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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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Hail to the Lord’s Anointed

Hope of Glory Christ Coming to Reign

English968
1
Hail to the Lord’s Anointed,
Great David’s greater Son!
Hail, in the time appointed,
His reign on earth begun!
He comes to break oppression,
To set the captive free;
To take away transgression,
And rule in equity.
2
He shall come down like showers
Upon the fruitful earth;
And love, joy, hope, like flowers,
Spring in His path to birth:
Before Him on the mountains
Shall peace, the herald, go;
And righteousness, in fountains,
From hill to valley flow.
3
Kings shall fall down before Him,
And gold and incense bring;
All nations shall adore Him,
His praise all people sing;
For He shall have dominion
O’er river, sea, and shore,
Far as the eagle’s pinion,
Or dove’s light wing can soar.
4
To Him shall prayer unceasing
And daily vows ascend;
His kingdom still increasing,
A kingdom without end.
The mountain dews shall nourish
A seed in weakness sown,
Whose fruit shall spread and flourish,
And shake like Lebanon.
5
O’er every foe victorious
He on His throne shall rest,
From age to age more glorious,
All-blessing and all-blest.
The tide of time shall never
His covenant remove;
His Name shall stand forever,
His changeless Name of Love.

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Davina Adolphus

Bori Camp, Rivers, Nigeria

Mar 16, 2025

Hail to the LORD'S Anointed... this song became popular with my family in 1999, when we had Psalm 72 as the anchor of the year... since then it has become one of our favorite hymns of all time and the grace and blessings that JESUS brings as described in the hymn have always been with us. Thank YOU JESUS... Amen

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Ana Lara

Storrs, Connecticut, United States

Jul 11, 2022

James Montgomery (says Dr. Breed) is “distinguished as the only layman besides William Cowper among hymn writers of the front rank in the English language. ” How many millions have recited and sung his fine descriptive poem, ––

Prayer is the soul’s sincere desire,

–– selections from almost any part of the poem which are perfect definitions, and have been standard hymns on prayer for many generations. English hymnody also highly regards his missionary hymns, —

The King of glory we proclaim.

Hark, the song of Jubilee!

— and greatest of all, the lyric of prophecy and praise which heads this stanza;

Hail to the Lord’s anointed,
King David’s greater Son!
Hail, in time appointed
His reign on earth begun.

This hymn is really the 72nd psalm in meter, and it could be considered to be as high in vision as that of Isaac Watts. Montgomery wrote it as a Christmas ode. It was sung December 25, 1821, at a Moravian Convocation, but in 1822 he recited at a great missionary meeting in Liverpool, and Dr. Adam Clark was so pleased with it that he inserted it in his famous “Commentary”. Soon thereafter, it found its way into general use.

The spirit of his missionary parents was Montgomery’s Christian legacy, and in exalted poetical moments it stirred him as the divine inspiration which kindled the spirit of the prophets of old.

(Brown and Butterworth)

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Coralee J. Smith

Nassau, Bahamas

Oct 25, 2021

Thank you so much! One of my favourite hymns! Whenever I hear it, I know Christmas is near!

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Steve Miller

Detroit, MI, United States

Dec 3, 2013

In April, 1822 James Montgomery was speaking in Liverpool at a Methodist missionary meeting. It was a time when the English were waking up to foreign missions, and numerous meetings like this one were presenting worldwide needs and commissioning new workers. Montgomery himself was a Moravian and already a noted hymnwriter. He loved to promote missionary zeal whenever he could.

As the hymnwriter spoke, the lights suddenly went out in the building. Then there was a loud crash as the back of a seat was broken in the darkness. For a moment it seemed that mass panic might ensue. But then the chairman [Adam Clarke] of the meeting called out, "There is still light within," and Montgomery resumed speaking. The crowd calmed down, listening in the darkness. Montgomery concluded his words by reciting this newly written hymn, "Hail to the Lord's Anointed." - Great Songs of Faith by Brown and Norton

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This hymn is based on Psalm 72. Adam Clark used this hymn in his famous commentary on that psalm.

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There are additional stanzas. The 2nd & 3rd stanzas are:

2. He comes in succor speedy
to those who suffer wrong;
To help the poor and needy,
and bid the weak be strong;
To give them songs for sighing,
their darkness turn to light,
Whose souls, condemned and dying,
were precious in His sight.
------------------

3. By such shall He be fearèd
while sun and moon endure;
Beloved, obeyed, reverèd;
for He shall judge the poor
Through changing generations,
with justice, mercy, truth,
While stars maintain their stations,
or moons renew their youth.
------------------------
The 5th stanza following hymnal.net stanza #2:

5. Arabia’s desert ranger
to Him shall bow the knee;
The Ethiopian stranger
His glory come to see;
With offerings of devotion
ships from the isles shall meet,
To pour the wealth of oceans
in tribute at His feet.

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