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About Numbered Notation

Numbered Notation (also called Jianpu, 简谱) writes each melody note as a number from 1 to 7 instead of a note on a staff. The number shows the note's position in the song's scale -- not its exact pitch -- so the same tune looks identical no matter what key it's sung in.

Within one octave, the numbers 1 2 3 4 5 6 7 correspond to the familiar do re mi fa sol la ti. A dot above a number raises it an octave higher; a dot below lowers it an octave lower -- no dot means the middle, as-written octave.

A plain number lasts one beat. A dash (-) right after a number holds that same note for one more beat. A line underneath a number shortens it instead -- one line is half a beat, two lines a quarter of a beat. A 0 is a rest: silence for one beat.

The label at the top of the sheet, like "1=C" or "1=Ab", shows which pitch scale degree 1 ("do") is tuned to. A song in a minor key is labeled "6=X" instead -- scale degree 6 ("la") is the true tonic. Chord names printed above the notes (like "C" or "G7") always use their familiar letter names, never numbers.

For example, under a "1=C" heading, the numbers 1 2 3 4 5 6 7 sound as C D E F G A B. Under a "1=G" heading, those very same numbers sound as G A B C D E F# instead -- same shape, different key.

Knocking, knocking, who is there?

Gospel Persuasion

English8710
1
Knocking, knocking, who is there?
Waiting, waiting, O how fair!
’Tis a Pilgrim, strange and kingly,
Never such was seen before;
Ah! my soul, for such a wonder
Wilt thou not undo the door?
2
Knocking, knocking, still He’s there,
Waiting, waiting, wondrous fair;
But the door is hard to open,
For the weeds and ivy vine
With their dark and clinging tendrils
Ever round the hinges twice.
3
Knocking, knocking what! still there?
Waiting, waiting, grand and fair;
Yea, the wounded hand still knocketh,
And beneath the thorn-wreath’d hair
Beam the patient eyes, so tender,
Of thy Savior waiting there.

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