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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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禱告之時甘甜之時

禱告 甜美之時

Chinese578
1
禱告之時、甘甜之時!
使我離開煩惱之事,
來到神的座前發表
所有意願、所有需要;
當我遇到重壓、憂愁,
我靈卻常得著自由,
不陷惡者所有佈置,
因為有你-禱告之時!
2
禱告之時、甘甜之時!
如有雙翼載我願辭,
到祂寶座向神求懇,
祂是信實,祂是全真。
祂既命我尋求祂面,
信祂話語,靠祂恩典,
我要將我重擔卸釋
在於你前-甘甜之時!
3
禱告之時、甘甜之時!
每次相逢慰我心思,
直到我在毗斯迦山,
發現美地極目一看,
脫下帳棚,安靜等候,
信心變見,盼望成就;
臨行我必大聲告辭:
平安、平安,禱告之時!

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Tina Chung

Taiwan

Jun 21, 2024

2 Sweet hour of prayer! sweet hour of prayer!
The joys I feel, the bliss I share,
Of those whose anxious spirits burn
With strong desires for thy return!
With such I hasten to the place
Where God my Savior shows His face,
And gladly take my station there,
And wait for thee, sweet hour of prayer!
禱告之時!甘甜之時!
我覺喜樂,分享極樂,
靈裡焦急如同火燒,
強烈盼望你的再來。
我趕忙去到那美地,
見神我救主祂榮面。
我樂意侍立在主前,
且等候你,禱告之時!

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Ana Lara

Storrs, Connecticut, United States

Mar 6, 2022

Today March 6, 2022, was the memorial of a dear servant of the Lord. This hymn was one of two selected for his memorial titled

“A Celebration of Life.” He was so dearly loved by many saints in New England and all around the world. He loved the Lord to the uttermost, his dear wife and his children. He will be missed. This biography is about the author of the hymn “Sweet Hour of Prayer” which was a favorite of our dear departed brother in order to honor his going to be with the Lord.

The information we have about the author of this favorite hymn has come not from the author himself but from a friend to whom the poem was dictated. In 1842, in the town of Coleshill, Warwickshire, England, the Rev. I’ll Thomas Salmon stopped by a small trinket shop to visit with his friend William Walford. Walford was 70 years old at the time and his eyesight was almost gone. Nevertheless, he ran the tiny shop where he sold small carvings and engraved items.

On this particular day Walford asked his friend to copy down the verses to a prayer-poem he had been composing in his head. Salmon took pen and paper and wrote the words to the gospel hymn we now call “Sweet Hour of Prayer.” Thomas Salmon was so impressed with Walford’s poem that he made a second copy of it for himself and tucked his away in his notes and papers.

Three years later, Salmon traveled to the United States: while in New York City, he sent Walford’s poem to the editor of the New York Observer. The editor was so impressed with the prayer-poem that he published it in the September 13, 1845 issue of his paper. In addition to the text of the poem the paper carried Salmon’s tale of having received it by dictation from his blind friend, a carver of trinkets back home in England.

The possibility of the poem becoming a hymn was appreciated by the compilers of a Baptist Hymnal in 1859, and they included it in a book entitled Church Melodies published that same year.

Still it wasn’t until William Bradbury, noted American composer of gospel music set the words to music in 1861 and then published the words and music together in his collection of hymns, The Golden Chain, that the general public began to appreciate and enjoy the comforting message of this hymn.

William Bradbury was well-known in the

mid-1800s for taking a simple religious poem and giving it wings with his music. Although he was a gifted musician and composer and could have gained fame and prosperity of the field of secular music, Bradbury‘s heart was drawn to writing quality melodies for songs to be sung in Sunday schools. He disagreed with the trend in those days of using popular secular tunes as accompaniment for religious hymns. In his efforts to change this trend, he became known as the pioneer of Sunday school songs. In all, he published 60 song books containing the melodies for the following favorites as well as many others: “Jesus Loves Me,” “Just as I Am,” “My Hope is Built on Nothing Else,” “He Leadeth Me,” and “Savior Like a Shepherd Lead Us.”

“Sweet Hour of Prayer” was the result of international cooperation: a blind poet and his pastor friend in England who shared their work with a newspaper editor and a composer in New York. The result was a hymn that has strengthened and encouraged faith on both sides of the Atlantic for over 150 years, proving once more that the power of prayer is not limited by political or geographical boundaries.

Hymns of Faith and Inspiration; “The Carver and the Composer.”

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Paul Lin

Taipei, Taiwan

May 15, 2019

人的盡頭,神的起頭。

『這指明撒迦利亞曾為他妻子禱告,給他生一個兒子。這也指明我們的禱告實現神的作為,含示我們天然的力量必須被帶到盡頭,使神的作為憑祂神聖的行動有所起頭。亞伯拉罕與撒拉的事例,(創十七15~19,)以及哈拿的事例,(撒上一5~20,)都啟示這一點。』路一13註1

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Daniel Chou

Taiwan

Sep 26, 2015

Sweet Hour of Prayer

Sweet hour of prayer! sweet hour of prayer!
That calls me from a world of care,
And bids me at my Father’s throne
Make all my wants and wishes known.
In seasons of distress and grief,
My soul has often found relief
And oft escaped the tempter’s snare
By thy return, sweet hour of prayer!

"Sweet hour of prayer! sweet hour of prayer!
The joys I feel, the bliss I share,
Of those whose anxious spirits burn
With strong desires for thy return!
With such I hasten to the place
Where God my Savior shows His face,
And gladly take my station there,

And wait for thee, sweet hour of prayer!" (not translated to Chinese)

Sweet hour of prayer! sweet hour of prayer!
Thy wings shall my petition bear
To Him whose truth and faithfulness
Engage the waiting soul to bless.
And since He bids me seek His face,
Believe His Word and trust His grace,
I’ll cast on Him my every care,
And wait for thee, sweet hour of prayer!

Sweet hour of prayer! sweet hour of prayer!
May I thy consolation share,
Till, from Mount Pisgah’s lofty height,
I view my home and take my flight:
This robe of flesh I’ll drop and rise
To seize the everlasting prize;
And shout, while passing through the air,
“Farewell, farewell, sweet hour of prayer!”

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