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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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Sweet Will of God

Longings For Obedience to Christ

English383
1
My stubborn will at last hath yielded;
I would be Thine, and Thine alone,
And this the prayer my lips are bringing,
“Lord, let in me Thy will be done.”
 
Sweet will of God, still fold me closer,
Till I am wholly lost in Thee;
Sweet will of God, still fold me closer,
Till I am wholly lost in Thee.
2
I’m tired of sin, footsore and weary,
The darksome path hath dreary grown,
But now a light has ris’n to cheer me;
I find in Thee my Star, my Sun.
3
Thy precious will, O conqu’ring Savior,
Doth now embrace and compass me;
All discords hushed, my peace a river,
My soul a prisoned bird set free.
4
Shut in with Thee, O Lord, forever,
My wayward feet no more to roam;
What pow’r from Thee my soul can sever?
The center of God’s will my home.

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Ana Lara

Storrs, Connecticut, United States

May 19, 2026

She wrote about 1500 hymns in all, over a 37 year period. During her lifetime, her songs were translated and sung in Africa, India, China, and Korea. Her best known songs, ’Nearer Still, ’ ‘Let Jesus Come into Your Heart’ (both penned in 1898), and ‘Sweet Will of God, ’ (1900) can still be found in hymnals today.

Born in Pennsville, Ohio on April 15, 1862 Lelia Naylor Morris grew up in Malta and McConnellsville, Ohio. She was very young when her father died, so her mother started a millinery shop (a shop to design, manufacture and sell women’s hats and head pieces) to support the 5 children. There young Lelia learned to knit, sew, crochet and darn. When she started piano lessons, she practiced at a neighbor’s house because the family could not afford an instrument.

“When I was 10 years old, I was led to give my heart to God…. I knew then that I needed a Savior. Three different years I went forward to the altar and prayed and prayed until a man came and laid his hands on my head and said. ‘Why, little girl, God is here and ready to forgive your sins. ”’ Lelia began playing the organ for prayer meetings when she was just 12 years old.

In 1881, Lelia married Charles H. Morris. She transferred her membership to her husband‘s church, the Methodist Episcopal Church. The Morrises actively supported their congregation. Lelia served as a choir member and a leader of in the Sunday school, and the missionary society.

Until she was 30 Lelia thought she’d be spending the rest of her life sitting behind a sewing machine making dresses for women in McConnellsville. But 10 years after she got married, she became interested in writing gospel songs. Her husband said that she always kept a pad of paper handy so that if she got the inspiration for a hymn she could write it down. She composed her work in the Trinity Methodist Episcopal Church, where she’d learned to play the organ.

Evangelists quickly began using Lelia’s songs. Many would visit her home when they were in Ohio. If Lelia was attending a camp meeting or revival service, she would often be invited to sit on the platform. She relished the opportunity to be in the services because she frequently was inspired to write songs after returning home from the meetings.

In 1913, Lelia’s eyesight began to fail. For a while, she used a 28 foot blackboard that had the music staff lines on it that her son had made for her. Within a year she was completely blind. Despite her lost sight, she continued to write gospel songs with the help of devoted friends. She would simply remember the songs until her daughter Fanny came from for an annual visit. Lelia would dictate dozens of songs as her daughter wrote them down—both words and music.

Lelia’s daughter Mary and her husband were missionaries to China. “A great many persons have said Mary should be at home with her blind mother… “I have been so happy to receive her letters in which she tells of being able to give a message for the first time to those darkened minds and hearts. I think you would agree with me that this is the best thing I has ever done. ”

Lelia Naylor Morris died on July 23, 1929.

appalachianhistory. net

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Un Hermano

Mar 13, 2026

The working of the law of the divine life must permeate our will. Although I have heard many people say, “I hate my stubborn will, ” I have never heard anyone say, “I hate my submissive will. ” We all must learn to say, “I hate my stubborn will, my submissive will, and my neutral will. I just hate my will. I don’t care whether my will is stubborn, submissive, or neutral. As long as it is my will, I hate it because it is natural. ” As the law of the divine life works in us, one of its functions will saturate our will with the will of Christ, making His will ours. In this way our will is remade with the very element of Christ’s will. This means that Christ’s life will grow into our will. Eventually, in our mind, emotion, and will there will be the growth of the life of Christ.

Life-study of Hebrews
Message 37 The Law of Life
(LSM)

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Lucibe

Snellville, GA, United States

Feb 24, 2026

I woke up singing this lovely song God placed in my heart. I have surrendered my will to him, so I can live a purposeful life.

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Camille

London, United Kingdom

Jan 24, 2026

I was in prayers and the Lord my Saviour placed this beautiful song in my heart. The center of God’s will is my home. I was lost but now I am surrendered to my Glorious Father will to worship Him with all my heart!

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Ollila

Nairobi, Kenya

Dec 14, 2025

Stubborn indeed are we how many times do we ran away or try to avoid or bypass what God has expressly said. Trying to find solutions to our problems while rests before you his perfect will.

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Heather Appleton

Liverpool Merseyside, United Kingdom

May 6, 2025

This song goes straight to my soul

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Melissa Gibson

Jan 22, 2025

This song is a prayer from heart. My sincere desire is to be more and more like God. To be wolly God’s and God alone.

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Willa Valencia

Valdosta, GA, United States

Nov 21, 2021

I heard this hymn in 1948 as a junior in a Christian college and never since. But it lodged itself in my heart and I recalled most of the words. The Holy Spirit has caused me to sing it many times and to remain wholly surrendered to the Lord.

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Akobe Oluwatosin Daniel

Abuja, Nigeria

Sep 12, 2021

I listened to this song in church today and I was lost .. I kept singing within my heart... I couldn't stop hearing the echo of the melody of this song.. I resorted to listen to it over and over and my tears couldn't just help but join in singing.. I'm blessed!

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Maurice Ward

Columbus, Ohio, United States

May 1, 2021

We are imprisoned when we are going against God's will. Our soul is imprisoned when we refuse take God's way. God's way is for us to come to Him and drink! To believe into Him.

John 6:28

Then they said to Him, What shall we do that we may work the works of God?

John 6:29

Jesus answered and said to them, This is the work of God, that you believe into Him whom He has sent.

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