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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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Jesus, my Savior, to Bethlehem came

Gospel The Savior

English989
1
Jesus, my Savior, to Bethlehem came,
Laid in a manger to sorrow and shame;
O it was wonderful, blest be His name,
Seeking for me, for me:
 
Seeking for me, for me,
Seeking for me, for me;
O it was wonderful, blest be His name,
Seeking for me, for me.
2
Jesus, my Savior, on Calvary’s tree
Paid the great debt, and my soul He set free;
O it was wonderful—how could it be?
Dying for me, for me!
 
Dying for me, for me,
Dying for me, for me;
O it was wonderful—how could it be?
Dying for me, for me!
3
Jesus, my Savior, the same as of old,
While I was wand’ring in darkness and cold,
Gently and long did He plead with my soul,
Calling for me, for me!
 
Calling for me, for me,
Calling for me, for me;
Gently and long did He plead with my soul,
Calling for me, for me!
4
Jesus, my Savior, shall come from on high.
Sweet is the promise as weary years fly:
O I shall see Him descend from the sky,
Coming for me, for me!
 
Coming for me, for me,
Coming for me, for me;
O I shall see Him descend from the sky,
Coming for me, for me!

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Kenneth Brandie

Aberdeen, Aberdeenshire

Jan 19, 2015

This song reminds me of an old saint who was a great example to me. On her deathbed dying with Cancer, covered in bed sores and her bones protruding from her, she was belting out "Oh it is wonderful blest be His name..."

This always comes to mind when I hear extreme prosperity, health wealth preachers saying stupid things like "if you have sickness you lack faith!"

My friend in her dying hours exhibited a stronger faith and a closeness to God I have never seen before! She is now in that place where there is no sickness, tears, sorrow or death. I guess she'll be singing this one at the feet of her wonderful Saviour! "Oh it is wonderful, how can it be? Dying for me for me"

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John

Kuala Lumpur, Malaysia

Jul 6, 2012

This is the song that my late father taught his young sister in Kerala India in the early 20th century. I was born in Malaysia in the 1950s and had never met my aunt. I heard this song for the first time, from my aunt when I visited Canada in 1980's with my mum to see my uncle. My aunt came from New York with her son who had migrated to New York to see us. My aunt impressed me of my father by singing this song that she had learnt from him as a young girl. She passed away recently aged 100 years old and would sing this song frequently in perfect English. The amazing thing about is that, she could not speak a word of English and yet she as an old woman, could still sing this song very well in good English, just as my father had taught that young girl all those years ago.

To me this is truly the power of God in this song!

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Thomas Owende

Winnipeg, Manitoba, Canada

May 13, 2011

This song came to my mind today when I recalled it was a Set Piece song for Music Competition for Primary Schools in Kenya in the late sixties. I was not in the main choir but in the Junior Choir at the time. The song is so powerful and brings new spiritual thoughts about the love of Christ Jesus. Oh praise be to Jesus on such times in our lives with floods, tsunamis, volcanic eruptions, crimes in our cities etc. Great song.

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Brionna Brydie

Salibury N,C, East Spencer

Feb 12, 2009

I like this song because its a song about JESUS and it's a very slow, calm song and when I hear it I think about JESUS.

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Di

London, Uk

Feb 21, 2008

I'm sat here unwell and the freshness of redemption is filling me body soul and spirit through this lovely hymn balm --how much the lord Jesus has longed for each one of us to be fully one with Him.Thanks so much dear hymal net- ters for your site,told to me by a sister in Oaklahomah.love Di Ward Church in London---p.s what a great way for learning new songs too.

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