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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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认识复活

享受基督

Chinese257
1
求主赐我启示的灵,
认识复活的大能,
这大能在基督身上,
运行不息时加增。
不单叫祂从死复活,
更叫我因祂得生;
浩大能力借信经历,
使我活在属天层。
2
复活乃是信徒经历,
非仅历史一事实;
坟墓虽已千年空置,
复活大能仍运施。
这个大能不是神学,
不仅是理论而已;
它使信徒天天实际,
联于复活主自己。
3
复活带进新造领域,
使我脱离旧自我;
非如拉撒路之神迹,
苟延旧造并重活。
我所需要不是任何
起死回生的经过,
亦非任何工作能力,
乃让复活将我摸。
4
一切死亡阴间经历,
皆为复活启生机;
生借死亡发动运行,
肉体治死灵奋起。
死亡所设千万防线,
基督走过何容易;
畅游阴间乐园深渊,
从未恐慌或逃离。
5
死亡对人最大威胁,
无非惧怕与捆绑;
当主打破死亡门槛,
粉碎限制与惊惶。
天然生命不再缠扰,
复活生命得显扬;
最后仇敌既被吞灭,
有何能将生命挡?
6
基督人性借着复活,
已被拔高并标出;
从此堕落人类生命,
可望与主同前途。
经历基督全备救恩,
不仅那日体得赎,
人性更被拯救、拔高,
提升等同复活主。
7
复活并不改良旧造,
减轻旧造的折腾;
也不加强旧造生命,
使之能以自逞能。
基督虽曾肉体痛哭,
灵里却是倚靠神;
复活不求改变环境,
只在环境显效能。
8
神借旧造产生新造,
此为极大的奥秘;
罪、死虽然污染肉体,
经死一笔全清洗。
主将伊甸所造人性,
给予重整赋新机;
复活原则永不改变─
新造取材旧造里。
9
基督复活生为长子,
人性拔高至神性;
大卫后裔今日被生,
此为真正的福音。
从此人类新生有望,
复活产生新族群─
同父同胎同命同性,
同一源头同命运。
10
复活大能使我重生,
得有神圣诸供备;
使我有权成为儿女,
从神而生属神类─
生命性情与神一样,
只与神格无分位。
第一神人我们长兄,
作我原型并原胚。
11
我与基督已经联合,
祂我生命已接枝;
复活生命天天交流,
时时相调永无止。
祂更成了赐生命灵,
作神终极的显出,
带来神性人性丰富,
使我活出子基督。
12
我们成了基督肢体,
与主成为一单元;
祂的经历成我履历,
我的一切祂成全。
复活早晨新生男孩,
乃是宇宙新生族;
这是神人互住父家,
又是生机葡萄树。
13
复活实际-生命之灵,
今已住在我灵中;
使我天天经历复活,
与我同活同行动;
永远胜过罪与死律,
作王生命来居衷;
最终漫溢必死身体,
使我贱身与祂同。
14
在复活里与祂同长,
活出生命的新样,
一举一动结出义果,
主观称义得显彰。
水浸埋葬旧人自己,
灵浸引我奔义路;
在此赛程不偏左右,
直至我被义构成。
15
复活彰显在我事奉,
发芽枯杖作仲裁;
只凭复活生命建造,
召会必成杏树台。
木草禾秸烧尽去净,
只用复活作建材;
圣城撒冷神人合一,
作我工作的赏赉。
16
但愿我能深切认识,
何谓复活的大能,
天天模成十架模型,
单凭复活度此生;
认识复活人位基督,
在那灵中时加增,
直到见主被提时刻,
杰出复活展上腾。

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