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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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O Love, that wilt not let me go

Consecration Constrained by the Lord’s Love

English432
1
O Love, that wilt not let me go,
I rest my weary soul in Thee;
I give Thee back the life I owe,
That in Thine ocean depths its flow
May richer, fuller be.
2
O Light, that followest all my way,
I yield my flickering torch to Thee;
My heart restores its borrowed ray,
That in Thy sunshine’s blaze its day
May brighter, fairer be.
3
O Joy, that seekest me through pain,
I cannot close my heart to Thee;
I trace the rainbow through the rain,
And feel the promise is not vain
That morn shall tearless be.
4
O Cross, that liftest up my head,
I dare not ask to fly from Thee;
I lay in dust life’s glory dead,
And from the ground there blossoms red
Life that shall endless be.

The author was inspired to write this hymn in 5 minutes during a time of distress.

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Thato Mokoteli

Maseru, Lesotho

Jan 16, 2022

"I trace the rainbow through the rain"

This is so encouraging that through all that we see and experience today, God' promises still sustain those who put their trust on His promises. I am so delighted that going through the hymn brings a new hope that overshadowed all my present challenges.

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Fergus Tyson

Calgary, Alberta, Canada

Aug 22, 2021

Hi, Paula. The red life refers to the blood of Jesus, shed on the Cross.

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Paula Skinner

Hudson, NH, United States

Jul 17, 2021

“And from the ground there blossoms red
Life that shall endless be. “
What does red life refer to?

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Dr.Moses.S.Lazarus

Vellore, Tamilnadu, India

Mar 16, 2021

I came from the utter darkness into Jesus’ marvellous Light 54 years ago. My wife Rose, and me are married for 53 years now. We turn back to see our walk with Lord Jesus Christ all these years; it’s amazingly surprises us. Left to us, we would have fallen as a prey to the vices of the world. The secret of our success in life, squarely stays upon the faithfulness of our Lord and Saviour Jesus Christ. His love never permitted nor allowed us to go astray. We love this hymn. O love, that wilt not let me go.........

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Samuel Zhang

London, ON, Canada

Feb 28, 2021

"O Love, that wilt not let me go" - though we often reject the Lord, forget about Him, and detract from our consecration, He will never let us go! We may give up on the Lord, but He will not give up on us.

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Sara Orozco

Laredo, Texas, United States

Aug 16, 2020

O Joy, that seekest me through pain,
I cannot close my heart to Thee;
Even in our pain He comes to us as JOY.
So how can we close our heart to Him?!
Lord, keep being our joy!

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Kevin Conover

Eustace, TX, United States

Aug 15, 2020

This is one of those timeless hymns that lends itself to most beautiful harmony.. I find it fascinating that after all the decades of this being sung-one of the best renditions of it is by a barbershop chorus on you tube.

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Ana Lara

United States

Mar 27, 2020

This is one of the most loved hymns of the latter part of the nineteenth century. The writing of the text is remarkable considering the author was completely blind and describes the writing as the “fruit of much suffering. ”

George Matheson was born in Glasgow, Scotland, March 27, 1842. As a boy he had partial vision and after he began attending Glasgow University, he became totally blind at age eighteen. He graduated from Glasgow and finished the Seminary of the Church of Scotland with high honors despite having this handicap. In 1886 he became the pastor of the St. Bernard’s Parish Church in Edinburg which had 2, 000 members. He became one of Scotland’s renowned preachers loved by the people of Edinburgh and who attracted large crowds. Although Matheson never married, he was assisted by his beloved sister. She even learned Greek, Latin and Hebrew in order to help him out in his study of theology. She also became his co-worker in helping him in his pastoral duties.

There’s a popular account on why George Matheson wrote this text. His fiancée left him before their marriage when she found out he would soon be totally blind. There are some phrases in the hymn reflecting a broken heart such as “flickering torch” and “borrowed ray” in the second stanza and the tracing of the “rainbow through the rain” in the third stanza and finally “cross” in the last verse.

Dr. Matheson did leave an account of his writing of this hymn:

“My hymn was composed in the manse of Innellan on the evening of June 6th, 1882. I was at the time alone. It was the day of my sister’s marriage, and the rest of the family were staying overnight in Glasgow. Something happened to me, which was known only to myself, and which caused me the most severe mental suffering. The hymn was the fruit of that suffering. It was the quickest bit of work I ever did in my life. I had the impression rather of having it dictated to me by some inward voice than of working it out myself. I am quite sure that the whole work was completed in five minutes, and equally sure that it never received at my hands any retouching or correction. I have no natural gift of rhythm. All the other verses I have ever written are manufactured articles; this one came like a dayspring from on high. I have never been able to gain once more the same fervor in verse. ”

The hymn appeared in the Church of Scotland monthly magazine, ”Life and Work, ” in January, 1883. The tune was composed one year later by a well-known Scottish organist of his day, Albert L. Peace, who was asked by the Scottish Hymnal Committee to write a tune especially for Matheson’s text. Peace’s own account of the writing of this tune is as follows, “After reading it over carefully, I wrote the music straight off, and may say that the ink of the first note was hardly dry when I had finished the tune. ”

The significance of the tune’s name, “St. Margaret, ” is because of Queen Margaret, who was canonized in 1251.

In the last years of his life, Matheson spent them writing some of the finest devotional literature in the English language such as “Moments on the Mount, ” “Voice of the Spirit, ” and “Rests by the River”. This is the only hymn found in most hymnals but he wrote a number of spiritual hymns such as “Make Me a Captive Lord, ” and “Then I Shall be Free. ”

The four key words of “O Love That Wilt Nor Let Me Go” are Love, Light, Joy, and Cross. The words are the total fulfillment of a believer’s subjective experience for those who have consecrated themselves to the will of God.

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Cody Enderli

Anaheim, CA, United States

Dec 23, 2019

I rest my weary soul in Thee

I give Thee back the life I owe

My life is not my own. Lord, help me never forget this. Praise you for your mercy that you have granted me a vision. I long to know more of you.

Take my life and use it to your desire and for your purpose.

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Gill Thompson

York, North Yorkshire, United Kingdom

Sep 8, 2019

I love this hymn, so much that I want it sung at my funeral. I have been disabled and in pain since childhood (I am now 71) and the third verse in particular has kept me going over the years - the thought that when I go to be with the Lord there will be no more pain or tears.

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