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我的詩歌列表

關於簡譜

數字就是音階中的音

簡譜(Jianpu,简谱)用數字而不是五線譜上的音符來記錄旋律。不需要先學過樂理:一次學一個小步驟,並在任何例子上按播放,邊聽邊看每個數字依序亮起。只有按下播放才會發出聲音。

簡譜不用五線譜上的音符,每個音都寫成 1 到 7 的數字。它們就是你早已熟悉的音階七個級:do re mi fa sol la ti。7 之後,音階又從 1 重新開始。

七個數字和它們的唱名。按播放,每當數字亮起就唱出它的唱名。
跟著唱:do re mi fa sol,再唱回 do。

只要會唱 do re mi,就已經會唱 1 到 7 的每一個數字。點一下任何數字,就能單獨聽到那個音。

「1=C」告訴你從哪裡開始

譜面左上方會看到像 1=C 這樣的標示,這叫做首調:數字 1(do)就是 C 音,其他數字都由它往上數。1=G 表示 do 是 G,整首曲子就高了一些。其他都不變:同樣的數字畫出同樣的旋律形狀,只是整體變高或變低。

1=C:do 就是 C。
1=G:同樣的數字,從較高的音開始。

找不到 C?在鋼琴上,它是兩個黑鍵左邊的那個白鍵。你也可以不管字母,從自己嗓音舒適的音開始唱:旋律只要保持形狀就好。詩歌頁面上的 − 和 + 調號按鈕可以幫你移調。

圓點讓音變高或變低

數字上方加一點表示高八度,下方加一點表示低八度,兩點就是兩個八度。沒有圓點就是中音區,也就是大部分旋律所在的音域。唱名不變,只是音高改變。

同一個數字的三種高度:下方加點、不加點、上方加點。
一段往上爬的旋律:從低音 sol 開始,到高音 do 結束。

每個音唱多久

用腳穩穩地打拍子,每打一下就是一拍。單獨的數字是一拍,所以每打一下就唱一個新的數字。增時線、減時線和附點會改變這個長度。

單獨的數字是一拍

四個數字、四拍:每打一下拍子唱一個數字。

增時線(短橫線)讓音拉長

每一條短橫線多加一拍。5 唱兩拍,3 唱四拍。

下方的減時線讓音變短

一條底線是半拍,所以兩個帶底線的數字合起來是一拍。(兩條底線是四分之一拍。)

附點讓音延長一半

數字後面的附點再加上它一半的長度。第一個 5 唱一拍半,短短的 3 補滿第二拍。

0 表示休止符

0 是休止符,停頓一拍。繼續數拍子、繼續打拍子,但不要唱。0 後面的增時線會讓停頓變長,就像它讓音拉長一樣。

唱 1 3 5,安靜一拍,再唱下來。休止符也會亮起,讓你感受到停頓。

小節線與拍號

直立的線把音樂分成一個個小節,每個小節的拍數都一樣。開頭的兩個小數字叫拍號,例如 4/4 或 3/4,說明每小節有幾拍:4/4 是每小節四拍,3/4 是三拍。每小節的第一拍最強,唱的時候稍微加重。一條粗細並列的雙線表示結束。

4/4:數 1 2 3 4,1 2 3 4。每小節的第一拍聽起來稍微大聲一點。
3/4:數 1 2 3,1 2 3,像圓舞曲的感覺。

弧線:延音線與連音線

數字上方的弧線把它們連在一起。如果連接的是兩個相同的數字,這是延音線:只唱一次,並把兩個音的長度合起來唱。如果連接的是不同的數字,這是連音線:這些音唱在同一個字上,從一個音滑到下一個音。

延音線:5 只唱一次,延續過小節線,一共六拍。
連音線:「祂」這個字唱兩個音,先 3 再 2。

歌詞寫在數字下面

每個數字對應一個音節(中文是一個字),寫在它的正下方。字詞中間的短橫線表示這個詞還沒唱完,下一個數字繼續唱。如果某個數字下面沒有字,它屬於弧線或增時線:繼續唱目前那個字。

由左到右閱讀,每個數字對應一個字:一閃一閃亮晶晶。

反復記號與 1. 2. 結尾

帶兩個圓點的小節線 :| 表示回頭,從對應的 |: 記號(如果沒有,就從頭)再唱一遍。有時反復會有兩個結尾:第一次唱第 1 結尾;反復時跳過它,改唱第 2 結尾。

播放看看:你會聽到第 1 結尾、反復,再接第 2 結尾。注意亮起的位置會跳回去。

小調:「6=A」

小調的歌聽起來通常比較莊重或溫柔,譜面標示的是像 6=A 這樣的記號,而不是 1=C。它表示數字 6(la)是主音,這裡是 A。數字的唱名不變;旋律只是以 6 為歸宿,常常也在 6 結束。6=A 與 1=C 使用相同的音。

從 6(la)開始,也在 6 結束,也就是主音。聽聽它比較暗的色彩。

綜合練習:一句詩歌

這是詩歌第 8 首「Praise God, from whom all blessings flow」第一句的簡譜寫法。先用慢速試試,每當一個數字亮起就唱出對應的歌詞。

1=G,4/4 拍。先休止三拍,第 4 拍唱「Praise」。7、6、5 下方的圓點表示這幾個音低八度。

自我檢測

四個小問題,不計分也沒有壓力。點選答案就能立刻看到對錯的原因,隨時都可以改選別的答案。

點選持續最久的數字。

點選比第一個 5 高八度的 5。

0 是什麼意思?

在 1=G 之下,數字 1 是哪個音?

在詩歌上試試看

你是從有簡譜檢視的詩歌打開這份指南的,所以現在就可以試試。

  1. 看看譜面左上方:調號,例如 1=D,以及拍號,例如 3/4。
  2. 找到第一個數字,把它唱出來。然後由左到右跟著數字,看下面的歌詞,每個數字唱一個字。按播放器裡的播放,邊看邊聽錄音。
  3. 數字上方的字母(C、G7)是給吉他或鋼琴用的和弦。學旋律的時候可以先不管它們。
  4. 想要有人帶著你唱,請打開學習頁籤並按播放。在顯示裡把學習記譜法設為簡譜(或先在和弦譜頁籤選簡譜)。有簡譜行的詩歌,每一行數字會隨著錄音捲動到畫面上,同時跳動的小球跟著歌詞走;其他詩歌則會在那裡顯示鋼琴譜。用速度選單可以放慢。

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When we survey the wondrous cross

Praise of the Lord His Suffering

English101
1
When we survey the wondrous cross
On which the Lord of glory died,
Our richest gain we count but loss,
And pour contempt on all our pride.
2
Our God forbid that we should boast,
Save in the death of Christ, our Lord;
All the vain things that charm us most,
We’d sacrifice them to His blood.
3
There from His head, His hands, His feet,
Sorrow and love flowed mingled down;
Did e’er such love and sorrow meet,
Or thorns compose so rich a crown?
4
His dying crimson, from His head
Spreads o’er His body on the tree;
To all the world then am I dead,
And all the world is dead to me.
5
Were the whole realm of nature ours,
That were an offering far too small;
Love that transcends our highest pow’rs,
Demands our heart, our life, our all.

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Akabueze Daniel

Ibadan, Oyo, Nigeria

七月 20, 2026

The depth of the hymn.

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Emmanuel Tolulope Odoh

FCT, Abuja, Nigeria

五月 3, 2026

Words can't describe the depth of YOUR love for us. Thank YOU JESUS for everything especially our salvation and the hope of eternal life with you.

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Gabrielle Lam

Edmonton, Alberta, Canada

四月 2, 2026

🙏🙏🙏🙏

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Jim Smith

Mansfield, Ohio, United States

三月 15, 2026

Most Christians recognize this hymn as Isaac Watts best. The cross is at the center of the gospel. This him brings me into a deeper appreciation of my God. When I see what the Lord suffered, I desire to take my cross without complaint.

Here is a little excerpt from Isaac Watts biography.

Watts is credited by many with introducing hymns to the English churches when his Hymns and Spiritual Songs was first published in 1707. They are extensively used today due to his poetic gifts, but also because he interpreted the Old Testament using knowledge of the New. This set an example for later hymn writers. Isaac Watts explained his methods as follows: “Where the Psalmist describes religion by the fear of God, I have often joined faith and love to it. Where he speaks of pardon of sin through the mercies of God, I have added the merits of a Saviour. Where he talks of sacrificing goats and bullocks, I rather mention the sacrifice of Christ, the Lamb of God. When he attends the ark with shouting into Zion, I sing of the ascension of my Saviour into heaven, or His presence in His church on earth. Where he promises abundance of wealth, honor, and long life, I have changed some of these typical blessings for grace, glory, and life eternal, which are brought to light in the Gospel, and promised in the New Testament. ”[6]

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Un Hermano

七月 2, 2025

SPIRITUAL MATTERS REQUIRING
US TO FIRST ENTER THROUGH THE GATE
AND THEN WALK ON THE WAY

In spiritual matters we do not walk on the way and then enter through the gate; instead, we enter through the gate and then walk on the way. Matthew 7:13-14 speaks of this principle: We enter the narrow gate, and then we walk on the constricted way. In our Christian living, the Holy Spirit eventually will bring us through the gate of the cross, and then He will lead us to take the way of the cross. This means that the Holy Spirit will lead us to a point where we see that we have been crucified with Christ on the cross. Thereafter, we will know the cross and the death of the cross, and the Holy Spirit will bring our whole being into the way of the cross. We will enter through the gate and walk on the way of death. It is at this point that we will truly begin to take the way of the cross and live a life of the cross. In other words, we will enter into death, and the effect of death will be in us every day. Christ’s death will target and deal with us, putting us to death and killing our thoughts, opinions, preferences, choices, and emotions; it will deal with all our likes and dislikes. This death, which is carried out in and by the Holy Spirit, is like a sharp razor, a sharp knife, which continuously does a killing work in us. This is the cross.

Knowing Life and the Church

Chapter 6 (LSM)

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Kemi Davina

Port Harcourt, Rivers State, Nigeria

四月 27, 2025

Did e'er such love and sorrow meet? Even in HIS deepest agony and grief before and on the Cross, JESUS cared and still showed HIS love for us. HE prayed for us... HE had every one of us on HIS Mind. Even if I had and could give the whole world, it's not enough!

I surrender my soul, my life and my all to HIM now and forever more. Amen.

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Ana Lara

Storrs, Connecticut, United States

三月 2, 2025

Edward Miller (1735-1807) was an English musician, composer, and historian of Doncaster. He is most noted as a writer of the hymn-tunes Rockingham and Galway.

Miller was the son of a pavior, (one who lays down pavers on the streets) but left home to study music from Charles Burney who was then at King’s Lynn in the county of Norfolk, England. For a time he played the flute in Handel’s Orchestra.

In 1752 he published ‘Six Solos for the German Flute’. In 1756, he was appointed organist of St. George’s Minster Doncaster, and continued in the post for the next 50 years. Miller also gave lessons on the pianoforte as a way to supplement his income. In 1768, he published ‘Six Sonatas for the Harpsichord’ and in 1771 the work by which he is best known; ‘The Institutes of Music, ’this work continued for 16 editions. In 1773 he published ‘Twelve Songs, Elegies for Voice and Pianoforte, ’ and in 1774, King George of England became his patron so that Miller could issue his works for subscription; the Psalms of David set to Music and arranged for every Sunday of the year. He had over 5, 000 subscribers!

Francis Linley, an English organist and composer, who was born blind, studied under Miller from the time he was very young.

In 1784 Miller published ‘Letters on Behalf of Professor of Music Residing in the Country’—a critique in the ‘Critical Review, ’ it is a plea that poor musicians in the country should benefit as well as those in London by the Handel Commemoration Festival.

The University of Cambridge awarded him a Doctorate of Music in 1786.

Edward continued to publish many works during this time from 1787 to 1792.

He arranged the tune Rockingham as a hymn- tune in 1790 to which Isaac Watts’ hymn “When I Survey the Wondrous Cross” is sung. He also wrote the tune Galway, to Charles Wesley‘s hymn “A Charge to Keep I Have. ’

Edward Miller passed away on September 12, 1807 at the age of 71 at Doncaster.

His works include:

•The Psalms of David Set to Music, 1774
•Elements of Thorough-bass and Composition, 1787
•The Psalms of David for the Use of Parish Churches, 1790
•Thoughts on the Present Performance of Psalmody, 1791
•The Psalms of Watts and Wesley, 1801
•Sacred Music, 1802
•History of Doncaster, 1804

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Anonymous

一月 31, 2025

Love that transcends our highest pow’rs,

Demands our heart, our life, our all.

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Laurette Thomas

Kingston, Jamaica

八月 5, 2024

This song always takes me back to a place of repentance and gratitude.

LOVE SO AMAZING SO DIVINE DEMANDS MY SOUL MY LIFE MY ALL,

THANK YOU LORD JESUS CHRIST 🙏

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Femi Akande

Lagos, Nigeria

一月 6, 2024

Love so pure, love so divine, demands my all! Amen! Thank you Jesus!

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