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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 Music 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 Tempo menu slows it down without changing the pitch.

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Hallelujah! Christ is Victor

Spiritual Warfare By the Lord’s Victory

English890
1
Hallelujah! Christ is Victor,
Tell with every breath,
That the Savior still is conqu’ror
Over sin and death.
 
Hallelujah! Christ is Victor,
Tell where’er you go,
That the Lord is still the conqu’ror,
Over every foe.
2
Hallelujah! Christ is Victor,
Pain and sickness flee,
When we plead the mighty victory
Won on Calvary.
3
Hallelujah! Christ is Victor,
Therefore do and dare;
Go wherever Jesus sends you
In prevailing prayer.
4
Hallelujah! Christ is Victor,
No defeat nor fear
Evermore must dim thy vision!
Christ the way will clear.
5
Hallelujah! Christ is Victor,
Soon His voice shall ring,
“Come ye conquerors, come up hither,
Join thy conquering King.”

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Steve Miller

Detroit, Michigan, United States

Nov 3, 2017

The tune for this hymn is "Hold the Fort".

At a YMCA conference in 1870, Major Daniel Whittle, a former officer in the Civil War, preached a stirring sermon from Revelation 2:25;3:11. "Only hold on to what you have until I come."

Major Whittle then used an illustration from his war experience to close the message -

A small force of Northern soldiers in charge of guarding a great quantity of supplies at the Allatoona Pass was besieged and hard pressed by greatly superior Confederate forces. Finally General French, the Confederate leader, commanded the Federal troops to surrender. At that moment on a hill some distance away the Northern leader, General Sherman, flashed a signal to his troops -

"Hold the fort, I am coming. Sherman."

In the audience that night when Major Whittle told this story was Philip P. Bliss, a well-known writer of early gospel music.

The account so captivated Bliss that he could not sleep that evening until he had completed both the text and the music for a new song, "Hold the Fort." At the next day's YMCA service, Bliss introduced his rousing new gospel hymn to the delegates. The response was immediate and enthusiastic.

"Hold the Fort" later became a great favorite in the Moody-Sankey campaigns in the U.S. and in Great Britain. During a Moody-Sankey campaign in the British Isles in 1874, Lord Shaftesbury, an esteemed Christian statesman, announced to the audience at the closing service, "If Mr. Sankey has done no more than teach our people to sing 'Hold the Fort', he has conferred inestimable blessing on the British Empire, and it would have been worth all the expense of these meetings."

Before his tragic death at the early age of 38, Philip Bliss contributed other fine gospel hymns that are still much enjoyed. Even though Bliss never considered "Hold the Fort" to be one of his better songs, his monument at Rome, Pennsylvania, bears this inscription -

"P. P. Bliss, author of 'Hold the Fort.'" - '52 Hymn Stories Dramatized' by Kenneth W. Osbeck

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Lisa Chiang

Los Angeles, California, United States

Oct 28, 2015

Hallelujah! Christ is Victor, therefore do and dare! Lord You're on the throne no matter where we are or what we're going through. Therefore we dare - even to pray things we deem impossible, to pray for places far away from us, to pray for Your move...Lord, send us in prayer wherever You desire!

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