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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 Tempo menu slows it down without changing the pitch.

Open this guide as its own page

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Christ is coming! let creation

Hope of Glory Blessed Hope

English951
1
Christ is coming! let creation
From her groans and travail cease,
Let the glorious proclamation
Hope restore, and faith increase.
Christ is coming! Christ is coming!
Come, Thou blessed Prince of Peace.
2
Earth can now but tell the story
Of Thy bitter cross and pain;
She shall yet behold Thy glory
When Thou comest back to reign.
Christ is coming! Christ is coming!
Let each heart repeat the strain.
3
Long Thy people have been pining
For Thy peace and rest, and Thee,
Soon, in heav’nly glory shining,
Their Restorer shall they see.
Christ is coming! Christ is coming!
Haste the joyous jubilee.
4
With that blessed hope before us,
Let no harp remain unstrung;
Let the mighty advent chorus
Onward roll on every tongue.
Christ is coming! Christ is coming!
Come, Lord Jesus, quickly come.

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Janice McKenzie

United States

Oct 19, 2022

Let the Body of Christ sing out:

Christ is coming! Christ is coming!

Come, Lord Jesus, quickly come.

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Ann Barton

Palm Desert, CA, United States

Sep 5, 2018

Hallelujah! Hallelujah!

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Steve Miller

Detroit, MI, United States

Nov 28, 2014

John Ross Macduff was a Scottish divine and a prolific author of religious essays. He published many practical and devotional works which attained a wide circulation. Born in Bonhard, Scone, Perthshire, Macduff was educated at the University of Edinburgh, and was ordained as minister of Kettins, a parish in Forfarshire in 1843. He returned to St Madoes, a parish in Perthshire in 1849, which he left to take charge of Sandyford, a new church in Glasgow. He preached there for fifteen years (until 1870), and then went to live in Chislehurst, Kent, in order to focus entirely on writing. He received the degree of D.D. from the University of Glasgow in 1862, and about the same time also from the University of New York. His best known books were: "The Prophet of Fire"; "Memories of Bethany": "Memories of Gennesaret"; "The Shepherd and His Flock ": "Sunset on the Hebrew Mountains "; "Comfort Ye"; "The Golden Gospel"; "Morning and Night Watches"; "The Bow in the Cloud"; "The Story of a Dewdrop"; and "The Story of a Shell." In 1857 he was appointed by the General Assembly a member of their Hymnal Committee. His 31 hymns appeared in his Altar Stones, 1853, and were also included with his later poems in his The Gates of Praise, 1876. Wikipedia and Dictionary of Hymnology by Julian

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This hymn is more often sung to the tune of #602 "O how glorious! O how holy", "Unser Herrscher" by Joachim Neander, which I think is a better match.

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There is an additional stanza, which is usually omitted, following stanza 2 above:

2a Though once cradled in a manger,
Oft no pillow but the sod;
Here an alien and a stranger,
Mocked of men, disowned of God.
Christ is coming! Christ is coming!
Come, Thou blessèd Prince of Peace!
-----------------------

Stanza 3 above is a bit different in the original:
Long Thine exiles have been pining,
Far from rest, and home, and Thee;
But, in heav’nly vestures shining,
They their loving Lord shall see;
Christ is coming! Christ is coming!
Haste the joyous jubilee.
------------

Last stanza, 4th line, should end in a colon rather than a period and originally says:

Onward roll from tongue to tongue:

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Comfort Udom

Nigeria

Jan 28, 2004

Greetings in the name of Jesus. I recently discover this site in my computer, all along I was looking for something like this. I love this song because it is spiritually. Any hymn that I sang I always love it. I have nothing to do for the Lord, than to sing praises to him.

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