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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 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

New Tunes432
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.

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Rita Holcomb

Hartwell, Georgia, United States

Jul 22, 2012

Love and life anew
In heaven's realm
Of love, peace, joy.
Thank You, Lord!

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Judith E. (Peace) Kitchens

Hephzibah, GA, United States

Mar 22, 2012

The lyrics makes you feel the presence of our Lord. And the music is so beautiful. I am in the process of a family tree to see if the Composer is in my family tree.

Albert L. Peace

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G.Patel

LA, CA

Aug 14, 2011

This is a very special hymn to me. It has gotten me through some of the roughest parts of my life. It reminds me of how God is our love and as our love, He never lets us go, especially during the storm filled moments of our lives. He brings us out of the rain, to shelter, to safety, to complete joy.

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Han

Schniger@hotmail.com, Christchurch, New Zealand

Nov 3, 2009

Nice song. By George Matheson

History of Hymn

“O Love That Will Not Let Me Go” written on the evening of Matheson’s sister’s marriage. His whole family had went to the wedding and had left him alone. And he writes of something which had happened to him that caused immense mental anguish. There is a story of how years before, he had been engaged until his fiancé learned that he was going blind, and there was nothing the doctors could do, and she told him that she could not go through life with a blind man. He went blind while studying for the ministry, and his sister had been the one who had taken care of him all these years, but now she is gone. He had been a brilliant student, some say that if he hadn’t went blind he could have been the leader of the church of Scotland in his day. He had written a learned work on German theology and then wrote “The Growth of The Spirit of Christianity.” Louis Benson says this was a brilliant book but with some major mistakes in it. When some critics pointed out the mistakes and charged him with being an inaccurate student he was heartbroken. One of his friends wrote, “When he saw that for the purposes of scholarship his blindness was a fatal hindrance, he withdrew from the field – not without pangs, but finally.” So he turned to the pastoral ministry, and the Lord has richly blessed him, finally bringing him to a church where he regularly preached to over 1500 people each week. But he was only able to do this because of the care of his sister and now she was married and gone. Who will care for him, a blind man? Not only that, but his sister’s marriage brought fresh reminder of his own heartbreak, over his fiancé’s refusal to “go through life with a blind man.” It is the midst of this circumstance and intense sadness that the Lord gives him this hymn – written he says in 5 minutes! Looking back over his life, he once wrote that his was “an obstructed life, a circumscribed life… but a life of quenchless hopefulness, a life which has beaten persistently against the cage of circumstance, and which even at the time of abandoned work has said not “Good night” but “Good morning.” How could he maintain quenchless hopefulness in the midst of such circumstances and trials? His hymn gives us a clue. “I trace the rainbow in the rain, and feel the promise is not vain” The rainbow image is not for him “If the Lord gives you lemons make lemonade” but a picture of the Lord’s commitment! It is a picture of the battle bow that appears when the skies are darkening and threaten to open up and flood the world again in judgment. But then we see that the battle bow is turned not towards us – but toward the Lord Himself!

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Grace

Hong Kong

Feb 6, 2009

Hi, thank you for re-writing some of the melody for the olden hymns, and it would be nice if you can have someone to show us how to sing the hymns as well, so that we can sing them with the proper melody. Anyway, thanks for the great effort. Blessings, Grace

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Dora Yao

New York, USA

Feb 13, 2008

What a beautiful song! To see life in such a light what a blessing it must be. Lord, may your light follow us all our way. May you keep us every day.

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Jasper

Austin, TX, U.S.A.

Apr 21, 2007

The person who wrote this song must have had a lot of experiance! I went to a funeral once, when they sang this song, I just started crying 'cause it reminded me of that person. PRAISE THE LORD!

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Denil Ting Ping Vui

Malaysia

Mar 29, 2004

Sometimes when i felt that i'm very down, and have no faith also hope. But since i listen to this hymns, the Lord have given me the best answer that is, i still have someone to rely, thus this hymn also touches me and thus some times reminds me, that i've had owed the the Lord has given me the life and thus i must pay back to Him, yet He is also my joy when i feel very unhappy or stressed, yet my inward being is also fell with oy and loght and of couse the Cross that i must carry with Him and thus to enjoy Him to the uttermost...

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