Music | A People for His Name

Guitar Music and Audio for "Abide with Me"

July 3, 2013

Abide with Me is a classic hymn that is easy to play on the guitar because it has only seven different melody notes. This PDF provides the melody notes, chords, chord diagrams, and the first stanza of the hymn.

This PDF also provides a new feature that makes playing the melody simple: circled numbers above each note that tell you exactly where to play each note! All notes are played on the fret of first string matching the circled number except for the notes with circled numbers 2.1 and 2.3, which are played on the first and third frets of the second string, respectively.

Here is an audio mp3 of the melody of the song. You can play along with the audio to learn the melody. You can also practice strumming the chords as the accompaniment to the song while the melody is being played!

In Guitar Music

Praise Ye Our Father

June 18, 2013

Praise Ye Our Father is a simple song that I wrote today for my guitar students. Even though it is easy to play, it has a profound message!

It is in the key of G and only uses four chords (G, D7, Em, and B7). Here are a PDF (notes for the melody, chords, and chord diagrams) and an audio mp3 of the melody of the song.

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.

In Guitar Music, Music

Short Chords and Chord Shapes

June 12, 2013

Learning the shape of short chords is an important guitar skill because they are useful for playing slash chords (for example, Bb/D) and for playing chord melody solos. Short chords are played on only three strings instead of full chords that use four, five, or six strings.

To start learning short chords, a beginning guitarist should focus on treble-string short chords. Short Chords and Chord Shapes is a handout that presents the basic major and minor chord shapes for these chords.

1. Study the rows in the handout one row at a time to learn these basic shapes that are formed by connecting from right to left the three dots that show the notes in each chord.

Treble-string short chords (Major chords):

(Row 1) Root on 3rd string – checkmark

(Row 2) Root on 2nd string – arrow pointing down

(Row 3) Root on 1st string – up ramp to right

Treble-string short chords (Minor chords):

(Row 4) Root on 3rd string – diagonal right

(Row 5) Root on 2nd string – arrow pointing left

(Row 6) Root on 1st string – line

2. Use the blank chord diagram grids to draw and label three additional chord diagrams for each row.

In Guitar Music

Is Scripture Silent about Musical Styles That Are Inherently Unacceptable to God?

June 10, 2013

Many believers today hold that Scripture does not have any teaching about musical styles that are inherently unacceptable to God. This post treats several passages to assess the validity of this common viewpoint.

The Singing of Fools

Solomon declares, “It is better to hear the rebuke of the wise, than for a man to hear the song of fools [Heb. kesil]” (Eccl. 7:5). Many will argue that he does not say that it is wrong to hear the song of fools; it is just better to hear the rebuke of the wise. In addition, they will also argue that “the song of fools” refers to the foolishness of the people doing the singing and the content of what they sing, but it does not say anything about the style with which they sing.

We know from other Scripture that these fools [Heb. kesil] reject the truth that God hears and sees (Ps. 94:8-9). Thus, they sing without taking any heed to divine accountability for what and how they sing.

These fools hate knowledge (Prov. 1:22) and reject the reproof of God and His offer to pour out His Spirit upon them (Prov. 1:23). What they sing, therefore, certainly is not the product of the Spirit’s filling.

Doing mischief is like a sport to them (Prov. 10:23) and their hearts proclaim folly (Prov. 12:23). To depart from evil is an abomination to them (Prov. 13:19).

These fools rage and are confident in their evil ways (Prov. 14:16). The hearts of these fools are in “the house of mirth” (Eccl. 7:4), signifying that they are eager seekers of pleasure. We can be certain that such fools would pursue and employ perverse ways of singing and even seek to devise conspicuously evil music.

Based on the teaching of Scripture about fools, we can be certain that “the song of fools” is something that the Spirit would never produce in people whom He fills (Eph. 5:18-19). Any singing, therefore, that mimics or tries to adapt “the song of fools” somehow for Christian worship would clearly be unacceptable to God.

The Singing of Drunkards

David testifies that he was “the song of the drunkards” (Ps. 69:12). As with Ecclesiastes 7:5, some people will argue that this statement only speaks about those who did the singing and the unacceptable content of what they sang and not about the style of their singing.

Because being drunk, however, entails not having proper mental awareness and a lack of proper control of oneself, this statement does not just refer to the unacceptability of the people who sang and what they sang. Their style of singing was also unacceptable because it was produced by people whose minds could not properly control their bodies to sing acceptably.

Amos 6:4-8 records the musical improprieties of people who were in Zion who drank wine abundantly. Correlating Psalm 69:12 with Amos 6:4-8 points to the ungodliness of both what these drunkards (Ps. 69:12) sing and how they sing it. (For more on the teaching of Amos 6 about music, see The Relevance of Amos 6 for the Music Debates of Our Day.)

Obviously, “the song of the drunkards” was not the product of Spirit-filling (Eph. 5:18-19). Mimicking or adapting their style to Christian worship certainly would be unacceptable to God.

The Singing of a Harlot

Isaiah prophesied that Tyre would “sing as an harlot” (Is. 23:15). He provides further information about such singing by saying, “Take an harp, go about the city, thou harlot that hast been forgotten; make sweet melody, sing many songs, that thou mayest be remembered” (Is. 23:16).

A harlot, by biblical definition, engaged in immoral behavior. In keeping with the mercenary goal of her activities, she used every means possible to enhance her sensuality and seductive appeal to maximize her earnings (cf. Luke 15:13, 30).

To “sing as an harlot,” therefore, cannot be limited only to the identity of the woman and the sensuality of the lyrics (cf. Prov. 6:24; 7:21) that she sings. It necessarily entails as well the maximized sensuality of her dress (Prov. 7:10; Jer. 4:30; Ezek. 16:16) and her makeup/ jewelry/hairstyle/ facial expressions (Prov. 6:25; 7:13; Jer. 4:30; Ezek. 16:39; 23:40; cf. Is. 3:16-26).

Moreover, her bodily movements (cf. the unstated but clear sensuality of the dancing of Herodias’ daughter [Matt. 14:6-7]) and vocal techniques were specifically designed to maximize her sexual appeal (for an example of the sensual use of vocal techniques, listen to this audio of a woman who sings Happy Birthday sensually).

It also involved her playing a musical instrument (“take a harp”) and having an extensive repertoire (“sing many songs”). She was one who in fact was skilled “to make sweet melody.”

Thus, her singing was skillful and beautiful to hear, but it was also sensual to the core. Such music patently could never be the product of the Spirit’s filling a believer.

From this analysis of biblical teaching about harlots, we certainly can conclude that to “sing as an harlot” is a style that is unacceptable to God because of its sensuality. Any Christian music, whether traditional or CCM, that has even the slightest similarity to the music produced by those who “sing as an harlot” is unacceptable to God.

Conclusion

Contrary to much popular thinking among believers today, Scripture is not silent about musical styles that are unacceptable to God. The Spirit-filled music that God demands from believers who seek to worship Him corporately does not have any likeness to the songs of fools, drunkards, or harlots.

Those who have created and popularized worldly styles of music such as rock ‘n’ roll display numerous characteristics of the fools whose song Scripture refers to (Eccl. 7:5). Typically, the producers of these worldly styles are also given to drunkenness, and immorality abounds among them.

Christian churches should not imitate the musical styles that any such fools, drunkards, and harlots employ when they sing in ways that manifest the flesh at work in man (Gal. 5:19-21). Filled with the Holy Spirit (Eph. 5:18), those who have allowed the word of Christ to dwell in them richly (Col. 3:16), including the passages about music that were treated above, will sing in a style that is distinct from these reprobates and is acceptable to God (Eph. 5:19; Col. 3:16).

In CCM, Exposition, Music, Theology

Beware What You Expose Your Children To . . . !

May 29, 2013

Highly trained people know how to use music to enhance the effectiveness of violent scenes so that they influence others to the ends that they desire:

Aggressive behavior is more likely to occur when the violence is seen as part of highly exciting content (Tannenbaum and Zillmann 1975; Zillmann 1971).

Close-up shots, camera angles, and sophisticated film editing techniques can make violence even more graphic and larger than life. A steady undercurrent of music and sound effects also adds to the horror of many violent scenes. These techniques amplify fear in small children. Small children simply cannot comprehend that in real life, music rarely underscores an about-to-be-committed murder. The violent acts are often portrayed using these techniques so that the violent action becomes something of a climax. It’s an end result that brings with it a release of tension, and in that the act becomes a good thing because it relaxes the tone of the movie and the muscles of the viewer! It also releases the anxiety or suspense that has been built up in the viewer’s mind. In the real world, a child is more likely to exhibit aggressive behavior and to commit an act of violence to experience that same release of pent-up emotions. —Saturday Morning Mind Control, 57

These highly skilled people use music in such settings to manipulate young children who are defenseless against such manipulation. Beware what you expose your children to because they do not have the same abilities that you have to process highly emotionally charged situations that use music in this way!

In Discipleship, Music, Quotes

On Supernatural Evil Beings and the CCM Debate

May 27, 2013

Based on what Scripture teaches about the deceitfulness of Satan and his blinding the minds of all unbelievers (2 Cor. 4:4; 11:14; Rev. 12:9), it is understandable to me that an unbeliever would mock any suggestion that supernatural evil beings have had important influence in the origins of certain musical styles. For a likely example of such unbelieving mocking, note the response by one of the judges at the end of this brief video excerpt from an episode of American Idol: “and demons, [laugh, laugh, laugh, laugh].”

It is puzzling to me, however, when someone who is presumably a believer appears to hold a similar perspective. For example, in a recent Christianity Today article, Dr. Russell Moore, who is the Dean of the School of Theology at Southern Baptist Seminary, writes, “Myers’ critique of Christian hip-hop wasn’t a fundamentalist scold, wary of the Devil’s music” (Dr. Russell Moore, W.W. Jay-Z?, http://www.christianitytoday.com/ct/2013/may/ww-jay-z.html?paging=off; accessed 5/27/13; bold added). Because he does not say anything further about the subject in his article, we can only infer that Dr. Moore apparently thinks that fundamentalists are erroneously “wary” of what they mistakenly regard as “the Devil’s music.”

How is it possible for a learned believer (presumably) to hold such a view of the Devil’s influence on human music? Although I have some ideas about why he might hold such a view, I’d be interested to hear what others think about this subject.

For an introductory article that explains my view about this subject, see my post Fallen Spirits and Their Influences on Human Music—Part I

In CCM, Music, Theology

Guitar Music for "Holy Is the Lord"

May 25, 2013

Holy Is the Lord by Charles H. Davis and Franz Schubert is a good intermediate level guitar song. This PDF provides the melody notes, first stanza, chords, and chord diagrams for the song in the key of D.

Here is an audio mp3 of the song.

In Guitar Music

"Un Santo del Rey"

May 21, 2013

Un Santo del Rey is my latest Spanish song! Sung to the tune of A Child of the King, this song highlights that I as a believer am a saint of the King spoken of in a glorious heavenly song:

“And they sing the song of Moses the servant of God, and the song of the Lamb, saying, Great and marvellous are thy works, Lord God Almighty; just and true are thy ways, thou King of saints.” (Rev. 15:3)

“Y cantan el cántico de Moisés siervo de Dios, y el cántico del Cordero, diciendo: Grandes y maravillosas son tus obras, Señor Dios Todopoderoso; justos y verdaderos son tus caminos, Rey de los santos.” (Apocalipsis 15:3)

The song is in the key of D and uses only basic chords in the key of D. This PDF provides the lyrics, melody notes, chords, and chord diagrams for the song.

Here is the audio for this song: Un Santo del Rey

In Guitar Music, Spanish

What the Sufficiency of Scripture Does Not Mean Concerning the CCM Debate

May 20, 2013

Second Timothy 3:15-17 definitively asserts the sufficiency of Scripture. Applying that teaching to the CCM debate, some argue that there must be a direct reference to things such as specific music styles in order for us to speak definitively about the propriety of their use in Christian worship.

Several passages show us that this is a mistaken approach to the CCM debate:

1. Psalm 19 teaches us that God is continuously infallibly communicating moral truth to all people without the use of any words and regardless of whether they ever hear any Scripture or not. Especially in connection with other teaching in the Psalms, God’s doing this has important implications for the CCM debate (see Natural Revelation, Music Related to God’s Providence, . . .).

2. Titus 1 unequivocally supports believers’ using statements by expert secular authorities to confirm their own biblically based assessments of moral issues in the lives of people (see Titus 1 and the CCM Debate). On the authority of Titus 1 (and other Scripture), believers are justified in arguing against the use of CCM by citing secular authorities who confirm their own negative assessments of it.

3. Mark 6 and Matthew 14 show us that Scripture can communicate authoritatively that an activity can be sensual by only mentioning the activity itself in a given context and without having to give any details about the activity. This observation validates the understanding that certain Scriptural statements about music need not be explicit or detailed in order to teach us that music can be sensual (see Will the Sensuality of CCM in Your Church . . .).

4. First Corinthians 11 is another passage that helps us to know what the sufficiency of Scripture does not mean for the CCM debate. Although its teaching and relevance are related to those of Psalm 19, this passage has unique aspects that warrant treating it separately.

Even “Nature” Taught the Corinthians That Something Was Shameful

Paul wrote to believers in Corinth to instruct them concerning the use of head coverings while they were praying or prophesying (1 Cor. 11:1-16). To support his argumentation for his teaching about that practice, he cited the teaching that even “nature” provided them:

1Co 11:13 Judge in yourselves: is it comely that a woman pray unto God uncovered?

¹⁴ Doth not even nature itself teach you, that, if a man have long hair, it is a shame unto him?

¹⁵ But if a woman have long hair, it is a glory to her: for her hair is given her for a covering.

Although there are many debates about various aspects of this passage, it is indisputable that Paul held that a source other than Scripture was teaching the Corinthians infallibly that something was shameful. Paul thus believed and taught that Scripture was not the only source of authoritative information that informed believers about the moral nature of certain things.

The Specificity of Nature’s Moral Teaching to the Corinthians is Noteworthy

Paul declared that “nature” was teaching the Corinthians that if a man was having long hair, it was a shame to him (1 Cor. 11:14). A non-biblical source of information, therefore, was teaching them authoritatively about the moral character of a specific aspect of the hair of a man.

Moreover, we must note that because God made humans to have hair on their heads, hair itself is not amoral—it is morally good. Yet, a non-biblical authority was instructing the Corinthians that long hair was a shame to a man.

Does “Nature” Teach Us about the Moral Value of Music?

Before we can answer the question of whether “nature” teaches us anything about the moral value of music, we should consider at least briefly what “nature” means in this passage. Some hold that it means what is observable in the natural world that God created. Some believe that it refers to intrinsic moral perspectives that God has put within humans. Some seem to equate “nature” in this passage with culture.

Views that combine these ideas in various ways probably also exist. Regardless of what the word “nature” means here, it is clear that Paul was teaching that something other than Scripture was teaching the Corinthians that something would be shameful concerning something that in and of itself was actually moral.

For an example of how “nature” teaches us about the moral value of music, listen to the following audio with your eyes closed and try to detect impartially whether what is sung is sensual music or not: Nature’s Teaching About Music. Were you not able to know that this music was sensual in spite of there not being any sensual words sung by the singer?

As this example plainly shows, a believer does not need to have Scriptural teaching about what makes music sensual in order to know that this song was sensual. The sufficiency of Scripture does not mean that Scripture must provide an explanation of what comprises music that is sensual.

In CCM, Interpretation, Music, Theology

Guitar Music for "My Song is Love Unknown"

May 17, 2013

My Song is Love Unknown is a beautiful hymn in the key of C. This PDF provides the melody notes, first stanza, and guitar chords for this song, including every chord change that takes place in the song.

Learning to play all the chords, including the slash chords, is challenging and requires an advanced knowledge of guitar chords and the ability to play them well. If you find the song too hard to play with all the slash chords, you can simplify it by playing all the slash chords as just the chord without the bass (for example, play G instead of G/D).

Listen to the melody:

Audio Player

00:00

Use Up/Down Arrow keys to increase or decrease volume.

In Guitar Music

Archives For Music

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