I started my music studio when I was 16, teaching students my own teacher had chosen for me from her waiting list.  Every Saturday, 8 little faces showed up at my door for a half hour of piano time each.      
 
             Unfortunately, they were not the only little faces I saw.  Regularly, their parents would say, “I need to do a little shopping.  They can play outside,” and leave their other children in our front yard, usually far longer than a half hour.  I had been taught to respect my elders and couldn’t even imagine telling them no.  I simply sat there and watched both the small pair of hands at the keyboard and the ever increasing number of children running around the maple tree, jumping up occasionally to open the door and quiet an argument or forestall an accident.  How in the world did they ever expect me to do a good job at piano teaching?

              Once I married and moved into my own home, the free babysitting stopped.  I was an adult now, and it didn’t hurt a bit that my college professor helped us all fashion “studio policy letters” that spelled out what would and would not be tolerated.  “You are a professional with a college degree (soon, anyway) so act like one and they will treat you like one,” we were taught.  No longer was I a free babysitter for the siblings during piano lessons.

              I wonder if our poor preachers and elders need to make a policy letter.  Regularly, the members, who pride themselves on “knowing better” than the denominations about scriptural practices, expect “free babysitting” from the men God has given other duties to perform.  Read Acts 20 with me this morning. 

              Now from Miletus he sent to Ephesus and called the elders of the church to come to him, v 17.  Notice, we are talking about the elders.  In the same context, speaking of and to the same men, Paul says, Take heed unto yourselves, and to all the flock, in which the Holy Spirit has made you bishops (overseers), to feed (shepherd, pastor) the church of the Lord which he purchased with his own blood, v 28.  Did you catch that?  This is one of at least two passages where all the words for elder are used in the same context.  An elder is a pastor is a bishop is an overseer, and there were always more than one in a church.  The preacher is usually not a pastor and certainly not THE pastor of the church.

               I bet you knew that, didn’t you?  But guess what?  He is not THE minister either.  In fact, it’s a mighty sorry church that has only one minister in it.  That word is diakonos and it is used a couple of ways in the New Testament.  The word simply means “servant” but there was also an official position in the church, special “servants” who had specific duties and qualifications as well.  To make the distinction between that role and the other aspect of service, something every Christian is required to do, the translators created a new English word.  They Anglicized diakonos and made the new word “deacon.”  So sometimes that word refers to those specially qualified individuals who took care of the physical needs of the saints and the church as a whole. 

              Yet far more often, that word, and certainly that concept, is used of each individual Christian, as we minister to one another and to the world.  The problem is we don’t want to be ministers (servants).  We want everyone, especially the leaders in the church, to serve us!  How in the world can we expect them to do the job God really gave them when we want free babysitting as well?

              For God is not unrighteous to forget your work and the love which you showed toward his name, in that you ministered unto the saints, and still do minister, Heb 6:9,10.  The writer is not talking to preachers in this verse, and not talking about them in the next.  You know the house of Stephanas, that it is the firstfruits of Achaia, and that they have addicted themselves to the ministry of the saints, 1 Cor 16:15.  Could anyone accuse us of being “addicted” to serving?

              Anyone who serves is a minister.  Some seem to have special abilities and perhaps we could even say they have “a ministry.” And having gifts differing according to the grace that was given to us, whether prophecy, according to the proportion of our faith; or ministry, to our ministry; or he that teaches, to his teaching; or he that exhorts, to his exhorting: he that gives, with liberality; he that rules, with diligence; he that shows mercy, with cheerfulness. Rom 12:6-8.  Some have people in their homes more than others; some teach better than others; some have a special ability to relate to the young people; some seem to know exactly what to say when people are in trouble.  Some of us just do what needs to be done when we see the need.  All of us are supposed to be ministers in one way or another, and we should all reach the point that we don’t need a babysitter any longer. 

              When someone asks you who the minister in your church is, tell them it isn’t one man.  It isn’t even someone else.  It’s supposed to be YOU!
 
But Jesus called them unto him, and said, You know that the rulers of the Gentiles lord it over them, and their great ones exercise authority over them. Not so shall it be among you: but whosoever would become great among you shall be your minister; and whosoever would be first among you shall be your servant: even as the Son of man came not to be ministered unto, but to minister, and to give his life a ransom for many.  Matt 20:25-28.
 
Dene Ward

Too many times we studio teachers teach only the instrument, piano and voice in my case, and neglect the other things that make one a well-rounded musician—history, theory, ear training.  So for my students I made up history notebooks focusing on one particular composer each year containing articles, worksheets, and listening labs.  When the makeup of the studio suddenly increased to 40% voice students, I decided to make a notebook with them in mind, one on opera.  Besides, even piano students needed to know about opera.

              I began with worksheets on the history of opera and types of operas.  Then we moved on to study the stories of 5 different operas, followed by a listening lab on one of the more famous arias from each opera.  I live in a rural county.  The closest thing to opera any of these students had ever seen or heard was their grandparents’ reminiscences of Minnie Pearl and the Grand Ol’ Opry.  The answers I received on many of the listening labs often made me laugh out loud and taught me a lot about perspective.

              “Nessun dorma” from Turandot:  (All the recordings were in the original language of the opera.)  On the question, “Describe the melody,” a 6 year old wrote, “Sounds Italian to me.”  How could I argue with that?
              Another question attempted to point out the emotion in the singers’ voices by asking, “Where in the music do you think he sings, ‘I will win!  I will win!’?”  Though it was in Italian it was obvious; even the 6 year old got it.  But one 10 year old thoroughly misunderstood the question and wrote, “I don’t know, but he was so loud, he MUST have been outside somewhere.”

              “La donna mobile” from Rigoletto:  “What are the main difficulties of this aria?”  A 9 year old answered, “He’s trying to get a woman, but can’t.”

              We could not have left out Carmen, though presenting this less than moral character to children took a bit of discretion.  We listened to the “Habanera,” which is, in reality, a dance.  “Carmen likes to flirt a lot.  How does the fact that she is singing to a dance make it sound ‘flirty?’”  A 9 year answered, “It shows she’s pretty smart if she can sing a dance!”

              Because the majority of my singers were 14-16 year old girls, I chose Charlotte Church’s recording over Maria Callas’s version of Carmen.  Charlotte was only 15 at the time and I felt they could better relate to her.  However, this brought about the question, “How is her ability to sing this character likely to change as she gets older?”  Talk about perspective, a 9 year old boy wrote, “She’ll soon be married and she’d better not be flirting with other men!!!!”  But a 16 year old girl wrote--now remember Charlotte was only 15 on this recording--“It won’t be long till she is so old she won’t even remember how to flirt any more.” 

              Was this notebook successful?  When I took up the final exams I wondered.  The first question was “Define opera.”  An 11 year old wrote, “A type of music for men and women where you sing real LOUD.”

              But I also had them write, both at the beginning of the study and at the end, what they honestly thought about opera.  One 14 year old was very tactful at the beginning of the year when she wrote, “I think people who can sing it are very talented.”  But at the end of the year she wrote, “If this is opera, I really like it.  And I learned not to ever say I don’t like something when I don’t really know anything about it.”

              I wonder how many people approach the Bible that way?  They believe it to be a book of myths, a storybook, only a suggestion for how to live, anything but the Word of God when they have absolutely no personal knowledge on the subject.  They have never considered the evidence; they have never made comparisons to other ancient writings that are far less convincing.  We have only 643 copies of Homer’s Iliad but over 5700 copies of the scriptures, and no one ever questions the completeness and accuracy of that Greek epic.  We believe George Washington existed and became our first president.  Why?  Because of eyewitness accounts, the same type of accounts available in historical documents about Jesus.  Even people who accept Jesus as the Son of God, question the validity of the New Testament because it was a translation, yet Jesus himself quoted a translation of the Old Testament, one about as far removed from him in time as the New Testament is from us, and all this barely skims the surface of internal and external evidences validating the Bible.

              My students learned a valuable lesson the year we studied opera:  don’t judge until you check it out yourself.  If you are wondering about the Bible, about Jesus, and even about the existence of a Creator, the only logical and fair thing is for you to do that too.
 
For the word of the cross is to them that perish foolishness; but unto us who are saved it is the power of God. For it is written, I will destroy the wisdom of the wise, And the discernment of the discerning will I bring to nought. Where is the wise? where is the scribe? where is the disputer of this world? hath not God made foolish the wisdom of the world? For seeing that in the wisdom of God the world through its wisdom knew not God, it was God's good pleasure through the foolishness of the preaching to save them that believe. 1 Corinthians 1:18-21
 
Dene Ward

I never had much trouble sightreading piano music.  You read the note, you find it on the piano, and you play it.  I wasn’t perfect by any means—trying to read music and translate that to a mental keyboard in your mind and then have your hands immediately go to the correct place on the real keyboard in just a matter of milliseconds takes a quick mind and perfect eyesight, neither of which I had even then.  But for the most part I was a good music reader and got the job done, even if I did have to slow the tempo down so I could play in the correct rhythm too. 

              Then I got to college theory classes and was expected to sightsing!  Now that is a completely different issue.  Looking at a page of notes and singing them seemed like an impossible task to me.  It takes a natural ear.  If you don’t have one, you have to train it.  I had to put mine through boot camp the entire first year of theory classes.  Eventually I learned to do it—I could look at a piece of music and sing the notes, without accompaniment of any kind, not even chords to keep you in the right key.  I wasn’t any more perfect at it than I was at the piano, probably less, but I was musician enough to pass my tests, classes, and juries, and to make two college choruses and a women’s sextet.

              Most of the hymns in our books are written in standard major keys, with standard four part harmony.  They are nothing like the music I had to sightsing in college, so I can usually sightsing them without too much trouble.  It’s sort of like being asked to boil an egg when you have been making soufflés for four years--simple.  Most of the congregation, though, do not have the advantage of being trained musicians and they just sing it the way they first heard it, which in many cases was incorrect. That means that very often I stick out like a sore thumb (or a sour note).

              I have tried to sing what everyone else is singing just so I won’t, but I have trained myself so diligently that I can’t.  I’m a musician—I see the note, I sing what I see.  We were singing “When We All Get to Heaven,” the other day, and every time (at least three) I sang it right I created a clash that was hard to go unnoticed.  “Leaning on the Everlasting Arms” creates at least five such clashes.  With “Amazing Grace” the list is nearly as long as the song itself.

              But you know what?  While I don’t want to cause those clashes, my training makes it nearly impossible to sing the songs wrong, and my desire to please God by obeying His commands to sing makes it completely impossible for me to stop singing.

             Isn’t that the way life is supposed to be for a Christian?  You really don’t want to clash with your neighbors.  You really want to “live peaceably with all men.”  But you should have trained yourself so well that you find it nearly impossible to sin.  Sticking out like a sore thumb shouldn’t matter to you.  Yes, it may be difficult, but no one ever promised us “easy.”  We are supposed to be different from unbelievers.  We are supposed to “conform to the image of His Son,” not to the world. It should be a habit by now.

              Sometimes when I sing things correctly, but differently, I get funny looks.  Once, a song leader even went to the microphone when that section came up on the next verse so he could sing the (wrong) note loud and clear.  I guess he heard my different note on the first verse and it bugged him. 

              This coming Sunday morning, if you hear someone sing a different note than you are singing, maybe you should check the notes you are singing.  Then do something much more important.  Use it as a reminder to check your life.  Could anyone tell you apart from your neighbors, or do you blend right in?  Out there in the world, you should be sightsinging a completely different tune.
 
But the wisdom from above is first pure—then peaceable…James 3:17.
Do not be conformed to this world, but be transformed…Rom 12:2.
 
Dene Ward

Now that I have tried to encourage the late beginners, it’s time to work on the rest of us—the ones who have been there, claiming to lay hold on the hope of life eternal from childhood.
              I once had a 6 year old piano student who progressed faster than any other that age.  Her mother had limited her children to one extracurricular activity and this one chose piano.  Because she was limited in how thinly she spread herself by a wise parent who knew that even children can suffer from stress, she regularly practiced more than I asked of her and could pick up on concepts that often had older students completely stumped.  She had “trained her powers of discernment by constant practice.”  Is it any wonder that I was ready to put her in a competition her first year, instead of waiting a year as I usually did?  Is it any wonder that she won first place at her level at a state competition the first time she went?
              When I was a child, people in the church were known for their Bible knowledge.  What has happened to us?  People who have been Christians for thirty or forty years cannot find their way through the Old Testament.  They cannot quote standard proof-texts.  When they try to recall those basic old stories, Jacob winds up married to Rebekah and Isaac to Rachel; Moses builds the ark and Daniel gets tossed into the fiery furnace.  You hear them introducing the preacher as either the Pastor or THE Minister of the church, as if there were only supposed to be one person serving in God’s family.  Hosea’s warning rings frighteningly in my ears--My people are destroyed for lack of knowledge, 4:6.
              When I was young, children actually came home from school every afternoon.  Families actually ate their evening meals together.  Television time and content was limited by parents who were home to supervise their children. 
              As we said last time, we apply the passage in Heb 5, what it takes to learn and grow, in every aspect of life BUT the one it was meant for.  We know what it takes to get a promotion at work, or to keep a job.  We know what it takes to pass a written driving test.  We know what we must do if we hope to learn anything new, whether a sport or art or subject we are interested in.  There is no excuse for not doing this with the subject we claim to be more important than any other in our lives.
              I find myself wondering what would happen if we made it a point to limit our children’s activities like the mother of my young student, so that there would be time for family Bible studies every night.  What if we turned that television off just one night a week, or turned it off one hour earlier every night so that we could study?  As a teacher, I can tell you what would happen.  We would KNOW God’s word, and with it in our hearts we could not help but BE better people.
             
With my whole heart I seek you; let me not wander from your commandments!
I have stored up your word in my heart that I might not sin against you.
Blessed are you, O LORD; teach me your statutes!
With my lips I declare all the rules of your mouth.
In the way of your testimonies I delight as much as in all riches.
I will meditate on your precepts and fix my eyes on your ways.
I will delight in your statutes; I will not forget your word.  Psalm 119:10-16
 
Dene Ward

I taught piano from the time I was 16 years old, and earned a degree in music education (piano and vocal) with a stress on piano pedagogy.  It seemed the ideal way to help with our family income without leaving my children.  Indeed, my children were also my students, and any time I had to go out of town for a competition they went too.
              I had students ranging in ages from 4 to 80, and I usually found that the students on the extreme ends of that range were the ones who took most of my energy.  I once had a 70 year old from a town 30 miles distant.  He was a real joy because of his intense interest and zealous practice.  He studied his theory lessons so hard that he regularly came to his lesson with a list of questions that took nearly half his allotted time to answer. 
              Once, when we were studying chords, he despaired at ever being able to instantly play one from its symbol alone.  Memorizing the difference between an A7, Am7, Adim7, AMaj7, as well as the standard A, Am, A+, and Adim took him several minutes and a lot of concentration. 
              “You do it!” he once said in exasperation, pushing the theory book my way on the rack, and I calmly played them one after the other simply by reading the symbols.
              “How long till I can do that?” he grumbled.
              I reminded him that I have been at this since I was 7, and had four years of college theory under my belt, too.  It would be a shame if I couldn’t do it.
              That reminded me of Heb 5:12-14:   For though by this time you ought to be teachers, you need someone to teach you again the basic principles of the oracles of God. You need milk, not solid food, for everyone who lives on milk is unskilled in the word of righteousness, since he is a child. But solid food is for the mature, for those who have their powers of discernment trained by constant practice to distinguish good from evil.
              We apply that principle to life without thinking, as he did to his music lessons, but we want to make excuses when it comes to spiritual matters.  My student, because of his diligent practice and meditation on the theoretical aspects of music and harmony, had come a long way in a short time.  Though he might have been impatient with himself, when I asked him to go back to a piece he had struggled with the year before and he found it simple to play, he could recognize his growth and improvement.  He “trained himself with constant practice” and was ready for some pretty solid food in the way of piano compositions and music theory.
              It is easy to look down on yourself when all you see is your failings and others’ abilities.  If you became a Christian later in life, not having grown up with the Bible narratives taught in every children’s Bible class, not having heard sermon after sermon for years, it will be a struggle for you to catch up.  If you have simply sat on a pew handed down as if it were an inheritance, and only wakened to your commitment to the Lord as an adult, you might be behind, too. 
              There is a wealth of information in the scriptures, and as you get older, learning seems to take far more effort.  For me numbers especially become more and more confusing.  I remember passages because I memorized them as a child.  Start calling out numbers to me now and they will leave my mind immediately, or, if somehow remembered, will come out transposed. 
              Don’t give up—just practice more.  If a 70 year old man can learn chord symbols, if he can play thirteen major scales, and thirteen minors in all three variations, if he can become one of the best music students I ever had, you can certainly do the same for God.  And if you ever despair, take a look back a year or so ago.  Don’t you see the improvement?  Don’t you see the fruit of your effort?  You know more, you understand more, you can even answer questions you could not have comprehended when you first started.
              That is, you can, if you have been working at it.
 
Practice these things, immerse yourself in them, so that all may see your progress, 1 Tim 4:15.
 
Dene Ward

Beethoven is considered by most music historians a transition composer.  Born in 1770 at the height of the Classical Era, he began composing during a time when the rules were everything.  All forms of art were about balance and order.  The Classical Sonata had a definite form, as did the symphonies of the time.  Beethoven's earlier works followed those rules.  It was obvious to many that he was a budding genius—in spite of keeping rules.

In the early 19th century the rules began to lose their luster.  Artists, composers and other creative people began to bend them and as time went on, completely break them.  By the late 1800s, the Romantic Era was in full bloom.  For Beethoven it came a little earlier.  He died in 1827, but by 1801 he had written the Sonata in C# Minor—known to most as the Moonlight Sonata—as far removed from pure sonata-allegro form as one got in those days.  Some people didn't know whether to applaud or not. 

But breaking the rules of an artistic movement did not mean he no longer respected that previous era.  It didn't mean he didn't know the rules.  As one of my astute nieces pointed out to me—you have to know them to break them. 

Beethoven had his first lesson with Franz Josef Haydn on December 12, 1792.  Haydn had been making an excellent living writing music, usually on demand, in the Classical forms.  The number of compositions he wrote is staggering:  108 symphonies, 68 string quartets, 32 divertimenti, 126 trios for baryton, viola, and cello, 29 trios for piano, violin, and cello, 21 trios for 2 violins and viola, 47 piano sonatas, 20 operas, 14 masses, 6 oratorios, and 2 celli concerti.  How can anyone say this man was not a successful and talented musician just because he followed the rules?  His piano sonatas are, in fact, some of my favorite to play.  They are often just plain fun.

Beethoven, even though his heart eventually followed closer to Romantic ideals of art and music, still respected his teacher.  He asked his opinion on his works, especially his late trios.  Haydn's opinion mattered to him, even though, irascible as he was, he didn't take well to any criticism.  Even after a less than enthusiastic review for one set, Beethoven still dedicated his next set of piano sonatas to his old mentor.  He considered Haydn an equal to Mozart and Bach, and attended his funeral in 1809. 

Contrast that to artists, writers, and musicians today who look down on anyone who thinks that principles of proportion and contrast, grammar and punctuation, or harmony and melody will stunt their creativity. Mozart, who followed the rules of the Classical Era religiously, still wrote some of the most creative, beautiful, and intellectually stimulating music ever composed.  A Mozart Andante will take your breath away.  His Rondos will leave you chuckling.  If you think that principles stunt your artistic creativity, maybe you don't have as much of it as you think you do.

As in the arts, people try to get creative with their religious observances.  Rules don't matter; authority doesn't matter; patterns don't matter; all that matters to God is me pouring out my heart in whatever way suits me best. 

That statement has one immediate problem that ought to be obvious to anyone:  "whatever suits me."  I thought we were talking about worshipping God.  Sounds more like we are talking about God worshipping me. 

"There are no rules," someone else wants to say.  I can find in at least five places in the New Testament words similar to "as we teach in every church."  Evidently there were some things they were expected to do in the same manner everywhere, even as far back as the first century.

I can find the Greek word often translated "pattern" 15 times in the New Testament, referring to everything from the pattern of baptism to the pattern of living a godly life.  If one is binding so are the others.  Even the Pharisees recognized the need for religious authority (Matt 20) and Jesus used that recognition to prove yet more about his authority.  And finally, right before his ascension he reminded his disciples who has the authority to tell them where to go and what to teach and how to live.  Deny it at your own risk.

If you think rules stifle your service to God, you have a hard lesson coming someday.  Anyone can joyfully do what he wants to do.  Only a loyal servant can do what the Master wants him to do with the same passion, the passion He deserves.
 
And whatever you do, in word or in deed, do everything in the name of [by the authority of] the Lord Jesus, giving thanks to God the Father through Him. (Col 3:17)
 
Dene Ward

Actually, this should probably be Conducting 101, but let’s stretch a point this morning.  Meanwhile you are sitting there wondering what in the world an ictus is and why you should care.

              The ictus is the point in the conductor’s pattern where the actual beat occurs.  If you are tapping your toes to the music, the ictus occurs when your foot hits the ground.

              My conducting professor would have a cow if he saw most of the conducting patterns we see on Sunday mornings.  Not because they are “incorrect,” but because the ictus usually occurs up around the song leader’s ear, when it should be at his waist.  But few of my brethren are professional musicians, so who cares where the ictus is, as long as there is one? 

              That ictus, that stable underlying pulse, must be visible and steady so that we know when to sing.  What drives me crazy is when a leader just waves his arm on each word, rather than each beat, and expects us to read his mind about when the next one is coming.  Give me an ictus!  Even if you begin an accelerando (gradually speeding up) or a ritardando (gradually slowing down), we can still anticipate when a beat is coming and stay together as long as there is an ictus in your pattern.  If you’re just beating words instead of beats, who knows when it will come?

              Of course, the group has to be watching the leader for any of it to work at all.  Funny how the ones who recite, “Let all things be done decently and in order,” will sing what they want when they want, regardless what the leader is doing, and do it loudly enough that they take half the congregation with them.  But don’t get me started…

              God is the ictus in a Christian’s life.  [The Lord] is the stability in your times, Isaiah said, 33:6.  That word is the same word translated “faithfulness” in many other passages.  God’s faithfulness endures forever, Psa 117:2.

              Interestingly enough, it is also the word “steady” in Ex 17:12.  Moses lifted up his hands as the people fought the Amalekites, but as his strength failed and they sagged, Aaron and Hur sat him on a rock and held his hands “steady” for him until the battle was over.  God holds his hands steadily on high as we fight our battles.  That is how we defeat Satan and overcome sin.  It’s how we handle trials and tribulations—with the steady helping hand of a God who never wavers. 

              Even if you aren’t a trained musician you can feel the beat.  That’s why your toes tap and your hands clap.  It’s why your head bounces when you hear a tune you enjoy, but none of it matters if you aren’t watching the leader.

              God doesn’t leave you wondering when the next beat will come.  Look for the ictus as He leads you.  Sometimes it may slow as the toils of life bog you down, but it will not leave you behind fending for yourself.  Sometimes it may speed up as you run from the Enemy, but it is always there for the ones who care to watch and be led. 

              I often listen to music when I exercise.  I find I can go longer and do more than just counting repetitions.  If you are in a particularly difficult time of life, let God’s ictus help you put one step in front of the other, again and again and again, until you have finally reached the end of the trial.  Let it help you keep moving until you achieve the final goal.  God’s steady, stable, faithful hand will lead you on, until you sing that final triumphant note in the song of life.
 
 I will sing of the steadfast love of the LORD, forever; with my mouth I will make known your faithfulness to all generations. For I said, "Steadfast love will be built up forever; in the heavens you will establish your faithfulness." Psa 89:1-2.
 
Dene Ward
 

When I was teaching piano and voice, my students often participated in an evaluation day at the university with judges rating their performances—superior, excellent, very good, good, and fair.  When I was a child I participated in the same event and the words given as ratings were exactly what they said they were.  Even a “very good” was very good. 
 
             By the time my students participated we were well into the philosophy of promoting self-esteem by never telling a child he was wrong about anything.  The vast majority of the 1000 entrants received a superior, which simply meant he didn’t play or sing more than a few wrong notes.  It had nothing to do with his musicianship or his artistry.  If a judge handed out more excellents than superiors, he was taken aside and enlightened.  As a result only a small handful of “very goods” ever hit the rating sheet, and news of a “good” spread like the plague, with exactly the same reception.  Everyone knew that a “very good” wasn’t, and a “good” was just plain awful.  Judges were actually forbidden to even look at the “fair” rating, much less circle it.

              That may be why “good” means little to us these days.  It is probably why we just read right over it when Luke calls Joseph of Arimathea and Barnabas “good” men.  Luke did not use that term lightly; those were the only two times I found that particular Greek word used of a man. 

              So can we ever hope to become so good that term can be used of us, the same term that Jesus used of God?  Only if, like God, that goodness becomes an intrinsic part of us, a goodness that exists no matter what happens on the outside, no matter what anyone else says or does. 

              Jesus seemed to expect it.  You brood of vipers! How can you speak good, when you are evil? For out of the abundance of the heart the mouth speaks. The good person out of his good treasure brings forth good, and the evil person out of his evil treasure brings forth evil. Matthew 12:34-35.  There is the word, agathos.  A good person can only do good things if his heart is good, so if I am not doing them, something in my heart needs to be changed.

              “But that’s just not who I am,” won’t cut it with the Lord.  He expects us to change who we are.  He expects us to turn that evil heart into a good one, one that is good the way God is good, simply by its nature.  But love your enemies, and do good, and lend, expecting nothing in return, and your reward will be great, and you will be sons of the Most High, for he is kind to the ungrateful and the evil. Luke 6:35.  There it is again, that same word, or a compound of it in this case, a “do-gooder.”  If you want to be a child of God, that’s what you have to be.

              Jesus makes it even plainer a little later.  Becoming “good” is not an option. It is not something we can do on the outside, while harboring a heart of evil or malice towards others.  It is not something we can do by rote without compassion.  It is the thing that will determine our destiny.  Well done, good and faithful servant.  Enter into the joy of your lord, Matt 25:21. 

              “Good” is a very special word in the Bible.  It isn’t passed out profligately so we can keep our self-esteem intact.  It isn’t bandied about simply because of good deeds or loud hallelujahs.  It is a quality so deep that if one ceases to exist in this life, so does that much goodness in the world.  “Only one is Good,” Jesus said, in the absolute sense.  That doesn’t mean he doesn’t expect us to become good as much as is humanly, with a little help from God, possible.
 
And let us not grow weary of well doing, for in due season we will reap, if we do not give up. So then, as we have opportunity, let us do good to everyone, and especially to those who are of the household of faith. Galatians 6:9-10
 
Dene Ward

Part 18 in a continuing series.  See the right sidebar and click on "Music" for others in this study.

Tuesday, afternoon,
I'm just beginning to see,
Now I'm on my way,
It doesn't matter to me,
Chasing the clouds away.

Something, calls to me,
The trees are drawing me near,
I've got to find out why
Those gentle voices I hear
Explain it all with a sigh.

I'm looking at myself, reflections of my mind,
It's just the kind of day to leave myself behind,
So gently swaying thru the fairy-land of love,
If you'll just come with me and see the beauty of

Tuesday afternoon.
Tuesday afternoon.

Tuesday, afternoon,
I'm just beginning to see,
Now I'm on my way,
It doesn't matter to me,
Chasing the clouds away.

Something, calls to me,
The trees are drawing me near,
I've got to find out why
Those gentle voices I hear
Explain it all with a sigh.

"The Afternoon:  Forever Afternoon" (also known as "Tuesday Afternoon")
 
              Many years ago, the Moody Blues was one of our favorite bands.  When the televised version of the Red Rock concert came on, we watched every minute of it and then bought the cassette.  (That's how we listened to recordings in those "olden" days.)  Keith had begun losing his hearing when he was in the service and was already in hearing aids at 27, so "listening" to music was difficult.  He asked me to please get him the lyrics and I did—every lyric for every song on the recording.

              As pleased as punch, he sat down and read through them.  He grew quieter and quieter as he read.  Finally he said, "I wish I did not have these lyrics.  They mean absolutely nothing, and now I don't like the music nearly as much."

              One set of those lyrics, and one of the best as I recall, opens this post.  If you haven't yet, scroll up and read them.  If you can tell me what it means, you are better than I.  Basically it's a bunch of pretentious nonsense, cotton candy fluff masquerading as "deep" thought. 

              That made me think and I began to experiment with our hymns.  Read them—don't sing them—as poetry and see what they actually say.  If necessary to keep the tune from cropping up in your mind, read them aloud.  Suddenly the hymn will become either one of your favorites or one you can easily do without.  The tune and the rhythm won't matter.

              New or old really has nothing to do with it.  Granted, the older hymns have already had a couple hundred years of culling out and as a result they may have the advantage here.  But you will still find one or two that make you feel like all you have been singing all these years is "Doo-wah-diddy-diddy-dum-diddy-doo" as far as their spiritual value goes. 

            Another caveat:  save the chorus for last, don't read it over and over.  That waters down the punch of the verses.  That does not mean you should never sing the refrain more than once.  Several of the Psalms have refrains in them, Psalm 80 for instance, which repeats its refrain three times.  Obviously the Holy Spirit meant them to be read more than once—they repeat the theme.  But for this test, you need to avoid the repetition and see what's left.  Sometimes you discover that you are doing a whole lot of singing for practically nothing of worth. 

              So why do this test?  Because suddenly you will understand that it isn't the spirituality of the hymn you like, it's the rhythm or the melody or the harmony, something that did not come along until a couple of millennia after the Psalms, by the way, and early on in only rudimentary form.  And then, I hope, you will remember what our singing is supposed to be about.  "Teaching and admonishing," (Col 3:16); edifying (1 Cor 14:15-26); "a sacrifice of praise" (Heb 13:15).  If the song does not do one or more of those things, does it really need to be sung?
 
Psalm 34  A Psalm of David:  Come O children, listen to me; I will teach you the fear of the Lord, Psa 34:11.
 
Dene Ward

When I was teaching piano and voice, besides my own annual Spring Program and Awards Ceremony, my students sometimes participated in as many as seven joint recitals a year, programs featuring the students of several teachers at once. 

              Sometimes the students were chosen according to their age—the Young Performer’s Recital was strictly for talented beginners.  It was their chance to shine rather than being lost among a studio’s advanced students.  Sometimes it was all about their music—the Parade of American Music featured students playing or singing the music of American composers.  If his best piece that year was Mozart’s Rondo in D, that particular student was ineligible.

              Sometimes a panel of judges chose the students based on their performances in a recent competition.  The year we had five chosen for the Student Day Honors Recital was a banner year for us.  To have one or two chosen from a group of over two hundred students from a dozen studios was a good showing.  Five was almost unheard of.

              At the receptions after these events, we teachers always enjoyed basking in our students’ successes.  We mined each other for teaching strategies and resources.  The experience exposed us to more crowd-pleasing music we could use with our own students, and our students to teachable moments we could discuss at the next lesson.  They could see for themselves why I insisted on such picky things as not taking your fanny off the seat until your hands left the keys when a student from another studio stood up without doing so, looking as if someone had glued her fingers to the ivory.  They could hear why long fingernails were verboten when it sounded like someone was trying to tap dance to Debussy and Haydn.  It also worked wonders for parental attitudes—suddenly they appreciated things they had before viewed as silly.

              My favorite moments after these recitals came when people approached me with these words:  “I can always tell which ones are yours.”  It wasn’t because they played or sang particularly well—every student at these recitals did that—but not every student performed well.  We spent hours on things like how to approach or leave the piano, how to hold a pose over a final note, what to do in a memory lapse, how a singer should hold the mood until the accompaniment stops, and especially how to bow.  It’s one thing to know your piece; it’s another to be able to present a polished performance of it to an audience.

              Sometimes I imagine God as the teacher watching our performances.  He knows we can do it.  He gave His Son to show us how.  …because Christ also suffered for you, leaving you an example that you might follow in his steps, 1 Pet 2:21.  I don’t think it is out of line to think of the angels saying to Him, “I can always tell which ones are yours.”  Isn’t that the picture we get in Job 1?  Perhaps not literally, but in essence if nothing else. 

              If life is one big recital, we should learn from the performances of others—what to do, what not to do, why some of the picky things we have always heard are important after all.  We should learn from our own mistakes as well—why do I always miss the same note?!  Your daily practice should take of that.

              God is in the audience, along with all those celestial beings we read about.  As a proprietary teacher myself, I can easily imagine that He wants to hear from them, “I can always tell which ones are yours.”
 
By this it is evident who are the children of God, and who are the children of the devil: whoever does not practice righteousness is not of God, nor is the one who does not love his brother. 1 John 3:10
 
Dene Ward