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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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O Christ, what burdens bow’d Thy head

Praise of the Lord His Suffering

English94
1
O Christ, what burdens bow’d Thy head!
Our load was laid on Thee;
Thou stoodest in the sinner’s stead,
Didst bear all ill for me.
A victim led; Thy blood was shed;
Now there’s no load for me.
2
Death and the curse were in our cup,
O Christ, ’twas full for Thee!
But Thou hast drained the last dark drop—
’Tis empty now for me.
That bitter cup—love drank it up;
Now blessings’ draught for me.
3
Jehovah lifted up His rod,
O Christ, it fell on Thee!
Thou wast sore stricken of Thy God;
There’s not one stroke for me.
Thy tears, Thy blood, beneath it flowed;
Thy bruising healeth me.
4
The tempest’s awful voice was heard,
O Christ, it broke on Thee!
Thy open bosom was my ward,
It braved the storm for me.
Thy form was scarred, Thy visage marred;
Now cloudless peace for me.
5
Jehovah bade His sword awake,
O Christ, it woke ’gainst Thee!
Thy blood the flaming blade must slake;
Thy heart its sheath must be—
All for my sake, my peace to make;
Now sleeps that sword for me.
6
For me, Lord Jesus, Thou hast died,
And I have died in Thee;
Thou’rt ris’n: my bands are all untied,
And now Thou liv’st in me.
When purified, made white, and tried,
Thy glory then for me!

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Un Hermano

Oct 6, 2025

C. Consummated with Better Sacrifices

and the Blood That Speaks Better Things

Hebrews 9:23 says, “It was necessary therefore for the examples of the things in the heavens to be purified by these, but the heavenly things themselves, by better sacrifices than these. ”

The new covenant was consummated with better sacrifices and with the blood that speaks better things. Christ offered Himself as one sacrifice (v. 14 ; 10:12). This one sacrifice, viewed from its various aspects, can be considered many sacrifices. As Christ is the eternal Son of the living God incarnated to be the Son of Man, and as He offered Himself to God through the eternal Spirit, so His sacrifices, which are Himself, are better than the animal sacrifices. Those were shadows that could never remove sins (v. 11), but His sacrifices are real and have put away sin once for all (9:26). Thus He obtained an eternal redemption for us (v. 12). Verse 22 says that “without shedding of blood there is no forgiveness. ” Without forgiveness of sin there is no way for the requirement of God’s righteousness to be fulfilled that the covenant may be enacted. But Christ’s blood was shed for the forgiveness of sin, and the covenant was enacted with His blood (Matt. 26:28). We are told in Hebrews 12:24 that Christ’s blood “speaks something better than that of Abel. ” The blood of Christ is the speaking blood, speaking to God for forgiveness, justification, reconciliation, and redemption. As unveiled in Hebrews, this precious blood speaks to God for us that by it the new covenant may be enacted. Hence, it is called the blood of the eternal covenant (10:29 ; 13:20).

Life-study of Hebrews

Message 41 (LSM)

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Un Hermano

Oct 6, 2025

The Coats of Skin with Which

Adam and Eve Were Clothed

The coats of skin that were used as a covering for Adam and Eve are the first indication in type of God’s promised redemption. When man fell, God not only spoke of the promise of the seed of the woman (Gen. 3:15), but He also clothed Adam and Eve with coats of skin (v. 21). Initially, Adam and Eve were sinless and not ashamed of their nakedness (2:25). However, after they sinned and fell, they were ashamed of their nakedness. Although they sewed fig leaves together and made loincloths for themselves (3:7), this could not cover their shame and sinfulness. Therefore, God made coats of skin to clothe and cover them.

The coats of skin must have involved the shedding of the blood of a slain sacrifice. Adam and Eve had both eaten the fruit of the tree of the knowledge of good and evil, and according to God’s commandment, they should have died that day (2:17). However, a sacrifice was killed, and its blood was shed in their place for the forgiveness of sins (Heb. 9:22). Thus, the skin of this sacrifice became a covering for their sin so that they could live before God.

God’s making coats of skin typifies His making the Lord Jesus our righteousness so that in Him we could be justified before God (1 Cor. 1:30; Rom. 3:24 ; Phil. 3:9). In the fulfillment of this type the Lord Jesus was slain, and His blood was shed for us. Then He became our righteousness so that we might become the righteousness of God in Him (2 Cor. 5:21).

Redemption in God's Plan
Chapter 4 Prophecies and Types
of God's Redemption (LSM)
CWWL, 1950–1951, vol. 2

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James Smith

Mansfield, Ohio, United States

Dec 26, 2023

Cursed is every man that does not complete every letter of the law. This curse was on us as defiled sinners. Christ became cursed because He bore our sins. Christ drank this cup of suffering and wrath for us, every drop. Selah. Thank you Lord 🙏

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Paul Emmy

Abuja, FCT, Nigeria

Aug 23, 2021

Wonderfully hymn. Thank you Jesus!

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Stephen Hamilton

Neenah, Wisconsin, United States

Jan 19, 2021

I learned this hymn while in England doing some mission work. I learned many new hymns from the Redemption Hymnal that I love, but this is my favorite one that I learned. I learned it with a different tune than is the one written in the hymnal and like that tune better. Does anyone know how I can find the piano music for the different tune?

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Alfred Horsford

Grand Anse, St. George, Grenada

Oct 11, 2020

This is perhaps, my favourite hymn. It goes deep into my soul. It is simply amazing what our Redeemer went through for us on the cross. I could never fathom the depths of such love. He was smitten by the rod of Jehovah. He was pierced by his awful sword. All for my sake. THANK YOU, LORD JESUS!

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Gary Laxson

Colorado Springs, CO, United States

Dec 17, 2019

Also one of my favorite hymns, filled with Grace, Amen!

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Luke Steenkamp

Cape Town, Western Cape, South Africa

Jun 20, 2018

This is my favourite hymn. Today's Gospel writers pale in comparison to the hymn lyricist.

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Steve Miller

Detroit, MI, United States

Jul 2, 2014

Mrs. Cousin, the wife of a Free Church of Scotland minister and the daughter of a doctor, possessed a literary gift. She wrote 107 hymns. - Songs of the Spirit by Martin

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

A young of­fi­cer in the Brit­ish ar­my turned away in hor­ror from the doc­trine of this hymn. His pride re­volt­ed, his self-right­eous­ness rose in re­bel­lion, and he said: “He would be a cow­ard in­deed who would go to hea­ven at the cost of ano­ther!” As the years rolled away this man rose to dis­tinct­ion and high rank in the ar­my, and he al­so learned wis­dom. In his last hours, as he lay on his death­bed, he re­peat­edl­y begged those near him to sing “O Christ, what bur­dens bowed Thy head,” call­ing it, “My hymn, my hymn!” - Sankey's Story of the Gospel Hymns

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Douglas

Pine Brook, New Jersey, United States

Feb 11, 2014

"That bitter cup -- love drank it up; now blessings draught for me." How can one improve upon that? Unfortunately we in our church never sang this hymn, but our pastor, Al Martin quoted it the first time (for us) during his preaching through Mark's Gospel when he got to the part about Jesus being in the garden of Gethsemane (Mk. 14:36) and a few times after that during his sermons. Also, someone in the church had it printed on fancy paper and I got a copy of it to read some years ago. I was happy to find it here as I lost my copy of it.

What a blessing!

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