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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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1
In the clefts of the rock
I delight to be.
In the covert of the precipice
You would find me.
Lord, conform me now,
Daily to Your death.
Let me see Your countenance,
I am a dove,
In the clefts of the rock.
2
My Beloved responds:
Rise up my love,
My beauty and come away;
The rain is gone.
The winter is past,
The time of singing has come.
Rise up and come away,
You are my dove,
In the clefts of the rock.
3
It’s just so difficult,
In these clefts to remain.
Naught but Your resurrection power
Could me sustain.
Now to Your call I respond,
From introspection to come.
Now and always, my Beloved,
I’d be Your dove,
In the clefts of the Rock.

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Maurice Ward

Columbus, Ohio, United States

May 26, 2021

Christ wants His seeker to remain in the cross, in a crucified condition, continually (Gal. 2:20a; 1 Cor. 15:31; 2 Cor. 4:10-11). However, to remain in the cross is a difficult matter, like entering into the clefts of the rock and the covert of the precipice high in the mountains by a rugged road. In order to empower and encourage His lover to rise up and come away from her low situation in her introspection of the self, Christ empowers her by showing her the power of His resurrection (vv. 8-9a), and He encourages her by the flourishing riches of His resurrection (vv. 11-13). It is by the power of Christ’s resurrection, not by our natural life, that we, the lovers of Christ, determine to take the cross by denying our self (Matt. 16:24). It is also by the power of Christ’s resurrection that we are enabled to be conformed to His death by being one with His cross (Phil. 3:10). The reality of resurrection is the pneumatic Christ (John 11:25), who as the consummated Spirit indwells and is mingled with our regenerated spirit (1 Cor. 6:17 and notes). It is in such a mingled spirit that we participate in and experience the resurrection of Christ, which enables us to be one with the cross to be delivered from the self and to be transformed into a new man in God’s new creation for the fulfillment of God’s economy in the building up of the organic Body of Christ.

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Alberta Valdez

San Juan, Metro Manila, Philippines

Apr 15, 2019

It’s just so difficult,
In these clefts to remain.
Naught but Your resurrection power
Could me sustain.

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Creasian Jade Ongcoy

Bangkok, Samut Prakan, Thailand

Nov 12, 2018

Lord, conform me now,
Daily to Your death.
Let me see Your countenance,
I am a dove,
In the clefts of the rock.

Read more
Frank Pytel

Chicago, Illinois, United States

Sep 14, 2014

When the dove needed shelter for herself, she sought out the security of a cave or a cavern (Jer. 48:28). Here in the Song of Solomon, the dove matches and belongs to the unchanging rock that has been opened by cutting. May I live the dove life concealed in the Rock that has been opened through His wounds. In such a delightful union the bride is being adorned and made ready for her husband!

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LorjoneAIgnacio

Baguio City, Benguet, Philippines

Aug 1, 2014

I am a dove in the clefts of the rock.

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