Archives For Music

Recientemente, escribí un nuevo himno para los niños! Que Dios usarlo en gran medida para su gloria.

Padre quiero amarte

Padre, quiero amarte, sólo tú eres Dios.
Sólo tú eres digno de mi devoción.
Padre, cómo quiero ser más como Tú.
Por tu gracia me das esta bendición.

Padre, quiero amarte por tu gran bondad.
Sólo tú mereces mi adoración.
Padre, cómo quiero ser más como Tú.
Por amor a Ti escucha mi oración.

Padre, quiero amarte y agradarte a Ti.
Sólo tú mereces mi veneración.
Padre, cómo quiero ser más como Tú.
Por favor concede esta petición.

© 2014 Rajesh Gandhi. Derechos reservados.

You may use this song in a ministry context provided you do not change any of the words and you provide copyright information to anyone whom you distribute it to. Please contact me for any other use of the song.


Escuchar la melodía de este himno:

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

In his first message about music and public worship, Pastor Mark Minnick this morning addressed the key question, “What is the role of music in public worship?” He based his treatment of this crucial question on two key New Testament passages: Ephesians 5:18-20 and Colossians 3:16.

In treating these passages, he remarked,

Both passages direct us to sing psalms, which directs us back to the Old Testament. We must be careful of thinking about our subject not to make a great distinction between the Old Testament and the New Testament.

He then took us through First Chronicles 25:1-7 to establish that those who directed the worship in the Temple prophesied through the music. Based on this data, he developed six key aspects that this passage teaches us about the role of music in public worship:

1. They were prophesying instrumentally

2. They were prophesying chorally, that is, through singing with musical accompaniment

3. Those who prophesied had a high level of musicianship

4. The prophesying was done in large numbers

5. All of the prophesying was done under the direction of mature spiritual leadership

6. Giving thanks and praising the Lord comprised the content of this prophesying

I highly commend this message to you as one of the finest treatments of this subject that I have ever heard. By listening to this message here, you will avail yourself with profoundly valuable biblical truth about the role of music in public worship!

 

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

I have been closely following another lengthy online discussion about CCM. One participant in this discussion recently asserted that Psalm 40 justifies using CCM to evangelize lost people. He wrote,

The “new song” which God puts in our hearts may very well change with each generation. You have no right to determine subjectively what that means. You certainly have the right to hold to your position on music as preference, but if God has given us a “new song” which “many will see and fear, and put their trust in the Lord,” it destroys one of the key IFB arguments against CCM–“Music is never used for evangelism, only for edification.” With each generation, God has given a new song to communicate His truth to this generation. The style may not speak to the spirit of my heart, but it will speak to the heart of someone else who needs the message of the Gospel. I have no right to put God into a box and tell him He cannot use a certain style of music.[1]

A close look at two key aspects of the beginning verses of Psalm 40 shows why this argument is erroneous.[2]

The Identity of the Person Giving Testimony in Psalm 40:1-3

Psalm 40 begins with the following testimony:

Psa 40:1 <To the chief Musician, A Psalm of David.> I waited patiently for the LORD; and he inclined unto me, and heard my cry.

2 He brought me up also out of an horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings.

3 And he hath put a new song in my mouth, even praise unto our God: many shall see it, and fear, and shall trust in the LORD.

From these verses, we know for certain that king David is the one who is giving this testimony.

Is this, then, an evangelistic testimony of how he became a true believer in the Lord or is it something other than that? Answering this question properly requires that we closely examine the precise nature of his testimony in these statements.

The Nature of the Testimony Given in Psalm 40:1-3

David begins by declaring, “I waited patiently for the Lord” (Ps. 40:1a). He then affirms how the Lord inclined Himself to David and heard his prayer (Ps. 40:1b-c).

Scripture never affirms that any unbeliever waits patiently for the Lord; in fact, they have turned away from Him and do not on their own want anything to do with Him (Cf. Rom. 3:10-18). The opening statement in Psalm 40, therefore, makes plain that this is not an evangelistic testimony that David gave about how he was saved—David is testifying of what he did as a true believer in the Lord and of the Lord’s response to him!

Not only is verse one therefore not an evangelistic testimony but also verses two and three therefore are also not verses relating David’s giving an evangelistic testimony; rather, they are his testimony as a believer of how God delivered him out of dire straits and filled his heart with a new song of grateful praise for His delivering him as a believer. This analysis shows that the reference to a “new song” in Psalm 40:3 does not have anything to do with giving lost people the gospel in song so that they will come to be true believers in the Lord.

Conclusion

Contrary to the confident assertions cited at the beginning of this post, the teaching about the “new song” in Psalm 40 does not provide any evidence that “destroys one of the key IFB arguments against CCM—‘Music is never used for evangelism, only for edification.’” A sound handling of Psalm 40:1-3 shows that it does not have anything to do with evangelizing lost people using a new song.

Psalm 40:1-3 does not justify using CCM to evangelize lost people. Those who believe that it is legitimate to use CCM to give the gospel to lost people cannot use this passage legitimately to support their view.


[1] Comment posted on October 14 at 10:08pm in the discussion, “The Sacred Cow” of CCM! 2-Part Discussion Question:”; https://www.facebook.com/groups/319245621580408/permalink/331652423673061/

[2] I am indebted to my pastor, Dr. Mark Minnick, for how his treatment of this passage in a message helped greatly to provide me with this proper understanding of the true nature of the testimony given in Psalm 40:1-3.

For more help with issues concerning CCM, please see the resources that I provide here.

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

“Ode to Joy” is a beautiful tune that is easy to play. I often use it early on when I teach people to play the guitar.

This PDF provides the fret numbers and solfeggio notes (in my number format) to play the melody of this song on any string of the guitar. By practicing this classic tune on each string, you will become much better acquainted with many of the notes on the finger board!

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

This evening, I read all 437 posts in another lengthy online discussion about CCM: “The Sacred Cow” of CCM! 2-Part Discussion Question.” I did so because I want to understand as much as I can about how people who support CCM think and argue for its propriety.

Although there are many things that I read that I would like to interact with, I just do not have the time or inclination at present to become part of this discussion. If you are interested in this subject, you might consider browsing through the posts here.

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

For many years, I have prayed that God would give me opportunities to use the guitar for ministry in ways that would glorify Him. As part of His answers to my prayers, I had the opportunity today to use my guitar to accompany people in two ministries at my church!

Including the opportunities that I had today, I have used my guitar to minister in four different ministries at my church in the past two years:

1. Instrumental openers and offertories as well as accompanying people who sang specials for our regular Sunday morning and evening services;

2. Instrumental specials and accompanying people who sang specials for our Spanish ministry;

3. Instrumental specials and accompanying people who sang specials for our Neighborhood Class ministry; and,

4. Accompanying singing for our Released Time ministry—a ministry for children from a local elementary school.

I have also been able to minister with my guitar in various services at two local Spanish churches. Beyond my playing for some services at these churches, I have also had the opportunity to teach various guitar-for- ministry classes at these two churches.

The Lord has also answered my prayers by allowing me to create three new accompaniment styles for playing the guitar that I have not heard anyone else use before. Moreover, He has allowed me to develop a new approach to learning and playing the guitar that I have successfully taught to the students that I have had for the past several years.

In answer to my prayers, I have also originated several highly effective approaches to using the guitar to play music at an advanced level. It has been quite encouraging to have several students successfully learn some of these techniques.

Lord willing, I hope to publish several guitar method books in the future that will allow many other people to benefit much from what God has entrusted to me in answer to my many prayers about using the guitar for ministry. May He see fit to advance His kingdom and righteousness greatly through using these resources for His eternal glory.

 

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

“Aura Lee” is a beautiful song that is easy to play. This PDF provides the melody and chords for this song in the key of C. Because the song has only 5 chords (C, Dm, G7, E, Am), it is a good song to use to master basic chord changes between these basic chords.

You can practice playing the melody and the chords along with the audio of the song:

 

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

Many guitarists learn to play the guitar only in first position (open strings and the notes on the first four frets). Learning to play in other positions, a guitarist benefits himself in a number of ways.

Closer Fret Spacing in Higher Positions

Playing in higher positions, such as fifth position or ninth position, is easier because the space between frets is closer in higher positions. For example, on my classical guitar, frets 1 and 2 are 1 1/4 inches apart; frets 6 and 7 are 1 inch apart; and, frets 9 and 10 are 13/16 of an inch apart.???????????????????????????????

The closer spacing in higher positions makes learning to play the guitar easier in those positions because even a guitarist with relatively short fingers is able to cover more frets in those positions without having to move his hand. What’s more, various fingerings of multiple notes played at the same time are very hard (or even impossible) in first position, but they are often much easier in higher positions.

Variety of Timbres for the Same Note

Playing only in first position, a guitarist limits himself to playing a given note on only one string. By learning to play the same note on multiple strings, he is able to play that note with several different timbres.

For example, the open string E on the first string can also be played at the 5th fret of the second string, the 9th fret of the 3rd string, and the 14th fret of the fourth string. Although the pitch remains the same, the timbre of the E played varies widely from the fourth string to the first string.

Knowing the different timbres available on the guitar, a guitarist can create striking variations for playing the same melodies and chords of songs. Using this technique, a guitarist can accompany singers or other instrumentalists with an appealingly different texture of his accompaniment for each stanza of a song.

Playing in Certain Keys is Much Easier in Certain Positions

Advanced guitarists who take the time to learn where all the notes are on the fretboard discover that playing in certain positions makes playing the melody of a song much easier than it is in other positions. For example, seventh position is excellent for playing many songs in the keys of C, G, and D that are more challenging to play in lower positions.

Playing in Multiple Keys and Transposing Using a Movable Major Scale

By learning to play a movable major scale that spans two octaves, a guitarist who knows his positions well can play the same melody in multiple keys. This skill is especially valuable for songs that feature modulations in them.

What’s more, many songbooks have music in flat keys that are difficult for many guitarists to play because they do not take the time to learn to play songs in flat keys. By understanding how to use a movable major scale in different positions, advanced guitarists are able to play these songs both in these keys and in other keys by transposing them.

Chord Melody Solos

Playing a song in chord melody style provides a guitarist with a vital skill that increases his playing ability greatly. A guitarist can play both the chords and the melody of a song at the same time by using this style!

For example, listen to My Country ‘Tis of Thee played as a chord melody solo. Because this song is in 3/4, the guitarist plays a chord on beat 1 of every measure while playing the melody throughout:

Knowing where the notes are in multiple positions is essential for playing this style. Learning various chord shapes also makes learning the short chords that are the heart of this style much easier.

Conclusion

Learning to play in multiple positions on the guitar is valuable for many reasons. I have been teaching myself this skill for some time now and have found it to be very helpful in enriching my guitar playing!

I am also in the process of teaching a number of my students these advanced techniques. It is rewarding to see the progress that they are making!

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

“Walking Through the Flames” is a powerful song that glorifies God through both its lyrics and music. After receiving permission from The Wilds Christian Association, Inc., my friend Dr. Yuriy Leonovich and I recently recorded this guitar-cello duet of the song.

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.

Using only the refrain of the song, “A Child of the King,” I have made a new simple song for teaching children many profound truths from Scripture about who they are.

A Child of the King

I’m a child of the King, a child of the King!
With Jesus, my Savior, I’m a child of the King.

I’m a sheep in God’s flock, a sheep in God’s flock!
With Christ as my Shepherd, I’m a sheep in God’s flock.

I’m a priest of our God, a priest of our God!
Through Jesus, God’s Servant, I’m a priest of our God.

I’m a saint of our Lord, a saint of our Lord!
Through Christ, my Redeemer, I’m a saint of our Lord.

I’m a member of Christ, a member of Christ!
Through faith in His rising, I’m a member of Christ.

I’m the temple of God, the temple of God!
Through God’s Holy Spirit, I’m the temple of God.

Copyright © 2014 by Rajesh Gandhi. All rights reserved.

You may use this song in a ministry context provided you do not change any of the words and you provide copyright information to anyone whom you distribute it. Please contact me for any other use of the song.

This PDF provides the melody notes, guitar chords (key of D), and lyrics for the six stanzas of the song. Here’s how the melody sounds:

Copyright © 2011-2025 by Rajesh Gandhi. All rights reserved.