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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 réglage du tempo permet de ralentir, sans changer la hauteur.

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No mortal tongue can e’er describe

Consecration Possessing All in the Lord

English473
1
No mortal tongue can e’er describe
The freedom of the soul,
When passed beyond all earthly bribe
To God’s complete control.
All things are his, yes, life, and death,
Things present or to come;
In Christ he draws in peace each breath,
In Christ he finds his home.
2
When such as we the King can choose,
To share with Him His throne,
’Tis passing strange that we refuse
To be our Lord’s alone.
O never speak of sacrifice!
A privilege untold
Is to be His at any price,
In Calv’ry’s hosts enrolled.
3
Arise! the holy bargain strike—
The fragment for the whole—
All men and all events alike
Must serve the ransomed soul.
All things are yours when you are His,
And He and you are one;
A boundless life in Him there is,
Whence doubt and fear are gone.

Alternate last line of the last stanza: And kingdom yet to come.

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Pam

San Diego, CA, United States

janv. 13, 2026

This morning, the last 4 lines of stanza 3 welled up in my spirit. This precious hymn has been increasingly meaningful and dear to me for years, as the Lord has gradually shepherded me into the reality of it, but especially since being in the hospital 2 years ago. It seemed during that very difficult time, another layer of self effort and strength (from doubt and fear) ended, making way for "a boundless life in Him". The more of Him I experience and learn of others' experiences, the more convinced I am of the "unplumbed depths and unscaled heights" (from another hymn) that call us forward. I'm encouraged to press on every day to know Him more.

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Un Hermano

nov. 24, 2025

AS THE LORD’S, LIVING TO HIM

Hymns, #473 is wonderful. When I went back to Taiwan in October of 1984, this hymn was so sweet. We could not stop the singing of this hymn, and it stirred up many hearts. I like every line except for the last one, so we can replace “Whence doubt and fear are gone” with “And kingdom yet to come. ” Stanza 3 refers to the holy bargain, the fragment for the whole. When we sacrifice a fragment to the Lord, we gain the whole earth. When we serve Him, everyone and everything serve us—“All men and all events alike / Must serve the ransomed soul” (stanza 3). We all need to speak and sing this hymn again and again.

The verses in the Scripture Reading can be considered as a cluster of the divine Word, a cluster of grapes, so precious and so sweet. First Corinthians 3:21b-23 indicates that Christ is ours. Since Christ is ours, all things are ours. Even death is ours. Death serves a purpose for us, so death works for us. Verse 23 concludes with the fact that we are Christ’s. He is ours, and we are His. He belongs to us, and we belong to Him ( S. S. 2:16 ). This is marvelous! First Corinthians 7 tells us that we all have been bought by Him to be His slaves. We are His slaves bought by Him with a price, so He is our Master, our Owner. He is our Lord, and we are His slaves.

Romans 14 tells us that “we live to the Lord” ( v. 8 ). To live for Him is somewhat easy to understand. To live with Him, in Him, by Him, and even to live Him are still not too hard to understand. But to live to Him probably is a matter that we have never considered and do not understand. What is it to live to Him? This is the main point of this chapter.

Elders' Training, Book 8:

Chapter 8 The Life Pulse of the
Lord's Present Move
CWWL, 1986, vol. 1 (LSM)

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Un Hermano

nov. 24, 2025

THE REAL MEANING OF BEING FULL TIME

The real meaning of being full time is to live to Him. To go full time does not mean to drop your job and become a preacher. It does not mean that you give up your business and become one who preaches the gospel or who labors in the word all the time. A full-timer is one who lives to the Lord. Every believer, without one exception, should be such a one. As long as you are a believer, you have to realize that you should be one living to Him. We have to live to Him because He is ours and we are His. To live to Him is based upon the fact that we are His. Not only is He ours, but we also are His.

To be full time means that you live to the Lord. You do not live for Him but to Him. This is a great privilege. A full-timer does not mean what we may think. A full-timer is one who lives to the Lord; every believer, as one bought by the Lord with a price, should be a person living to the Lord. He is yours, and you are His. He and you are one. He is to you, and you are to Him. There is no distinction in anything. He does not need your permission to use you, nor do you need His permission to use Him. He is ready to be like this to you, but you may not be ready. You may be quite reserving and hesitating. The husband may have the confidence in the wife to be one with her and to be everything to her, but the wife may still be doubting. She may be thinking, “If I tell him I am to him, he may take away everything I have. Then what shall I do? Do I have the security? ” This mostly illustrates the present situation among us. Most of us in the Lord’s recovery do love the Lord, and we would say that whatever we are and whatever we have are all for the Lord. We do not realize, however, how subtle it is when we say that we are for the Lord.

Elders' Training, Book 8:

The Life Pulse of the Lord's
Present Move Chapter 8
CWWL, 1986, vol. 1 (LSM)

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Maria L

Fremont, California, United States

janv. 14, 2025

All things are yours when you are His,
And He and you are one;
A boundless life in Him there is,
And kingdom yet to come.

Praise the Lord! Our life is by faith, our living is to the Lord, and our service is by trusting in Him; He may allow us to suffer lack, but He will never leave us or forsake us. Hallelujah 😀

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James Smith

Mansfield, Ohio, United States

janv. 8, 2025

This hymn touches many things, not the least is our mortality. I was in sales much of my life. I always wanted the best deal for me in a transaction. Verse three caught my attention. “Arise the holy bargain strike the fragment for the whole”. We just agree to believe in Him with a little faith, a fragment of our heart, and we get Him the eternal life. “All things are yours when you are His and He and you are one. A boundless life in Him there is…”. I was saved as a child and I’m now beginning to realize God’s riches and what a bargain I got. Knowing this how can we choose anything less than Him alone?

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Jeffrey Hall

The Church In Worcester, Massachusetts, United States

déc. 28, 2024

This hymn gave me pause to consider my level of consecration,"Have I given ALL of my being?"

He gave all of HIS....... Now what is my reasonable service...... Realizing the oness and being in the Body, really helps center my wandering thoughts and the lyrics in this hymn gave me perspective......... Praise theLord! Praise the Ministry......

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Sarah

Kampala, Kampala Region, Uganda

mars 26, 2024

No mortal tongue can ever describe the freedom of the soul, when passed beyond all earthly bribe to God’s complete control.

All things are his, yes, life, and death, things present or to come; in Christ he draws in peace each breath, in Christ he finds his home.

When such as we the King can choose, to share with Him His throne, it's passing strange that we refuse to be our Lord’s alone.

All things are yours when you are His, and He and you are one; a boundless life in Him there is, when doubt and fear are gone.

Lire la suite
Joshua

Victoria, BC, Canada

déc. 10, 2023

Amen

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Ana Lara

Storrs, Connecticut, United States

juin 20, 2022

In 1888, Catherine Booth, The Army Mother, made her last public address at City Temple in London, England on June 21, 1888. Here is a quote from her speech that day:

“Perhaps on no point has the Salvation Army suffered persecution more than this one point of its teaching—that it teaches a Savior not only willing to pardon but who does pardon absolutely and who communicates a sense of that pardon by his Holy Spirit to the ears of those who truly repent and sincerely believe, with a living faith, in Him, and not only washes their past sins away but has the power to keep them from their sins, and will, if they trust in Him, enable them to live in righteousness and holiness all their lives, walking in obedience to His commandments, keeping that inner law of which we have just heard—the law of Christ—which is the most perfect law and fulfills all others—loving the Lord thy God with all thy heart, mind, soul, and strength, and thy neighbor as thyself. ”

She was the mother of Catherine Booth – Clibborn, the writer of this hymn and the wife of William Booth, founder of the Salvation Army. She was instrumental in helping her husband establish the Salvation Army. Catherine was a prolific writer and fiery preacher of the gospel. She denied an operation they could have saved her life and died two years after this sermon was preached on October 4,1890.

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Ana Lara

Storrs, Connecticut, United States

juin 19, 2022

Catherine Booth-Clibborn was born September 18, 1858 in Gateshead, Tyne and Wear, England and died May 9, 1955 (aged 96) in Newton Abbot, Devon, England. She is buried in Highgate Cemetery East in Highgate, Greater London, England.

Booth-Clibborn was a social reformer. She was the eldest daughter of William Booth, pastor in Gateshead and Salvation Army founder. She began preaching at the age of 15 and later held the rank of Captain of the Salvation Army. Catherine was sent to Paris in March 1881 with her sisters-in-law to preach the Gospel. They wore sandwich boards after they were forbidden to hand out leaflets, and often had mud and stones slung at them as they preached on street corners. They rented apartments in buildings with prostitutes and were frequently criticized by French newspapers for evangelizing. After eight months in France, when a few persons were converted to Christ, her brother gave her the nickname of “La Maréchale, ” French for “The Marshal. ”

In October, an Irish Quaker, Arthur Clibborn, joined the Salvation Army and became the Chief of Staff. They moved from France into Switzerland and faced more opposition. The authorities refused to allow them to rent halls to preach, and were arrested after holding an open-air meeting in a forest outside Neufchâtel. They were tried, acquitted and deported back to France. In February 1887, the two were married. They were transferred to Holland in 1896, a move that was difficult for her given that she did not speak Dutch.

After the birth of their tenth child and conflicts with her father, they resigned from the Salvation Army in January 1902, this move estranged her from her family. They moved to America, living for a time in Zion City, Illinois, outside Chicago. They became Pentecostals in 1906 and traveled as evangelists in the United States, Europe, and Australia. During WWI, she crossed the Atlantic six times under dangerous conditions. Still in exile, she returned to Switzerland at the age of 70 where her sermons were well received. She died of double pneumonia in 1955 and was buried in a separate cemetery from her parents and siblings.

The Kate Booth House in Vancouver, British Columbia, a residential house for domestic violence victims, was named in her honor.

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