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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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More holiness give me

Longings For Growth in Christ

English397
1
More holiness give me,
More sweetness within,
More patience in suff’ring,
More sorrow for sin,
More faith in my Savior,
More sense of His care,
More joy in His service,
More freedom in prayer.
 
Come, my Savior, and help me,
Comfort, strengthen and keep me;
Thou each moment wilt save me,
Thou art saving me now.
2
More gratitude give me,
More trust in the Lord,
More zeal for His glory,
More hope in His Word,
More tears for His sorrows,
More pain at His grief,
More meekness in trial,
More praise for relief.
3
More victory give me,
More strength to o’ercome,
More freedom from earth-stains,
More quest for the throne,
More fit for the kingdom,
More useful I’d be,
More blessed and holy,
More, Savior, like Thee.

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H.S.

China

Dec 21, 2017

Lord, thank You for being such a pattern of a God-man.

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Steve Miller

Detroit, MI, United States

Apr 14, 2016

This hymn, perhaps one of the most beautiful of all his compositions, was written by Mr. Bliss, 1873, after he had given up his musical convention work entirely and entered fully upon his lifework for the Master. It seems that it was only after he had given up everything and committed himself and all his gifts to the Lord’s service, that he was enabled to write such a hymn as this.

Bliss called the hymn 'My Prayer', but thousands in every Christian land have made it their prayer as well, and it will continue to voice a heartfelt want of millions in years to come.

The hymn was a special favorite with Mr. Moody, and was often quoted by him as a hymn that would live in the church of God, while the children of God continue to call upon his name in prayer.

Mr. Bliss was at the time of his death a member of the First Congregational Church of Chicago. The pastor, the Rev. Dr. E. P. Goodwin, in an address on the death of Mr. and Mrs. Bliss, referred to the singing of this hymn as follows: On one of the last occasions when he was with us, on a flying visit to our city, made during his work as an evangelist, he came in late one evening and sat at the rear of the church. Espying him, I called him forward to sing the hymn, ‘My Prayer.’ He struck the keys on the piano, stooped forward, and reading the words in the latter part of the first verse, 'More joy in his service', said "I do not think I can sing that as a prayer any more; it seems to me that I have as much joy in serving the blessed Master as it is possible for me to bear." - 'My Life and the Story of the Gospel Hymns' by Ira David Sankey

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In stanza 1, the original says "strivings" instead of "sweetness".

In stanza 3, the original says "purity" instead of victory and "longings for home" instead of "quest for the throne".

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The chorus was added later by the composer, Horatio Palmer.

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Calvin Shen

Tampa, Florida, United States

Jan 12, 2016

Love this hymn!
Simple but powerful!
Always encouraging!

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Okusanya Theresa

Lagos, Nigeria

May 23, 2015

Move one in spirit to serve God with full highly inspiration. Thanks for the inspiration.

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B. Leong

Manila, Philippines

Jun 1, 2012

"More holiness...more sweetness within, more patience in suff'ring, more sorrow for sin...more joy in His service...Come, my Savior...help me, comfort, strengthen, keep me."

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Michelle Reyes

Navotas, Virac Catanduanes, Philippines

Nov 24, 2010

For growth in Christ it must be our longing before the Lord. Indeed everything is of Him not by our own effort and strength. Longing more from the Lord that all the human virtues and divine attributes mention in this hymn will be added into us so that we will all be saturated by His divine life and will have the growth and maturity in life. Hallelujah for such Christ who is everything to us!!! Lord Jesus! Amen!

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Anonymous

Dunn Loring, VA, U.S.A.

Apr 29, 2007

Nice melody.

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