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About Numbered Notation

All steps
  1. The numbers are the notes of a scale
  2. “1=C” tells you where to start
  3. Dots make a note higher or lower
  4. How long each note lasts
  5. 0 means rest
  6. Bar lines and the time signature
  7. Curves: ties and slurs
  8. The words sit under the numbers
  9. Repeat signs and 1. 2. endings
  10. Minor keys: “6=A”
  11. Put it together: a line of a hymn
  12. Check yourself
  13. Try it on a hymn

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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Lord, speak to me, that I may speak

Service By being Wrought upon by the Lord

English903
1
Lord, speak to me, that I may speak
In living echoes of Thy tone;
As Thou hast sought, so let me seek
Thy erring children lost and lone.
2
O lead me, Lord, that I may lead
The wandering and the wavering feet;
O feed me, Lord, that I may feed
Thy hungering ones with manna sweet.
3
O strengthen me, that while I stand
Firm on the rock, and strong in Thee,
I may stretch out a loving hand
To wrestlers with the troubled sea.
4
O teach me, Lord, that I may teach
The precious things Thou dost impart;
And wing my words, that they may reach
The hidden depths of many a heart.
5
O give Thine own sweet rest to me,
That I may speak with soothing power
A word in season, as from Thee
To weary ones in needful hour.
6
O fill me with Thy fullness, Lord,
Until my very heart o’erflow
In kindling thought and glowing word,
Thy love to tell, Thy praise to show.
7
O use me, Lord, use even me,
Just as Thou wilt, and when, and where,
Until Thy blessed face I see,
Thy rest, Thy joy, Thy glory share!

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Pikkie

Potchefstroom, NW, South Africa

Jul 10, 2026

Yes Lord wing my words that they may reach the hidden depths of many hearts. Teach us to learn to speak to others.

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Jim Smith

Mansfield, Ohio, United States

May 5, 2026

This hymn was written by a captured heart overflowing (vs 6) with love for the Lord and others.

Frances Ridley Havergal experienced frequent illness throughout her life, including a near-fatal bout of typhoid fever in 1874. She also suffered from peritonitis, which ultimately led to her death at the age of 42. Her health challenges often interrupted her work and ministry, but she viewed these periods of illness as opportunities for spiritual growth and submission to God's will.  

Except for a brief period of study in Dusseldorf, Germany, in 1852–53, she lived a sheltered life, residing first with her parents and then with her sisters; she never married.

She was a prolific 19th-century English poet and hymnwriter known for hymns of deep consecration, personal devotion, and missionary zeal. Her most famous work is "Take My Life and Let It Be". Other enduring hymns include "Like a River Glorious," "I Gave My Life for Thee," and "Tell It Out".  

Key and Famous Hymns

* "Take My Life and Let It Be" (1874): A well-known hymn of total consecration.

* "Like a River Glorious" (1874): Often sung to the tune Wye Valley.

* "I Gave My Life for Thee" (1858): Inspired by a painting of Christ.

* "Tell It Out" (1879): Inspired by Psalm 96:10.

* "Who Is on the Lord’s Side?" (1877): A hymn of commitment.

* "Lord, Speak to Me, That I May Speak" (1872): A hymn focused on service.

* "Golden Harps Are Sounding" (1871): An Ascension hymn.

* "True-Hearted, Whole-Hearted" (1878): A hymn of faithfulness.

* "I Am Trusting Thee, Lord Jesus" (1874): A hymn of faith.
* "Another Year Is Dawning" (1874): A New Year's hymn.  
  6
Common Themes and Style
Havergal's hymns are characterized by:

* Total Consecration: A focus on giving one's entire life, talents, and possessions to God.

* Personal Relationship with Jesus: Intense, intimate love for Christ as Savior and Master.

* Service and Mission: Strong encouragement to share the gospel.

* Biblical Foundation: Many were based on scripture, such as Psalm 96.  

Her hymns are found in many hymnals and have been translated into numerous languages. She often wrote her own tunes or had them composed to fit her lyrics.

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Lemann Saliou

Yaoundé, Cameroon

Jan 3, 2026

Thank you Lord, this song has just revived my whole being this 3rd of January 2026. Each word, sentence carries light and life. It is a praying lyrics for me. I'm blessed and privileged. Thanks for preserving it till today and beyond.

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Rebecca

Jan 6, 2025

Here after listening to Seedbed Ministries/JD Walt’s Wake Up Call podcast!

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Jack Petrash

Irving, TX, United States

Jun 4, 2024

Oh how the Lord loves to hear such a prayer like this hymn! It reminds me of Acts 5:41-42: So they went from the presence of the Sanhedrin, rejoicing that they were counted worthy to be dishonored on behalf of the Name. And every day, in the temple and from house to house, they did not cease teaching and announcing the gospel of Jesus as the Christ.

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Sunny

Lagos, Nigeria

Mar 29, 2024

While sitting on my meeting point with my God meditating on the wonder of His love, this hymn came to my mind. While search the webs for it, your website provided the answer. Thank you for preserving it for generations yet unborn. What will I leave behind for my generations?

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Faela Maney

Columbia, South Carolina, United States

Feb 20, 2024

This song, particularly the 7th verse, came to mind this morning as I pray

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Grace Eleojo Edward

Kogi, Nigeria

Jan 12, 2024

Song that makes me pray more

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Blessing

Owo, Ondo, Nigeria

Jan 3, 2024

This song came to me while I was praying to God to speak to me. I sang this song some years ago. Thanking God for the song in ever green.

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Dorothy Sandra McKinney

Hillsborough, Co Down

Oct 3, 2023

Woke with this song this morning as I came to pray. An old and precious hymn with timeless significance. As a teacher and counsellor it was my constant prayer reaching out to troubled teens. Still relevant as I attend the funeral later of a "neighbour" in my husband's Nursing Home. "Anywhere, Lord; anytime!" even approaching 80!

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