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À propos de la notation chiffrée

Les chiffres sont les notes d'une gamme

La notation chiffrée (jianpu, 简谱) note une mélodie avec des chiffres plutôt qu'avec des notes sur une portée. Pas besoin de savoir lire la musique : avancez une petite étape à la fois et appuyez sur Écouter sous un exemple pour l'entendre pendant que chaque chiffre s'allume. Le son ne démarre que lorsque vous appuyez sur Écouter.

Au lieu de notes sur une portée, chaque note est un chiffre de 1 à 7. Ce sont les sept degrés de la gamme que vous connaissez déjà : do ré mi fa sol la si. Après le 7, la gamme recommence au 1.

Les sept chiffres avec leur nom. Appuyez sur Écouter et dites chaque nom quand son chiffre s'allume.
Chantez avec : do ré mi fa sol, puis redescendez jusqu'au do.

Si vous savez chanter do ré mi, vous savez déjà chanter chaque chiffre de 1 à 7. Touchez ou cliquez sur un chiffre pour entendre cette seule note.

« 1=C » indique où commencer

En haut à gauche de la partition, vous verrez par exemple 1=C. Cela signifie que le chiffre 1 (do) est la note C, et que tous les autres chiffres montent à partir de là. 1=G signifie que do est G : toute la mélodie est un peu plus haute. Rien d'autre ne change : les mêmes chiffres dessinent la même forme, simplement plus haut ou plus bas.

1=C : do est C.
1=G : les mêmes chiffres, en partant plus haut.

Vous ne savez pas où est le C ? Au piano, c'est la touche blanche juste à gauche des deux touches noires. Ou ignorez la lettre et commencez sur une note confortable pour votre voix : la mélodie doit seulement garder sa forme. Les boutons − et + de la tonalité, sur la page d'un cantique, la déplacent pour vous.

Les points montent ou descendent une note

Un point au-dessus d'un chiffre signifie une octave plus haut. Un point en dessous signifie une octave plus bas. Deux points : deux octaves. Sans point, c'est le registre médian, où se trouve l'essentiel d'une mélodie. Le nom reste le même ; seule la hauteur change.

Le même chiffre à trois hauteurs : point en dessous, sans point, point au-dessus.
Une mélodie qui monte : elle commence sur un sol grave et finit sur un do aigu.

Combien de temps dure chaque note

Battez la mesure du pied à allure régulière : chaque battement est un temps. Un chiffre simple dure un temps : vous chantez donc un nouveau chiffre à chaque battement. Les tirets, les traits et les points modifient cela.

Un chiffre simple dure un temps

Quatre chiffres, quatre temps : un chiffre par battement.

Un tiret prolonge la note

Chaque tiret ajoute un temps. Le 5 dure deux temps et le 3 en dure quatre.

Un trait en dessous la raccourcit

Un trait vaut un demi-temps : deux chiffres soulignés se partagent donc un temps. (Deux traits valent un quart de temps.)

Un point après l'allonge de moitié

Un point après un chiffre ajoute la moitié de sa durée. Le premier 5 dure un temps et demi, et le 3 court complète le second temps.

0 signifie silence

Un 0 est un temps de silence. Continuez à compter et à battre la mesure, mais ne chantez pas. Les tirets après un 0 allongent le silence, comme ils allongent une note.

Chantez 1 3 5, faites silence un temps, puis redescendez. Les silences s'allument aussi, pour que vous sentiez la pause.

Barres de mesure et indication de mesure

Les traits verticaux découpent la musique en mesures qui contiennent toutes le même nombre de temps. Les deux petits chiffres du début, comme 4/4 ou 3/4, indiquent combien : 4/4, c'est quatre temps par mesure, 3/4 trois. Le premier temps de chaque mesure est le plus fort : appuyez-vous un peu dessus. Une double barre à bord épais marque la fin.

4/4 : comptez 1 2 3 4, 1 2 3 4. Le premier temps de chaque mesure sonne un peu plus fort.
3/4 : comptez 1 2 3, 1 2 3, comme une valse.

Courbes : liaisons de prolongation et de phrasé

Une courbe au-dessus des chiffres les relie. Si elle relie deux fois le même chiffre, c'est une liaison de prolongation : chantez la note une seule fois et tenez-la pour les deux. Si elle relie des chiffres différents, c'est une liaison de phrasé : chantez-les tous sur une seule syllabe, en glissant de l'un à l'autre.

Une liaison de prolongation : le 5 est chanté une fois et tenu au-delà de la barre de mesure, six temps en tout.
Une liaison de phrasé : « Lui » est chanté sur deux notes, 3 puis 2.

Les paroles sont sous les chiffres

Chaque chiffre reçoit une syllabe, écrite juste en dessous. Un petit tiret après un morceau de mot signifie que le mot continue sous le chiffre suivant. Si un chiffre n'a rien en dessous, il appartient à une courbe ou à un tiret : continuez la syllabe en cours.

À lire de gauche à droite, une syllabe par chiffre : Ah ! vous di-rai-je, Ma-man.

Signes de reprise et fins 1. 2.

Une barre de mesure avec deux points, :|, signifie : revenez en arrière et chantez cette partie une seconde fois, depuis le signe |: correspondant (ou depuis le début s'il n'y en a pas). Parfois la reprise a deux fins. Chantez la fin 1. la première fois ; à la reprise, sautez-la et chantez la fin 2. à la place.

Écoutez-le : vous entendez la fin 1., la reprise, puis la fin 2. Regardez la surbrillance revenir en arrière.

Tonalités mineures : « 6=A »

Un chant en mode mineur, qui sonne en général plus grave ou plus tendre, porte une indication comme 6=A au lieu de 1=C. Elle signifie que le chiffre 6 (la) est la note d'attache, ici A. Les chiffres gardent leur nom habituel ; la mélodie se sent chez elle sur le 6 et y finit souvent. 6=A utilise les mêmes notes que 1=C.

Elle commence et finit sur le 6 (la), la note d'attache. Écoutez la couleur plus sombre.

Tout ensemble : une ligne de cantique

Voici la première ligne du cantique 8, « Praise God, from whom all blessings flow », en notation chiffrée. Essayez d'abord le tempo lent, et chantez les paroles au moment où chaque chiffre s'allume.

1=G à 4/4. Trois temps de silence, puis « Praise » sur le temps 4. Les points sous 7, 6 et 5 signifient que ces notes descendent d'une octave.

Testez-vous

Quatre questions rapides, sans score et sans pression. Touchez une réponse pour voir tout de suite pourquoi elle est juste ou fausse. Vous pouvez toujours essayer une autre réponse.

Touchez le chiffre qui est tenu le plus longtemps.

Touchez le 5 qui est une octave plus haut que le premier 5.

Que signifie un 0 ?

Avec 1=G, quelle note est le chiffre 1 ?

À essayer sur un cantique

Vous avez ouvert ceci depuis un cantique qui a une vue Numérotée : vous pouvez donc essayer tout de suite.

  1. Regardez en haut à gauche de la partition : la tonalité, comme 1=D, et l'indication de mesure, comme 3/4.
  2. Trouvez le premier chiffre et chantez-le. Puis suivez les chiffres de gauche à droite avec les paroles en dessous, une syllabe par chiffre. Appuyez sur Lecture dans le lecteur pour entendre l'enregistrement pendant que vous suivez.
  3. Les lettres au-dessus des chiffres (C, G7) sont des accords pour guitare ou piano. Ignorez-les pendant que vous apprenez la mélodie.
  4. Pour être guidé, ouvrez l'onglet Apprendre et appuyez sur Lecture. Sous Affichage, réglez la notation du mode Apprendre sur Numérotée (ou choisissez d'abord Numérotée dans l'onglet Grille d'accords). Pour les cantiques qui ont des lignes chiffrées, chaque ligne de chiffres défile à l'écran en rythme avec l'enregistrement pendant qu'une balle rebondissante suit les paroles ; les autres cantiques y montrent la notation piano. Le menu Vitesse permet de ralentir.

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Jesus, I my cross have taken

Consecration Following the Lord

English460
1
Jesus, I my cross have taken,
All to leave and follow Thee;
Destitute, despised, forsaken,
Thou, from hence, my all shalt be.
Perish every fond ambition,
All I’ve sought, and hoped, and known;
Yet how rich is my condition,
God and Christ are still my own!
2
Let the world despise and leave me,
They have left my Savior, too;
Human hearts and looks deceive me;
Thou art not, like man, untrue;
And, while Thou shalt smile upon me,
God of wisdom, love, and might,
Foes may hate, and friends disown me;
Show Thy face, and all is bright.
3
Man may trouble and distress me,
’Twill but drive me to Thy breast;
Life with trials hard may press me,
Christ will bring me sweeter rest.
O ’tis not in grief to harm me,
While Thy love is left to me;
O ’twere not in joy to charm me,
Were that joy unmixed with Thee.
4
Haste then on from grace to glory,
Armed by faith and winged by prayer;
God’s eternal day’s before thee,
God’s own hand shall guide thee there.
Soon shall close thy earthly mission,
Swift shall pass thy pilgrim days,
Hope shall change to glad fruition,
Faith to sight, and prayer to praise.

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Un Hermano

avr. 29, 2026

SUFFERING FOR THE BODY

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This process of obtaining Christ, as revealed in verse 10 , is to know Him by knowing the power of His resurrection. However, if we would know the power of Christ’s resurrection, we must share in His sufferings and know the fellowship of His sufferings.

In a very real sense, Christ’s sufferings have not yet been completed. When some hear this, they may say, “Christ died, was buried, and was resurrected once for all. Now He is on the throne. How can you say that His sufferings have not been completed? ” Consider Paul’s word in Colossians 1:24 : “I now rejoice in my sufferings on your behalf and fill up on my part that which is lacking of the afflictions of Christ in my flesh for His Body, which is the church. ” To be sure, Christ is on the throne, but there is still a lack with respect to His sufferings. As the Head, Christ’s sufferings are complete. But the sufferings of Christ for the Body are not yet finished. Such sufferings are also called “His sufferings. ” Furthermore, in Colossians 1:24 Paul regarded his own sufferings as the filling up of what is lacking of Christ’s sufferings for His Body. For this reason Paul indicates in Philippians 3:10 that we need to share in Christ’s sufferings. The sufferings of Christ for His Body are still going on, and we need to share in them. When Christ was on earth, He suffered. As those who follow Him, we must share in His sufferings for His Body. If we would know Christ by experiencing the power of His resurrection, we must share His sufferings. The process of obtaining Christ is related to His resurrection, His sufferings, and His death. To know Him we must share His sufferings and be conformed to His death that we may experience the power of His resurrection.

Life-study of Philippians
Message 52 To Obtain Christ by Experiencing
the Power of His Resurrection
(LSM)

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St Savior

Lagos, Lagos Mainland, Nigeria

mars 25, 2026

This hymn always melts my heart spirit and soul , it gives me joy to know that I'm born into Christ family

It teaches me about life after death with Christ Jesus. heaven and hell is real hymns are always melodious making you feel to be consecrated all time

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Zechariah Peter

Igbesa, Ogun N, Nigeria

déc. 30, 2023

my song of more commitment to serve YAH .

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Adekanmi Godwin Asegun

Lagos, Nigeria

mai 11, 2022

Very deep hymn. I have known the tune for more than 40 years without the lyrics. I thank God my Choristers recently rendered it during our Sunday congregational worship and since then my spirit has cleaved to it. My spirit is being reawakened for deeper consecration. Praise God, Hallelujah !

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Claire

Chicago, IL, United States

août 6, 2021

Haste then on from grace to glory,
Armed by faith and winged by prayer;
God’s eternal day’s before thee,
God’s own hand shall guide thee there.
Amen, thank You Lord for this beautiful song

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Chisom Elendu

Delta, Warri, Nigeria

août 2, 2020

Very nice song

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Istifanus Ariko

Kaduna., Nigeria

nov. 20, 2018

The self life must be strip off to give Jesus the best living-life He desires and deserves from me!

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Valerie

Tavares, FL, United States

janv. 19, 2018

I read the author was abandoned by his father at an early age. You would not know it by this beautiful song.

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Steven Ritland

Houston, MO, United States

sept. 19, 2016

I'm so glad I found this hymn again. I remember it from many years ago, and was reminded of it by the September 6 reading in "Springs in the Valley" by Mrs. Cowman. A B Simpson said it played a part in his entire consecration to the Lord. I love the words, I suppose because I can identify with them so completely. Praise the Lord for giving such a wonderful song!

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Steve Miller

Detroit, MI, United States

nov. 26, 2014

Henry Francis Lyte was the 2nd son of Thomas and Anna Lyte. He was born at Ednam, Scotland. Lyte's father was described as a "ne-er do-well ... more interested in fishing and shooting than in facing up to his family responsibilities". He deserted the family shortly after making arrangements for his two oldest sons to attend Portora Royal School; and Anna moved to London, where both she and her youngest son died.

The headmaster at Portora, Dr. Robert Burrowes, recognized Henry Lyte's ability, paid the boy’s fees, and "welcomed him into his own family during the holidays." Lyte was effectively an adopted son.

After studying at Trinity College, Dublin and with very limited training for the ministry, Lyte took Anglican holy orders in 1815, and for some time he held a curacy in Taghmon. Lyte's "sense of vocation was vague at this early stage. Perhaps he felt an indefinable desire to do something good in life." However, in about 1816, Lyte experienced an evangelical conversion. In attendance on a dying priest, the latter convinced Lyte that both had earlier been mistaken in not having taken the Epistles of St. Paul "in their plain and literal sense." Lyte says of him, "He died happy under the belief that though he had deeply erred, there was One whose death and sufferings would atone for his delinquencies, and be accepted for all that he had incurred;" and concerning himself he adds: "I was greatly affected by the whole matter, and brought to look at life and its issue with a different eye than before; and I began to study my Bible, and preach in another manner than I had previously done."

Lyte began to study the Bible "and preach in another manner," following the example of four or five local clergymen whom he had previously laughed at and considered "enthusiastic rhapsodists."

In 1817 Lyte became a curate in Marazion, Cornwall, and there met and married Anne Maxwell, daughter of a well-known Scottish-Irish family. She was 31, seven years older than her husband and a "keen Methodist." Furthermore, she "could not match her husband's good looks and personal charm." Nevertheless, the marriage was happy and successful.

About 1824, Lyte moved to Lower Brixham, a Devon fishing village. Almost immediately, Lyte joined the schools committee, and two months later he became its chairman. Also in 1824, Lyte established the first Sunday school in the Torbay area and created a Sailors' Sunday School. Although religious instruction was given there, the primary object of both was educating children and seamen for whom other schooling was virtually impossible. Each year Lyte organized an Annual Treat for the 800-1000 Sunday school children, which included a short religious service followed by tea and sports in the field.

Shortly after Lyte's arrival in Brixham, the minister attracted such large crowds that the church had to be enlarged—the resulting structure later described by his grandson as "a hideous barn-like building." Lyte added to his clerical income by taking resident pupils into his home, including the blind brother of Robert Gascoyne-Cecil, later British prime minister.

Lyte was a tall and "unusually handsome" man, "slightly eccentric but of great personal charm, a man noted for his wit and human understanding, a born poet and an able scholar." He was an expert flute player and according to his great-grandson always had his flute with him. Lyte spoke Latin, Greek, and French; enjoyed discussing literature; and was knowledgeable about wild flowers. At a former military hospital at Berry Head, Lyte built a magnificent library—largely of theology and old English poetry—described in his obituary as "one of the most extensive and valuable in the West of England."

Nevertheless, Lyte was also able to identify with his parish of fishermen, visiting them at their homes and on board their ships in harbor, supplying every vessel with a Bible, and compiling songs and a manual of devotions for use at sea. In theology Lyte was a conservative evangelical who believed that that man's nature was totally corrupt. Lyte frequently rose at 6 AM and prayed for two or more hours before breakfast.

In politics, Lyte was a Conservative who feared revolt among the irreligious poor. He publicly opposed Catholic Emancipation by speaking against it in several Devon towns, stating that he preferred Catholics to be "emancipated from priests and from the power of the factious and turbulent demagogues of Ireland." Lyte, a friend of Samuel Wilberforce, also opposed slavery, organizing an 1833 petition to Parliament requesting it be abolished in Great Britain.

In poor health throughout his life, Lyte suffered various respiratory illnesses and often visited continental Europe in attempts to check their progress. In 1835 Lyte sought appointment as the vicar of Crediton but was rejected because of his increasingly debilitating asthma and bronchitis. In 1839, when only 46, Lyte wrote a poem entitled "Declining Days." Lyte also grew discouraged when numbers of his congregation (including in 1846, nearly his entire choir) left him for Dissenter congregations, especially the Plymouth Brethren, after Lyte expressed High Church sympathies and leaned toward the Oxford Movement. - Wikipedia and Dictionary of Hymnology by Julian

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In the original, the last line of stanza 1 and the 4th line of stanza 3 say "heav'n" instead of Christ. The last stanza original says, "Heav'n's eternal day's" instead of "God's".

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Following stanza 2 above, there is an additional stanza, which, I think, is good for personal devotion, but not for a general church meeting, because lines 1-2 of it are not something to be prayed lightly.

2a Go, then, earthly fame and treasure!
Come, disaster, scorn and pain!
In Thy service, pain is pleasure;
with Thy favor, loss is gain.
I have called Thee, “Abba, Father”;
I have set my heart on Thee:
Storms may howl, and clouds may gather,
all must work for good to me.
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There is an additional stanza following stanza 3 above:
3a Take, my soul, thy full salvation;
rise o'er sin, and fear, and care;
Joy to find in every station
something still to do or bear:
Think what Spirit dwells within thee;
what a Father's smile is thine;
What a Savior died to win thee,
child of heaven, shouldst thou repine?

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