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About Numbered Notation

All steps
  1. The numbers are the notes of a scale
  2. “1=C” tells you where to start
  3. Dots make a note higher or lower
  4. How long each note lasts
  5. 0 means rest
  6. Bar lines and the time signature
  7. Curves: ties and slurs
  8. The words sit under the numbers
  9. Repeat signs and 1. 2. endings
  10. Minor keys: “6=A”
  11. Put it together: a line of a hymn
  12. Check yourself
  13. Try it on a hymn

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 Music 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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All hail the pow’r of Jesus’ name (Long)

Praise of the Lord His Glory

English138
1
All hail the pow’r of Jesus’ name!
Let angels prostrate fall;
Bring forth the royal diadem,
 
And crown Him, crown Him, crown Him,
Crown Him Lord of all!
2
Crown Him, ye martyrs of your God
Who from His altar call;
Extol the Stem of Jesse’s rod,
3
Hail Him, ye heirs of David’s line,
Whom David Lord did call;
The God incarnate. Man Divine;
4
Ye chosen seed of Israel’s race,
Ye ransomed from the fall,
Hail Him who saves you by His grace,
5
Sinners, whose love can ne’er forget
The wormwood and the gall,
Go, spread your trophies at His feet.
6
Let every kindred, every tribe,
On this terrestrial ball,
To Him all majesty ascribe,
7
O that with yonder sacred throng
We at His feet may fall!
We’ll join the everlasting song,

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Carla Ison

Hillsboro, OH, United States

Dec 29, 2023

I have been so blessed by these lyrics this holiday season. A reminder of this old hymn was given me while visiting my sons grave for Christmas. His name was David.

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Stephen Ithai

Nairobi, Kajiado, Kenya

Sep 29, 2023

Reminds me on trust I put in Jesus name while in high school.. he never failed me

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Adeoluwa

Ilesa, Osun, Nigeria

Aug 17, 2023

Halleluyah

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Joyce Perry

Laurel, MD, United States

Jul 29, 2023

This song surely accentuates that Jesus is Lord of all, l in heaven, on earth for ever more,

we shall crown him who sits on the throne!!

Amen, praise our Lord!!

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Abraham

Mumbai's, India

May 21, 2023

It's a great reminder to remind each day in our life, that to crown HIM, each moment in our life.

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Maureen Brodie

Auckland, New Zealand

Jan 29, 2023

Love these powerful word’s reminding us yet again that no matter what the state of the world or whatever hardship we are going through, JESUS REIGNS and we can absolutely rest in Him

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Goke Oladokun

Magboro, Ogun State, Nigeria

Dec 17, 2022

The hymn makes one acknowledge God as our only king.

To God alone be all the glory forever and ever.

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Bob Baer

Brampton, ON, Canada

Jun 22, 2020

Very much liking this Long tune version with the 3 lines. I can't remember ever singing it. The last line culminates with a kind of triumphal driving punch.

I can see us singing this song in the New Jerusalem, following with thunderous praise Crown Him Crown Him Lord of all!

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Ana Lara

Storrs, Connecticut, United States

Nov 11, 2019

Edward Perronet was born in Sundridge, Kent, England, in 1726. He was a descendant of a distinguished Huguenot family who had fled to Switzerland and later to England because of religious persecution in France. Edward’s father, a pastor in the state Church of England, was strongly sympathetic with the evangelical movement headed up by the Wesley brothers and George Whitfield. Edward too became a minister of the Anglican Church but was critical of its ways. Once he wrote “ I was born and I’m likely to die in the tottering communion of the Church of England, but I despise her nonsense. ” Soon however, he broke from the Church and threw himself strenuously into the evangelistic endeavors of the Wesleys during the 1740’s and 1750’s. It was at this time that the Wesleys and their followers suffered much persecution and even violence from those who disagreed with their ministry.

Another interesting account between the Wesleys and Edward Parronet is when John Wesley announced to the congregation that Parronet would preach at the next service. He was 18 years younger than John and Edward refused to preach in front of a minister older than he. Because he didn’t want to contradict Wesley he got up in the pulpit and quickly explained the he had never agreed to preach. “However, ” he said “I shall deliver the greatest sermon that has ever been preached on earth. ” He then read the Sermon on the Mount and afterwards sat down without a comment.

Eventually, Perronet’s strong- mindedness and free spirit caused a break with the Wesleys. Edward continued to the end of his days as pastor of an independent church at Canterbury, England. His last words have also become a classic.

Glory to God in the height of His divinity!
Glory to God in the depth of His humanity!
Glory to God in His all- sufficiency!
Into His hands I commend my spirit.
Edward Perronet went to be with the Lord in 1792.

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Steve Miller

Detroit, Michigan, United States

Sep 16, 2017

This hymn has been called "the national anthem of Christendom". Others have said, "It is a hymn that will be sung as long as there are Christians on earth, and after that - throughout eternity."

As Edward Perronet lay dying at age 66, his final words were -

"Glory to God in the height of His divinity!
Glory to God in the depth of His humanity!
Glory to God in His all-sufficiency!
Into His hands I commend my spirit!"
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This tune, "Miles Lane" is the one most commonly used in Great Britain. "Coronation" by American businessman, lay preacher and musician, Oliver Holden, is the tune most widely used in the U.S. and is used by Hymnal.net with the short version.

"Diadem Tune" by 19 year old English hat maker, James Ellor, is with Hymnal.net's medium length version.

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A pioneer missionary to India, Mr. E. P. Scott, had a remarkable experience with this hymn:

"One day I was waylaid by a murderous band of tribesmen who were closing in on me with spears. On impulse I took my violin out of my luggage, closed my eyes and began to play and sing, 'All Hail the Power of Jesus' Name.' When I reached the stanza - 'Let every kindred every tribe' - I opened my eyes. Instead of the approaching spears, I saw every spear lowered and many of the tribesmen moved to tears"

Though Edward Perronet wrote many other hymn texts, "All Hail the Power of Jesus' Name" is his only work to survive. How thankful we should be that God used this 18th century pastor to pen an inspiring text and then supplied the wings of melody to empower its use by worshiping believers around the world. - '52 Hymn Stories Dramatized' by Kenneth W Osbeck

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