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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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There is a green hill far away

Gospel Redemption

English995
1
There is a green hill far away,
Without a city wall,
Where the dear Lord was crucified,
Who died to save us all.
 
Oh, dearly, dearly has He loved,
And died our sins to bear;
We trust in His redeeming blood,
And life eternal share.
2
We may not know, we cannot tell,
What pains He had to bear;
But we believe it was for us
He hung and suffered there.
3
He died that we might be forgiven,
He died to make us good,
That we might from our sins be freed,
Saved by His precious blood.
4
There was no other good enough
To pay the price of sin,
He only could divine life give
And dwell Himself within.

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Kelly-Ann Lannaman

Kingston, Jamaica

二月 28, 2026

Thank you Lord for salvation. Wake to this song playing in my mind. Took me back to went I was a child hearing it sang in church. A beautiful hymn. Lord I give you all the praise and the glory.

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Nicola Williams

二月 26, 2026

When I was 8 in St Catherine Jamaica, now nearly 50 in UK

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Allen Peter Roberts

Steinbach (Taunus), Hessen, Germany

四月 7, 2025

Remeber my time as a child in St. Helens. Lancashie. Now a old man in Germany.

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Anthony Nnadi

Plastow, London, United Kingdom

九月 19, 2024

This hymn often takes me down memory lane. We sang this hymn a lot when I was in secondary school in Nigeria.

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Doris Castle

Ryde, Isle Of Wight, United Kingdom

四月 3, 2022

This hymn was sung by my school , at an outdoor Easter service, at Middlefield School, in the morning Scottish sunshine. When I was about 8-10 years old. The words touched my heart and mind that day, and led me on to Salvation. I'll never forget how it touched me abd my life!

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Ana Lara

United States

八月 19, 2020

Mrs. Cecil Frances Alexander, one of the finest English women hymn writers, was born in Tyrone, Ireland. Before her marriage to Rev. William Alexander in 1850, who became archbishop and Primate of the Anglican Church of Ireland, she was active in the Sunday School movement that had started in Great Britain. Cecil Alexander loved to teach children spiritual truths through the use of hymns suitable for them.

In 1848 she published a volume of children’s hymns that covered a wide range of doctrinal subjects such as Baptism, the Apostles’ Creed, the Ten Commandments, and the Lord’s Prayer. Almost all of the 400 poems and hymns that were written by Mrs. Alexander were intended for children. The language is direct and easily understood as it is in this hymn, yet this beautiful text expounds in a touching way the story of Christ’s redemption.

Mrs. Alexander wanted to teach her Sunday School class the meaning of “suffered under Pontius Pilate, was crucified, dead and buried” (Apostles’ Creed). This hymn has also been greatly used by Christians in congregations for over a century.

After she married Rev. Alexander, she was involved in helping him in his parish duties as well as works of charity. Her husband once wrote this tribute about her, “From one poor home to another she went. Christ was ever with her, and in her, and all felt her influence. ” Those who knew her well said that her life was even more beautiful than her hymns and poetry. She was a very humble woman who disdained praise for her accomplishments. On one occasion, someone wrote to tell her of a worldly man whose heart and life had changed after hearing one of her hymns being sung. Mrs. Alexander exclaimed joyfully saying, “Thank God, I do like to hear that. ”

George Stebbins, well known in the field of American gospel music, composed the tune for this text. He was born on February 26, 1846 in Orleans County, about fifty miles northeast of Niagara Falls, Ontario, Canada. When he was twenty-three he moved to Chicago to be associated with the Lyon and Healy Music Company. In 1874 he moved to Boston and became a music director of the Clarendon Street Baptist Church. It was there that he met D. L. Moody and Ira Sankey and partnered up with them. He also worked with evangelists such as George F. Pentecost and Major D. W. Whittle. After the untimely death of Phillip P. Bliss in 1876, Stebbins and James McGranahan assisted Ira Sankey in editing and compiling the third, fourth, fifth and sixth editions of the “Gospel Hymns” series.

Stebbins composed this tune for Mrs. Alexander’s text in 1878, and it first appeared that same year in “Gospel Hymns No. 3”. The hymn became one of the songs used in the evangelistic campaigns of Moody and Sankey and other similar gospel meetings during that era.

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Louis

Colma, CA, United States

八月 14, 2020

This is the favorite hymn of

J. Gresham Machen

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Henrich Brockhaus

Bellingham, WA, United States

七月 27, 2020

Dear Susan, this hymn fits right into the Easter Season, but to be technical, it is a wonderful Good-Friday hymn. His resurrection is not expressly mentioned here but only taken for granted. His death and resurrection are of course the very core of our gospel message and thus the classification. This hymn invites us to meditate on the great cost to Him to save us and then to help us in life with Him in the Holy Spirit living in our heart and also to guarantee our future with Him. Thanks and all blessings to such a Savior!

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Obongofon Monday Idiong

Port Harcourt, Rivers State, Nigeria

五月 2, 2020

God bless the composer of this great hymn.
It's so rich with many messages.
We do use it in my high secondary school days.
It blessed my life this morning during my personal devotion.
Hallelujah.

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Susan

St Albans, Herts, United Kingdom

四月 14, 2020

I was surprised to see this categorised as Gospel. It is a classic Easter Hymn sung on Easter Day in Anglican churches.

Stay Safe.

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