Skip to content
hymnal.net
hymnal.net
My Songs

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.

Open this guide as its own page

Download limit reached

The grace which God bestows on us

Hope of Glory The Manifestation of the Sons of God

English1321
1
The grace which God bestows on us
Is just His Son in full;
The rich enjoyment of this Christ
Is plenteous, bountiful.
’Tis far too great to comprehend,
Too wondrous to contain:
How we, once children of despair,
God’s masterpiece became.
2
The whole creation now beneath
The weight of bondage sore,
In seeing God’s sons manifest
Is freed forevermore.
Th’ eternal purpose of our God
Will be full manifest;
The hope of glory now concealed
Is then to all expressed.
3
The briars will be myrtle trees,
The thorn will be no more,
And peace will reign where war did rage,
The curse will then be o’er.
’Tis then the trees shall clap their hands,
And all the hills shall sing;
This glorious freedom shall God’s sons
Thus manifested bring.
4
God’s deepest work of grace goes on
Each day, though hidden, small,
Until that day, when manifest,
It is revealed to all.
By then God’s wrought His finished work:
Himself dispensed to us;
And all creation ’round admires
His product, glorious.
5
The angels that before our God
In brightest splendor stand,
Will join the universal praise
To Him for all He’s planned.
And of the devil, of his end . . . ?
We’ll praise the Lord for how
Just distant smoke is all that’s left
Of all that troubles now.
6
So shall we not delight to give
Ourselves in every way,
And let the Lord dispense Himself
Into us more each day;
The grace that we receive each day,
Though hidden oft, and small,
Is God Himself wrought into us,
That day to shine o’er all.

Delete Comment

Delete this comment? This cannot be undone.

Ana Lara

Storrs, Connecticut, United States

Aug 18, 2023

The composer of the tune for this hymn is Richard Storrs Willis. He was an American composer, mainly of hymn music. His best known melody is probably the one called, “Carol. ” This is the standard tune in the United States, though not in Great Britain, of the much loved hymn “It Came Upon the Midnight Clear, (1850) with lyrics by Edmond Sears. He was also a music critic and journal editor.

Willis, whose siblings included Nathaniel Parker Willis, (author, poet and editor)

and Fanny Fern, (novelist) was born on January 10, 1819, in Boston, Massachusetts. He attended Chauncey Hall, the Boston Latin School, and Yale College.

Willis went to Germany, where he studied six years under Xavier Schneider, and Maurice Hoffman. After returning to America, He served as a music critic for the New York Tribune, the Albion, and the Musical Times, for which he served as editor for a time. He joined the New York American-Music Association, an organization, which promoted the work of naturalized American composers. He reviewed the organization’s first concert for their second season, held December 30, 1856, in the Musical World, as a “creditable affair, all things considered”.

Richard began his own journal, Once a Month: A Paper Society, Belles-Lettres and Art and published its first issue in January 1862.

He died on May 7, 1900 and is buried at Woodland Cemetery in Detroit.

Read more
Melanie Chiu

Brentwood, CA

Jul 29, 2013

What a wonderful fact this song speaks forth. Saints should we not delight to give ourselves in every way and let The Lord dispense Himself into us! The grace we receive is God Himself wrought into us, that day to shine over all! Let us all cooperate with this grace!

"by the grace of God I am what I am, His grace unto me did not turn out to be in vain, but on the contrary, I labored more abundantly then all of them, Yet not I, but the grace of God that is with me" 1 Cor. 15:10

Read more