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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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Christians, make haste, your mission high fulfilling

Preaching of the Gospel Sending forth the Tidings

English918
1
Christians, make haste, your mission high fulfilling,
To tell to all the world that God is Light,
That He who made all nations is not willing
One soul should perish, lost in shades of night.
 
Publish glad tidings, tidings of peace;
Tidings of Jesus, redemption and release.
2
Behold how many thousands still are lying,
Bound in the darksome prison-house of sin,
With none to tell them of the Savior’s dying
Or of the life He died for them to win.
3
’Tis yours to save from peril of perdition
The soul for whom the Lord His life laid down;
Beware lest, slothful to fulfill your mission,
You lose one jewel that should deck His crown.
4
Proclaim to every people, tongue, and nation
That God, in whom they live and move, is love;
Tell how He stooped to save His lost creation,
And died on earth that men He might approve.
5
Give of your sons to bear the message glorious;
Give of your wealth to speed them on their way;
Pour out your soul for them in prayer victorious,
And all you spend our Savior will repay.
6
He comes again; O brothers, ere you meet Him,
Make known to every heart His saving grace;
Let none whom He hath ransomed fail to greet Him,
Through your neglect unfit to see His face.

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Jack Petrash

Irving, TX, United States

Jul 14, 2024

A very poignant (arousing deep emotion, touching, moving) hymn. A desperate plea to our hearts to proclaim to those in darkness Redemption and Release! The day of Jubilee!

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Steve Miller

Detroit, MI, United States

Jun 5, 2013

The original first line is from Isa. 40:9-10:

O Zion, haste, thy mission high fulfilling,

In stanza 4, line 2, the original says "live and move" according to Acts 17:28 instead of "move and live". (I don't see a reason for that change. It may have been a mistake.)

Also in stanza 4, the original last line said:

And died on earth that man might live above.

The original last stanza, 1st line alludes back to Zion from the 1st stanza:

He comes again! O Zion, ere thou meet Him,

----------------------------------------------

One night in 1868, a worried mother sat up with one of her children who was critically ill. She prayed to the Lord to heal her child. She realized how quickly her comfortable life style was jolted by the reality of something really important. And what is really important to God is the evangelization of the world. If God raised up her child, would she be willing to see him go out as a missionary to a continent like Africa, where David Livingstone was lost in the interior? Out of her inner wrestling with such questions, 34 year old Mary Ann Thomson wrote these words.

This hymn blends the messianic pronouncement of Isaiah 52 with the missionary call of Romans 10. For over 100 years this hymn has stirred thousands to respond to God's call. - Great Songs of Faith by Brown and Norton

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Frank Pytel

Chicago, Illinois, United States

May 8, 2010

I have found that the one prayer the Lord answers most often is when I ask Him in my morning time to give me someone to speak the good news of Jesus Christ to that day. Often during the day at an awkward time, in a way I didn't expect, He brings the opportunity to share the gospel as an answer to my prayer. He opened the way for me at that moment to share some word or give out a tract. "The Son of Man came to seek and save the lost" (Luke 19:10). "...woe to me if I do not preach the gospel" (1 Corinthians 9:16b)

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Brian Young

Nixa, MO, U.S.A.

Dec 6, 2004

hm...what to say about this beautiful song...that's what I'll say... This is a beutiful peice of music, it truely is.

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