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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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The house in Bethany

The Church General

New Songs90
1
How could this age be so dark, Lord?
All around persecute You.
Though cruel religion would slay You,
No one takes thought or concern.
While Your heart ached for God’s chosen,
We were just lepers You cleansed.
While they reject Your speaking,
We were the dead ones You raised.
While they despised Your Person,
We are the grateful You saved.

Lord, we’re so glad to be
The house in Bethany.
We bid You rest and eat,
Come, we’ve prepared for Thee.
2
Safe in this house, Lord You’re cherished,
We treasure You above all!
We grasp the chance to be with You,
Your presence our greatest joy.
Comfort Your heart with our tears, Lord,
Wash the world’s hatred away.
May we serve You a meal, Lord?
May we share in Your trial?
May we prepare Your Body?
May our love satisfy.

Oh! We are blessed to be,
Your house in Bethany.
Sharing Your table, we
Focus our gaze on Thee.
3
Lord, in our eyes You are worthy,
And what we have, Lord, we give.
Breaking our flask we anoint Thee,
What is most precious we spend.
All our heart’s ointment so costly,
Lord, we pour out on Thee.
May all the house be filled, Lord,
With fragrance sweet to Thee.
May Your whole church then hunger,
With more desire for Thee.

Lord, may we always be,
With You in Bethany.
Our free will offering,
The best, poured out on Thee.

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Steve Miller

Detroit, MI, United States

Jan 9, 2010

This hymn puts together Luke 7:36-50 with the accounts in the other 3 gospels, especially John 12:1-8. I think this is correct even though all Protestant gospel harmonies that I have found seem to be sure that Luke 7 is a different event than the one in John 12, Matt 26 and Mk 14. (Catholics say that Luke 7 is the same event as in the other 3 gospels, but Mary the sister of Lazarus, who did this deed, is not the same person as Mary Magdalene (Jn 11:1-2,19; 19:25; 20:1).)

I think any reader of the Bible would get the feeling that all 4 accounts are the same event, but readers of commentaries will think Luke is a different event.

Here are the similarities between Luke 7 and the other 3:

1. alabaster flask of ointment (Lk 7:37; Mt 26:7; Mk 14:3)

2. she anointed the Lord's feet (Lk 7:38; Jn 12:3)

3. She wiped the Lord's feet with her hair (Lk 7:38; Jn 12:3).

4. It was in the house of someone named Simon (Lk 7:36, 39-40; Mat 26:6; Mk 14:3)

5. The Lord says that this deed was so great that it will be spoken of for a memorial of her wherever the gospel is preached (Mt 26:13; Mk 12:9). This implies the deed was unique.

The "insurmountable" differences between Lk and the others:

1. Luke's seems to be in Galillee and the others in Bethany, but Luke does not say it is in Galillee.

2. Luke's seems to have occurred much earlier, but Luke does not have connecting words to indicate it happened in sequence with the preceeding or following events in Luke. For example, Luke gives the Lord's 3 temptations in the wilderness in a different order than Matthew. Matt includes the connecting words so you know that they are in chronological order. Luke does not include connecting words there. Luke put them in order of our experience.

I post this long comment because I fear some conscientious, knowledgeable brothers (like me) may reject this very good song because they think it is wrong according to truth. That would be a loss.

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Sonata Anderson

Vilnius, Lithuania

May 18, 2009

Oh, we are blessed to be, Your house in Bethany. What a wonderful song. We love You Lord.

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