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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.

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Tis midnight, and on Olive’s brow

Praise of the Lord His Suffering

English99
1
’Tis midnight, and on Olive’s brow
The star is dimmed that lately shone;
’Tis midnight in the garden now,
The suff’ring Savior prays alone.
2
’Tis midnight, and from all removed,
The Savior wrestles lone with fears—
E’en that disciple whom He loved
Heeds not his Master’s grief and tears.
3
’Tis midnight, and for other’s guilt
The Man of Sorrows weeps in blood;
Yet He that hath in anguish knelt
Is not forsaken by His God.
4
’Tis midnight, and from ether-plains
Is borne the song that angels know
Unheard by mortals are the strains
That sweetly soothe the Savior’s woe.

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Un Hermano

Oct 20, 2025

THE JUDGMENT AT GOLGOTHA

Death came into the world because of man’s fall. This death, which is a spiritual death, a death which separates man from God, came through sin. From the time of the fall until now, there has been no change—death always comes through sin. Romans 5:12 says that “through one man sin entered into the world. ” Adam sinned and sin entered into the world. “And through sin, death”; this shows that the unalterable result of sin is death. “And thus death passed on to all men. ” For what reason? “Because all have sinned. ” Not only has death “passed on to all men, ” but according to the literal translation of this phrase, death “passed through all men. ” All of man’s spirit, soul, and body have been permeated by death. Death is present in every part of man. Therefore, man has no alternative but to receive God’s life. The way of salvation is not dependent upon man’s improvement, because “death” cannot be improved. Sin must first be judged, and then there can be the freedom from death which comes through sin. This is the salvation of Jesus Christ.

No one can actually comprehend how His soul suffered on the cross. Often we only consider the suffering in His body and neglect the feeling of His soul. The week before the Passover, He said, “Now is My soul troubled” (John 12:27). This speaks of the cross. When He was at Gethsemane He said, “My soul is exceedingly sorrowful, even to death” (Matt. 26:38). Without these words we could hardly imagine the agonies in His soul. Isaiah 53:10 through 12 says three times that He gave up His soul and poured out His soul unto death. Because He bore the curse and the shame of the cross, all who believe in Him no longer need to bear the curse and the shame.

The Spiritual Man

Chapter 4 (LSM) CWWN, vol. 12

Read more
Un Hermano

Oct 20, 2025

PRAYING IN GETHSEMANE

After warning the disciples of their stumbling, the Lord Jesus went with them to a place named Gethsemane ( v. 32 ). Gethsemane means “the place of the oil press. ” The Lord was pressed there to flow out the oil, the Spirit.

Taking with Him Peter, James, and John, He “began to be awestruck and deeply distressed” ( v. 33 ). Regarding awestruck, C. E. B. Cranfield says that the Lord was “in the grip of a shuddering horror in the face of the dreadful prospect before Him. ”

The Lord said to Peter, James, and John, “My soul is exceedingly sorrowful, even to death. Remain here and watch. ” And going forward a little, “He fell on the ground and prayed that, if it were possible, the hour would pass from Him” ( vv. 34-35 ). The Slave-Savior’s sorrow and His prayer in verse 35 are the same as in John 12:27 . There He said that He had come for this hour; that is, He knew that the Father’s will was that He should die on the cross for the fulfillment of God’s eternal plan.

Life-study of Mark

Chapter 45 (LSM)

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Dennis Clough

Falmouth, MA, United States

Jun 28, 2025

I believe the real cause of Christ's agony in the garden was the anticipation of being separated from the Triune God as "he who knew no sin, became sin for us".

Psalm 22 shows He trusted in God as a baby on His mother's breast. Even though He was and is the Second person of the Trinity, His relationship with the Father, even as a sinless man had to grow into full maturity. He learned the scriptures and He spent nights in prayer with God His Father.

Contrast the delights of the fullness of His fellowship with His Father, who also delighted in His Son who will now be "cut off". He will experience both spiritual and physical death just as sinners will... deserted by friends and forsaken of God.

The victory of the cross and the resurrection was won by the Savior on His knees in spiritual battle, so intense an Angel came to support Him. Halleluiah, what a Savior!

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JT

Charleston, WV, United States

Aug 18, 2024

He was as much man as He was God. He took on flesh to be able to help our flesh. He faced every obstacle, fear being one of them, so He could take them to the cross. Read chapter 5 of Hebrews and pay attention to verse 7. He did not fear death, it was the pain and suffering He was going to endure for us that His flesh side feared. He took that fear to the cross so that we would not have to fear.

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Jim Stanley

Harvest, AL, United States

Aug 17, 2024

When we sang this hymn when I was a child, the congregation pronounced "ether" as "either." I was in my late teens when I realized what "ether plains" meant. Not many hymns begin on the third beat of four four time signature.

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Daniel H.

St. Louis, Missouri, United States

Jan 1, 2024

Lots of wonderful thoughts here. However, the Lord Jesus did not wrestle with fears. When his disciples were afraid, he said, "Where is your faith?"

He never wained or wavered in faith. His soul was deeply troubled, but he was never afraid. He always trusted entirely in His Father, and because of His faith (He overcame the world), He could say to His disciples, "Fear not, for I have overcome the world."

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Mary Nissley

Indian Valley, VA, United States

Jan 24, 2016

Such an incredible song if played and/or sung with the pathos the words communicate!

The piano needs to be slowed down, and played with much more feeling.

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