, but Israel; for you have struggled with God and with men, and have prevailed.

Genesis 32:29 And Jacob asked Him and said, Please tell me Your name. But He said, Why is it that you ask My name? And He blessed him there.

Genesis 32:30 And Jacob called the name of the place Peniel, for, he said, I have seen God face to face, and yet my life has been preserved.

Genesis 32:31 And the sun rose upon him as he crossed over Penuel, and he limped because of his hip.

“The touching of the socket of Jacob’s hip at the thigh muscle (v. 32), the strongest muscle in the body, signifies the touching of Jacob’s natural life, his natural strength. This was the beginning of Jacob’s transformation. As ch. 33 shows (see notes 41 and 171 there), after this experience Jacob was still natural. Nevertheless, although there was no change in Jacob’s outward living, his natural life, his inward natural strength, had been dealt with by the Lord. This is signified by the fact that Jacob walked with a limp (v. 31). The way of religion is to change man’s outward behavior; the way of God in His economy is to touch man’s inward life in order to change his inward being.

(Recovery Version Bible; footnote on touched in Gen 32:25)”.

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Zach Vernon

Bothell, WA

Sep 25, 2020

Amen

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