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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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Thou art coming, O my Savior

Hope of Glory Christ Coming to Reign

English967
1
Thou art coming, O my Savior,
Thou art coming, O my King,
In Thy beauty all resplendent,
In Thy glory all transcendent;
Well may we rejoice and sing;
Coming! In the opening east,
Herald brightness slowly swells:
Coming! O my glorious Priest,
Hear we not Thy golden bells?
2
Thou art coming, Thou art coming;
We shall meet Thee on Thy way;
We shall see Thee, we shall know Thee,
We shall bless Thee, we shall show Thee
All our hearts could never say:
What an anthem that will be,
Ringing out our love to Thee,
Pouring out our rapture sweet
At Thine own all-glorious feet.
3
Thou art coming, at Thy Table
We are witnesses for this;
While rememb’ring hearts Thou meetest
In communion clearest, sweetest,
Earnest of our coming bliss,
Showing not Thy death alone,
And Thy love exceeding great,
But Thy coming and Thy throne,
All for which we long and wait.
4
Oh, the joy to see Thee reigning,
Thee, my own beloved Lord!
Every tongue Thy Name confessing,
Worship, honor, glory, blessing,
Brought to Thee with one accord;
Thee, my Master and my Friend,
Vindicated and enthroned,
Unto earth’s remotest end
Glorified, adored, and owned!

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Anonymous

Anaheim, CA, United States

Mar 10, 2026

The Collected Works of Witness Lee, 1972, vol. 1, pp. 407-411,

"Preparing for the Lord's Return," ch. 5

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Gail

New Madison, Ohio, United States

Aug 13, 2025

A very uplifting hymn of Truth! I long to Praise Jesus in a deeper way! The 4th verse lifts my soul to Him!

I enjoyed the history of the writer, Thank you!

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Ana Lara

Storrs, Connecticut, United States

Apr 30, 2021

Thou art coming, O my Savior!

This wonderful advent hymn was written at the village of Winterdyne in November, 1873, and first appeared in a local newspaper. It was afterwards published in a leaflet form with an accompanying tune also by this author -– for she was both a poet and a musician – – and very soon came to be a public favorite. The name of Frances Ridley Havergal, its writer, takes up prominent position among the sweet singers of Zion. Her spiritual songs have for many years been heard and sung all over the world.

Miss Havergal was born on December 14, 1836, at Astley in Worcestershire, her father, himself the author of several hymns, was a vicar of a little parish church there. Very early in life Frances gave evidence of the poetic gift with which she was endowed, and her being saved while still a girl in school, opened a way to serve God in this particular sphere which He allowed in order to be a channel of blessing in years to come. Writing to a friend at that time she says: “I committed my soul to the Savior, and earth and heaven seemed brighter from that moment. ” This was the young life which many years later was to give us the sweetest of all consecration hymns, “Take my life, and let it be. ”

Frances was a writer who possessed an exceptional gift for committing to verse words and ideas, almost as quickly as they presented themselves in her mind. And example of this is associated with one of her best known hymns written in 1858, on a visit to Germany. One day after a long walk, Miss Havergal arrived at the place where she was staying, tired and weary, and sitting herself on the sofa, her eyes fell upon a picture on the opposite wall, bearing the words, “I gave my life to Thee.” Immediately came to her the overwhelming thought of her Savior’s dying love, and taking a paper and pencil she wrote the entire hymn.

Most of Miss Havergal’s hymns were written on scraps of paper, and afterwards copied into school exercise books, many of which are still preserved. It is interesting to receive her own account of the way in which, in God’s hands, she exercised her remarkable gift. “Writing is praying with me; I never seem to write even a verse by myself, and I feel like a little child writing. Do you know a child would look up at every sentence and say, ’And what shall I say next? ’ This is just what I do. I ask that at every line He would give me, not merely thoughts and power, but also everywhere, even the very rhymes. Very often I have the most distinct and happy consciousness of direct answers. ” One can understand how so many of her songs have been so wonderfully used by God, for the writer lived daily In a spiritual atmosphere and a close communion with the Savior she so deeply loved.

Miss Havergal’s best loved hymn is “Take my life and let it be. ” It was written in 1874, and almost overnight became a worldwide favorite. It has been translated into about a dozen European languages. Stanza 4 reads:

Take my silver and my gold;
Not a mite would I withhold:
Take my intellect and use
Every power as Thou shalt choose.

No one better than Frances fully understood the spiritual meaning of this hymn for the life of Francis Havergal was indeed a life of consecration. One day she wrote to a friend: “the Lord has shown me another little step, and of course I have taken it with extreme delight. ‘Take my silver and my gold, ’ now means shipping off all my ornaments to the Church Missionary House (including a jewel cabinet that is really fit for a countess), where all will be accepted and disposed of for me. I retain a brooch or two for daily wear which are memorials of my dear parents, also a locket containing a portrait of my dear niece in heaven, my Evelyn, and her two rings; but these I redeem, so that the whole value goes to the Church Missionary Society. Nearly fifty articles have been packed up. I don’t think I ever locked a box with such pleasure.”

Frances’s health at times was aggravated by repeated attacks of illness, being that she lived a strenuous life, her labors being almost wholly devoted to the Master’s service. “She spoke, she taught, she sang, she prayed, she wrote for Him. She visited the sick and infirm, often undertaking long journeys in order to carry some message of love.”

In the autumn of 1878, Miss Havergal made her home at the Mumbles, Swansea Bay. Here, it was hoped would be found a quiet resting place, that she might recruit some of her lost vitality; but her compassion toward the poor of the Mumbles overtaxed her already diminishing health, and on June 3rd of the following year, Frances Ridley Havergal passed into the presence of the King. She was forty-two years old.

Among the many hymns of Miss Havergal, there is one of special beauty, “Lord, speak to me and I may speak,” which breathes out the tender longings and aspirations of a sanctified soul, so beautifully exemplified in the life of this godly writer. Here are the closing verses :

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.
O fill me with the fullness, Lord,
Until my very hard o’erflow
In kindling thought, and glowing word,
Thy love to tell, Thy praise to show.
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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Rosita Enriquez

Feb 25, 2018

I was enjoying a hymn with the word "rejoicing" and it was written by Frances Ridley Havergal; then I clicked on his name on the hymn to see what other songs he had written. Oh, my, he only lived 43 years... the songs are really wonderful and filled with experience, and suffering, and love to our Beloved, the One we are waiting for!!!! Press on, rejoice, love HIm, He is coming!!! Rejoice! Call on Him! Love Him... today!!!!

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Owen

Wellington, New Zealand

Aug 28, 2017

A most marvellous hymn, it climaxes wonderfully in the last verse. So may we know the joy of Him reigning and ruling within, so that he can return and have His name vindicated, enthroned, glorified, adored and owned over all the earth!

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Darlene West

Noblesville, IN, United States

Nov 20, 2014

Looking "forward to the return of Jesus Christ, our great High Priest. He has completed the work of atonement and now intercedes for us. We now await His return to take us to Himself."

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Steve Miller

Detroit, MI, United States

Mar 26, 2013

This hymn was sung at the funeral of Major General Sir Charles Scott Oct. 10, 1919. - Chief Men among the Brethren by Pickering

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Natalia L

St.-Petersburg, Russia

Mar 30, 2011

Oh, the joy to see Thee reigning - He reigns over us, His real believers, even now.

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