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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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One day when heaven was filled with His praises

Gospel The Savior

English987
1
One day when heaven was filled with His praises,
One day when sin was as black as could be,
Jesus came forth to be born of a virgin—
Dwelt among men, my example is He!
 
Living, He loved me; dying, He saved me;
Buried, He carried my sins far away;
Rising, He justified freely forever:
One day He’s coming—O glorious day!
2
One day they led Him up Calvary’s mountain,
One day they nailed Him to die on the tree;
Suffering anguish, despised and rejected;
Bearing our sins, my Redeemer is He.
3
One day they left Him alone in the garden,
One day He rested, from suffering free;
Angels came down o’er His tomb to keep vigil;
Hope of the hopeless, my Savior is He.
4
One day the grave could conceal Him no longer,
One day the stone rolled away from the door;
Then He arose, over death He had conquered;
Now is ascended, my Lord evermore.
5
One day the trumpet will sound for His coming,
One day the skies with His glory will shine;
Wonderful day, my beloved ones bringing;
Glorious Savior, this Jesus is mine!

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Harry

Verona, Nj, United States

Dec 6, 2012

This hymn is the gospel of our Lord Jesus. He saved me 46 years ago. Praise the Lord.

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Neill

Nov 17, 2012

What a wonderful Savior! What a beautiful tribute to and reminder of what He did for us.

Re: Sept 2008 comments. Now that you are four years older, wouldn't you rather just praise Jesus, instead of picking at nits?

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Caroline

Cane Garden, St. Thomas, Barbados

Apr 8, 2012

A beautiful song that reflects God everlasting love throughout his life.

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Kay Robnson

Colfax, TX, United States

Apr 8, 2012

I love this song, old or new version. The writer of the lyrics did not write the music. I like to picture the writers of old getting to take a peek from heaven and hearing their original lyrics being sung to a brand new tune and asking what power point is as they see their words they penned long ago still ringing the truth decades later. No song tells the gospel message from start to finish like this one. No beauty is lost in singing it old style or new. We sang it this morning on Easter and people that had never heard the old version (since they had become Christians recently) were singing to the Lord at the top of their lungs. I bet the writer of this song J Wilbur Chapman got to see!

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Joanna

Santa Maria, CA, United States

Apr 7, 2012

This song has haunted me since I heard it at the Good Friday service yesterday. I did not recognize it because it was sung with the contemporary music. Finding the original tune has moved me deeply because it was a beloved hymn I grew up with. I often wonder if modernizing a classic hymn does not take away some of its original beauty.

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Alan

St Helens, Merseyside, United Kingdom

Apr 4, 2012

As we approach Easter this song puts the amazing sacrifice of our Lord Jesus into context.

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Lois Doornbos

Placentia, CA, United States

Mar 4, 2012

This is the original verion as written by J. Wilbur Chapman and Charles H.Marsh copyrighted in 1910. In the present contemporary gospel music the song is called "Glorious Day"

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Harry

Calgary, AB, Canada

Jan 2, 2012

One of my most favorite hymns of all time. And, simply, one of the greatest - the tune as well as lyrics. Thank you.

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Boaz Leong

Manila, Philippines

Oct 22, 2009

This reminds me of what the Lord did for us

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Steve

United Kingdom

Sep 8, 2008

It's an old favourite, and there is much to praise it for.

However I've recently looked again at Rm. 4:25. The first dia accusative case must mean 'because of our sins', not 'to achieve our sins'. If Gk. dia accusative case carries the same meaning both times (this is moot), then Paul's thought was that his rising combined with his death to justify us, but rather that his rising showed us that justification had now been made available by his death. The ISV carries this proof of achievement idea, though I still suspect the song is right.

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