Ἐν ᾧ καὶ ὑμεῖς ἀκούσαντες τὸν λόγον τῆς ἀληθείας, τὸ εὐαγγέλιον τῆς σωτηρίας ὑμῶν, ἐν ᾧ καὶ πιστεύσαντες ἐσφραγίσθητε τῷ πνεύματι τῆς ἐπαγγελίας τῷ ἁγίῳ, ὅ ἐστιν ἀρραβὼν τῆς κληρονομίας ἡμῶν, εἰς ἀπολύτρωσιν τῆς περιποιήσεως, εἰς ἔπαινον τῆς δόξης αὐτοῦ. In whom also you heard the word of truth, the good news of your salvation, and in whom you believed being sealed by the Holy Spirit of the promise, who is a deposit of our inheritance, for a ransoming of obtaining, for the praise of his glory.
Again, the dative prepositional phrase ties us back into the Beloved, ἠγαπημένῳ, back in v. 6. It could be argued, as already noted earlier on in the series, that this sentence is actually one long run-on sentence, starting at v. 3 and ending at v. 14. However, Nesle-Aland has it punctuated in such a way that it is probably intended to break it up for clarity’s sake. In terms of our translation it will be punctuated similarly, but it ought to be noted that it is linked with v. 6.
Linking back to ἠγαπημένῳ, Paul writes that it is in Christ (dative of sphere) that his recipients heard the word of truth and heard the message of their salvation. In addition, it was also in Christ (again, dative of sphere) that Paul’s recipients believed. Hearing and believing are contemporaneous to the main verb ἐσφραγίσθητε, thus indicating that all three happened at the same time.
The recipients were sealed. This sealing was done by the Holy Spirit. "Sealed," ἐσφραγίσθητε, is the idea of being confirmed or authenticated. Christians are "sealed" by the Holy Spirit in the sense that the Holy Spirit authenticates their position as followers of Christ; in other words, the Holy Spirit validates their claim to discipleship of Christ. If one has the Holy Spirit, they are a true believer--they are sealed. Paul identifies what they were sealed for, which we will see by skipping ahead a clause and reading that the recipients were sealed for a ransoming of the obtaining, for the praise of his (meaning God’s) glory. The rough literal rendering of εἰς ἀπολύτρωσιν τῆς περιποιήσεως doesn’t do the phrase justice. It identifies that the recipients were sealed for salvation by the Holy Spirit in Christ. Not only that, but the recipients were sealed for the purpose of the praise of God’s glory. God’s glory is revealed and praised in the fact that he has sealed the recipients through the Holy Spirit in the person of Jesus Christ.
The Holy Spirit—the one who sealed the recipients for redemption—is a deposit of our inheritance. The deposit is money that can be lost if the transaction is not completed. It could be thought that this is evidence for the losing of one’s salvation. However, we must bear in mind who is the purchaser involved. Is it us? Or is it God? Look at verse 7. Jesus Christ by his blood is the purchaser, and he has already made the purchase in full, so the deposit is not lost or forfeited. The Holy Spirit is our deposit for our inheritance. What is our inheritance? It is our salvation, which has been accomplished or purchased by Jesus Christ through his blood.
In whom also when you heard the word of truth, the good news of your salvation, and in whom when you believed, you were sealed by the promised Holy Spirit, who is the deposit of our inheritance, for redemption of the possession of salvation, for the praise of his glory.
In Christ we are sealed for redemption at the same time that we hear and believe the Gospel. We are sealed by the Holy Spirit, who is our deposit for our salvation, and we have been sealed for salvation and for the glory of God. The Holy Spirit living within us is proof of our salvation, which is the glory of God. We do not offer up the deposit for our salvation, nor do we seal ourselves for salvation, for it is God who does all the salvific work when we hear and believe.
Wednesday, December 27, 2006
Wednesday, December 20, 2006
Moved In
I have attached a picture of our floor-plan, which I created at work on Microsoft Paint. Hey, it gets the job done, so I don’t want to hear any complaints.
My wife and I are thoroughly pleased with our apartment. With the help of my parents, sister and brother-in-law, and friends from high school and college, we were able to move locations in three fairly quick trips. In fact, within 24 hours from initially starting to pack, we were completely moved in, and I was working on building some furniture pieces that were given to us as wedding presents back in June. You have to remember, however, that I am not a handyman by any means, so building those pieces of furniture brought the worst out in me at a few instances, especially when two of the pieces had incomplete diagrams for instructions, so on each one I had at least one juncture where I had to choose how to put material together according to my best guess, and unfortunately I chose the wrong option on both pieces, causing me to have to restart the entire project. Needless to say, despite my many frustrations and sore hands, I got all of them up, and now our apartment is lookin’ good.
In addition to buying some more furniture, I also bought an Apple Airport Express to enable wireless use of the internet. I am a Comcast customer now, and that had its own frustrations setting up as well. I saved some money by installing the Comcast equipment myself, but for some reason or another, despite the fact that I am electronically inclined and computer literate, I could not get the internet to work. It turns out that the router Comcast provided to me had to be registered with the company after being set up; however, that was not told to me when I received the equipment, thus causing me several hours of frustration. However, I got the router registered, and I also got the rest of my home “theater” (if you want to call it that) set up, so now I can listen to my iTunes wirelessly on my nice speakers in the home “theater” and I can print wirelessly from anywhere in the apartment to the HP Photosmart printer also located in the home “theater.” What’s cool is that I can use different speakers for all other sounds on my computer while the iTunes music plays on a different set of speakers, each having their own independent volume controls. I am actually very impressed with the Airport Express due to its size and functionality.
My wife and I are done setting up all the furniture, setting up all the media-related items and getting pretty much completely unpacked, and all we really have left to do is to decorate our walls with our pictures and other aesthetically pleasing items. When we have that done, our apartment will probably begin to feel more like “home.”
For now, however, it just has not registered yet. Honestly, we are still adjusting to it. It is different than what we have grown accustomed to. On the one hand, for example, we no longer have to shut our door to sleep at night. On the other, for example, we no longer have constant company. So, we have the privacy that we have not yet had, but at the same time we no longer have the company that we once had. Combine that truth with the fact that it just does not yet quite feel like “home” and you will see why it seems a bit unreal to me.
Despite it kind of being unreal, I do have at least one thing that I greatly appreciate about our apartment. What is particularly nice about our apartment is its location relative to everything else we enjoy. We are now only 8 miles from church, whereas before we were probably about 15. Groceries are just minutes away as opposed to 20 minutes. All the shops we like to frequent are just up the street and are no longer a burden to visit. We have restaurants and entertainment readily available to us, whereas before it took some serious time and effort just to go get a pizza or see a movie. I have to admit, this perk itself makes the move worth it.
All in all, the move proved to be a success. All the frustration, sweat and backache that came along with the move became worth it in the end.
Monday, December 18, 2006
Drumming Philosophy: conclusion
Drummers ought to understand the thought, knowledge and understanding that goes into drumming. It is actually really complicated and sophisticated; it is not a mindless instrument requiring little to no skill. In truth, drums are like any other instrument, because they require a lot of practice, skill and technique. Therefore, we can conclude with a few remarks from this series.
These 10 philosophical-practical principles could probably work for any instrument, which is nice for those readers who play the oboe and not the drums. Yet, these principles are also highly valuable for musical ministries, as they help praise teams find drummers and other musicians who are capable for the task at hand.
- One, keep it simple. Less is more.
- Two, get creative. Learn to play in a structured and rehearsed environment, but also learn to play on the fly.
- Three, let loose. Learn to have fun drumming by learning solos, and expand the horizons by learning other styles.
- Four, practice is essential. Take the time to practice all throughout the week.
- Five, take it easy on the crash cymbals. Don’t get careless and overdo it.
- Six, know the instruments. Learn how instrument ought to be used and then learn to use them in that way.
- Seven, determine your needs. Choose what kind of set will best suit those things.
- Eight, control the volume. Learn to be able to play anything at different volumes, and learn to adapt to the environment.
- Nine, learn from the best. Get a roll model.
- Ten, practice is imperative. Practice until no mistakes are made several times in a row and not just once or twice.
These 10 philosophical-practical principles could probably work for any instrument, which is nice for those readers who play the oboe and not the drums. Yet, these principles are also highly valuable for musical ministries, as they help praise teams find drummers and other musicians who are capable for the task at hand.
Thursday, December 14, 2006
Drumming Philosophy 10: more practice
We have already noted the importance of practice. However, when it comes to musical ministries and performing arts, there has to be more structure involved in terms of band practice, which also translates back into personal practice.
What is most interesting, originally noted by Bob Kilpatrick of Fair Oaks Music, is that most bands—Christian bands in particular—practice pieces, materials, songs and sets until they get it perfect once, but what they should be doing is practicing the stuff so much that they never get it wrong. The difference being is that the former stops practicing once the material is performed perfectly once, while the latter practices even after the material is performed perfectly once or twice.
Bands, whether Christian, secular, worship or concert, should be practicing material so much that they hear it in their sleep, that they walk to their rhythms and that they continuously hum their melodies, but this manner can only be achieved through intense and continuous practice. For those bands who can afford the time, this method is a great philosophy to live by in terms of practice, but it translates from the band practice time into personal practice time.
Drummers and musicians alike should be practicing material, techniques and fundamentals so much that they never get them wrong. Repetition with perfect practice is what is essential for a drummer to become a solid drummer. They have to learn to execute their skills with perfection, but they must not stop practicing them once they initially get it right. They must perfectly practice their material and techniques repetitively. In so doing, they are able to perform their stuff correctly when the pressure is on, because it becomes like clockwork. Without practice—perfectly and repetitiously—the drummer could make some potentially fatal (as far as the band is concerned) errors. Therefore, it is imperative that a drummer fervently and repetitively practice outside of band time to work on perfecting the fundamentals as well as the complicated techniques.
Praise teams should find out in some way or another how much their prospective drummers practice. If they do not practice much, then that could be a good indication that they are not all that serious about the ministry much less music, and it could very well indicate that they might have good potential for making musically fatal errors on stage. Practice is essential. Repetitive and perfective practice is imperative. Music ministries should strive to find drummers who are committed to the ministry both on and off the stage, which includes both personal and band practices.
What is most interesting, originally noted by Bob Kilpatrick of Fair Oaks Music, is that most bands—Christian bands in particular—practice pieces, materials, songs and sets until they get it perfect once, but what they should be doing is practicing the stuff so much that they never get it wrong. The difference being is that the former stops practicing once the material is performed perfectly once, while the latter practices even after the material is performed perfectly once or twice.
Bands, whether Christian, secular, worship or concert, should be practicing material so much that they hear it in their sleep, that they walk to their rhythms and that they continuously hum their melodies, but this manner can only be achieved through intense and continuous practice. For those bands who can afford the time, this method is a great philosophy to live by in terms of practice, but it translates from the band practice time into personal practice time.
Drummers and musicians alike should be practicing material, techniques and fundamentals so much that they never get them wrong. Repetition with perfect practice is what is essential for a drummer to become a solid drummer. They have to learn to execute their skills with perfection, but they must not stop practicing them once they initially get it right. They must perfectly practice their material and techniques repetitively. In so doing, they are able to perform their stuff correctly when the pressure is on, because it becomes like clockwork. Without practice—perfectly and repetitiously—the drummer could make some potentially fatal (as far as the band is concerned) errors. Therefore, it is imperative that a drummer fervently and repetitively practice outside of band time to work on perfecting the fundamentals as well as the complicated techniques.
Praise teams should find out in some way or another how much their prospective drummers practice. If they do not practice much, then that could be a good indication that they are not all that serious about the ministry much less music, and it could very well indicate that they might have good potential for making musically fatal errors on stage. Practice is essential. Repetitive and perfective practice is imperative. Music ministries should strive to find drummers who are committed to the ministry both on and off the stage, which includes both personal and band practices.
Wednesday, December 13, 2006
Ephesians Sentence by Sentence: 1:11-12
Ἐν ᾧ καὶ ἐκληρώθημεν προορισθέντες κατὰ πρόθεσιν τοῦ τὰ πάντα ἐνεργοῦντος κατὰ τὴν βουλὴν τοῦ θελήματος αὐτοῦ εἰς τὸ εἶναι ἡμᾶς εἰς ἔπαινον δόξης αὐτοῦ τοὺς προηλπικότας ἐν τῷ Χριστῷ. In whom we have also been appointed, having been predetermined according to the plan of the one who operates all things according to the counsel of his will for us, the ones who have hoped for before in Christ, to be for the praise of his glory.
The opening words refer us back to the Beloved (ἠγαπημένῳ) just as before in the previous sentence. It is likely, then, that we are actually still in the same sentence. However, we will stick to the punctuation provided in the 27th edition. The conjunction καὶ joins ἔχομεν with ἐκληρώθημεν. We see that it is in ἠγαπημένῳ that we have redemption and it is also in ἠγαπημένῳ that we have been appointed. It seems as though God is doing all of his work within ἠγαπημένῳ.
Paul identifies himself with his recipients again, just as he did in the previous sentence when he wrote ἔχομεν, when he wrote ἐκληρώθημεν. Paul and his recipients had been appointed. The aorist tense indicates an appointing that had happened sometime in the past, and that appointing has already been done. It is not continuing on, it did not happen in the past but continues on today, nor will it happen in the future, for it has already happened.
The participle that follows ἐκληρώθημεν is contemporaneous. It simultaneously occurs alongside of the appointing that has happened. Paul and the recipients have been appointed, and at the same time they have been predetermined according to the plan of God. The appointment and predetermining are done in accordance with the plan of God—the one who works all things. The participle ἐνεργοῦντος can mean a number of things. It can mean “the one who operates,” “the one who works,” “the one who accomplishes,” or “the one who is active in;” the verb basically connotes divine action (Liddell-Scott). God is the one who is divinely active in all things; he works and operates in all things. This operation is in accordance with God’s counsel of his will.
The word βουλὴν is used in reference to God, and therefore does not actually mean “counsel,” but is rendered “decree” or “design” (Liddell-Scott). God’s plan—his decree or his design—is tied to his will. The genitives τοῦ θελήματος αὐτοῦ could be partitive, which would identify God’s βουλὴν as one part to the whole of his will, or it could be source, which would identify that God’s βουλὴν originates in his will. Given the context, source seems to fit the genitives best here, because the design of God is not just one part of the whole of God’s will, for that would mean that there are many parts to the will of God, but we do not have any indication in the immediate text to suggest that. However, the text does indicate that God’s design is his will, because his design is within his will and is therefore sourced in his will.
The εἰς + τὸ + infinitive construct indicates purpose, thus referring to the intent of the appointing and predestining. God has appointed and predestined Paul and his recipients for a purpose, which is to be or to live (exist) for the praise of his glory. God’s intentions for appointing Paul and his recipients was for the purpose that they would live for the praise of his glory. Paul defines who was appointed for this purpose: the ones who have (and continue to) placed hope before in Christ. It is quite awkward to render προηλπικότας “having placed hope before.” The verb entails anticipation (Liddell-Scott). However, the NIV, NASB and NRSV do not translate the participle in this way, but rather they render it with the idea of “the ones who have first hoped.” BDAG notes that most scholars take this verb alongside of ἡμεῖς, which is often understood to be in reference to Jewish Christians, and they interpret the προ in this verb to mean "before the Gentiles" or "before Christ appeared." The problem is that ἡμεῖς has not been identified in the letter up through this point to be Jewish Christians, and in fact, later on in the letter, Paul identifies that his recipients are Gentiles (2:11; 3:1). Beyond that, this interpretation just does not quite fit the context (more on that to come). BDAG notes that if ἡμεῖς is in reference to all Christians rather than just Jewish Christians, then προ shows a hope for the fulfillment that will come in the future. This interpretation best fits the context, for in the previous verse we see the "fullness of the times," which is a reference to the end times when time will be made complete in Christ. It is not only for this reason that it is the best interpretation, however, because it also does not look "Jewish Christians" into ἡμεῖς, but rather it allows the text to stand alone and speak for itself. Therefore, we should translate the participial phrase like this: "the ones who have placed hope for the completion of all things to come in Christ." This participle is in the perfect tense, which means it has happened but continues to happen. Therefore, the placing of hope is something that happened in the past but continues on in the present.
In whom we have also been appointed, having been predetermined in accordance with the plan of the one who works in all things in accordance with the design of his will for us, the ones who have placed hope in the completion of all things to come in Christ, to live for the praise of his glory.
God deals with us completely in Christ. We are appointed and predestined for the praise of the glory of God in Christ. This appointing and predestining is done in accordance with God's plan, and his plan comes from his will for us who have placed at one point in time and continue to place hope in the fullness of the times when all things will be summed up in Christ. Again, even in the end times God will work in Christ--the Beloved. We are blessed, therefore, to be in Christ, the place where God is at work, both now and in the future.
The opening words refer us back to the Beloved (ἠγαπημένῳ) just as before in the previous sentence. It is likely, then, that we are actually still in the same sentence. However, we will stick to the punctuation provided in the 27th edition. The conjunction καὶ joins ἔχομεν with ἐκληρώθημεν. We see that it is in ἠγαπημένῳ that we have redemption and it is also in ἠγαπημένῳ that we have been appointed. It seems as though God is doing all of his work within ἠγαπημένῳ.
Paul identifies himself with his recipients again, just as he did in the previous sentence when he wrote ἔχομεν, when he wrote ἐκληρώθημεν. Paul and his recipients had been appointed. The aorist tense indicates an appointing that had happened sometime in the past, and that appointing has already been done. It is not continuing on, it did not happen in the past but continues on today, nor will it happen in the future, for it has already happened.
The participle that follows ἐκληρώθημεν is contemporaneous. It simultaneously occurs alongside of the appointing that has happened. Paul and the recipients have been appointed, and at the same time they have been predetermined according to the plan of God. The appointment and predetermining are done in accordance with the plan of God—the one who works all things. The participle ἐνεργοῦντος can mean a number of things. It can mean “the one who operates,” “the one who works,” “the one who accomplishes,” or “the one who is active in;” the verb basically connotes divine action (Liddell-Scott). God is the one who is divinely active in all things; he works and operates in all things. This operation is in accordance with God’s counsel of his will.
The word βουλὴν is used in reference to God, and therefore does not actually mean “counsel,” but is rendered “decree” or “design” (Liddell-Scott). God’s plan—his decree or his design—is tied to his will. The genitives τοῦ θελήματος αὐτοῦ could be partitive, which would identify God’s βουλὴν as one part to the whole of his will, or it could be source, which would identify that God’s βουλὴν originates in his will. Given the context, source seems to fit the genitives best here, because the design of God is not just one part of the whole of God’s will, for that would mean that there are many parts to the will of God, but we do not have any indication in the immediate text to suggest that. However, the text does indicate that God’s design is his will, because his design is within his will and is therefore sourced in his will.
The εἰς + τὸ + infinitive construct indicates purpose, thus referring to the intent of the appointing and predestining. God has appointed and predestined Paul and his recipients for a purpose, which is to be or to live (exist) for the praise of his glory. God’s intentions for appointing Paul and his recipients was for the purpose that they would live for the praise of his glory. Paul defines who was appointed for this purpose: the ones who have (and continue to) placed hope before in Christ. It is quite awkward to render προηλπικότας “having placed hope before.” The verb entails anticipation (Liddell-Scott). However, the NIV, NASB and NRSV do not translate the participle in this way, but rather they render it with the idea of “the ones who have first hoped.” BDAG notes that most scholars take this verb alongside of ἡμεῖς, which is often understood to be in reference to Jewish Christians, and they interpret the προ in this verb to mean "before the Gentiles" or "before Christ appeared." The problem is that ἡμεῖς has not been identified in the letter up through this point to be Jewish Christians, and in fact, later on in the letter, Paul identifies that his recipients are Gentiles (2:11; 3:1). Beyond that, this interpretation just does not quite fit the context (more on that to come). BDAG notes that if ἡμεῖς is in reference to all Christians rather than just Jewish Christians, then προ shows a hope for the fulfillment that will come in the future. This interpretation best fits the context, for in the previous verse we see the "fullness of the times," which is a reference to the end times when time will be made complete in Christ. It is not only for this reason that it is the best interpretation, however, because it also does not look "Jewish Christians" into ἡμεῖς, but rather it allows the text to stand alone and speak for itself. Therefore, we should translate the participial phrase like this: "the ones who have placed hope for the completion of all things to come in Christ." This participle is in the perfect tense, which means it has happened but continues to happen. Therefore, the placing of hope is something that happened in the past but continues on in the present.
In whom we have also been appointed, having been predetermined in accordance with the plan of the one who works in all things in accordance with the design of his will for us, the ones who have placed hope in the completion of all things to come in Christ, to live for the praise of his glory.
God deals with us completely in Christ. We are appointed and predestined for the praise of the glory of God in Christ. This appointing and predestining is done in accordance with God's plan, and his plan comes from his will for us who have placed at one point in time and continue to place hope in the fullness of the times when all things will be summed up in Christ. Again, even in the end times God will work in Christ--the Beloved. We are blessed, therefore, to be in Christ, the place where God is at work, both now and in the future.
Drumming Philosophy 9: roll models
Okay, so the pun in the title is cheesy, I know, but I do want to talk about role models within the realm of drumming. It is important for drummers to pick a few drummers that are better (typically professionals, but there are other non-professionals that are great drummers) than them, watch movies of them drumming and listen to tracks of them drumming, and whenever possible, watch teaching films or take lessons from them. Learning from other but better drummers is a great way to enhance one’s playing style and to learn new techniques. Learning from other drummers can also help to enlighten one’s particular understanding of how a song ought to be played on a drum set. It is important for drummers to be learning from each other and to have role models. Drummers should have drummer role models (roll models).
When picking roll models, drummers should stick to what they like, what they find as cool and exciting, and also what they find as knew and challenging. These guidelines may or may not cause a drummer to begin to move outside of his or her comfort zone in drumming, so at least one roll model should be picked outside of the respective drumming knowledge that one already has. For instance, if a rock drummer has never played jazz music, then at least one of his or her aspiring roll models should be a jazz drummer, like Steve Gadd or Dave Weckl.
DVDs, CDs and instructional videos are all great for learning, so long as they are played along with or followed along. The CDs are great for listening only, which is awesome because it forces the listener to use their existing knowledge to determine what is being played and how. The DVDs are great for listening and viewing, which is particularly helpful for visual learners and for those who cannot exactly determine what is being played and how. The instructional videos are great for learning, because they typically demonstrate to some degree what to do and how to do it, and often times in full speed and slow motion. All three are great tools to use to learn more about drumming. It is important, though, for drummers to choose drummers that they like listening to for picking CDs, DVDs and instructional videos, so that they know what they are in a sense getting into. It does not mean, however, that a drummer cannot choose a roll model that they have never heard, which at worst if a drummer did do that it would mean he or she might not like what they come across. It is easier to learn and study from someone or something that one is passionate about. If a drummer is passionate about the drumming of Carter Beauford, the drummer of the Dave Matthew’s Band, then it logically follows that they will have a good and fruitful time learning from his drumming by listening to CDs, watching DVDs, and learning from his video, Under the Table and Drumming.
Drummers should be following roll models simply for the sake of learning. By listening to a handful of drummers through the various aforementioned methods, drummers can greatly improve and expand their abilities. In musical ministries, this methodology is important. One can become well-equipped on how to drum to praise music simply by listening to praise CDs and watching DVDs, or by simply watching various drummers play for praise bands. It is important for music ministry bands to have drummers who can play praise music. There is nothing worse than a drummer who plays hard rock to a modern-day praise song, because the two genres (at least in drumming) do not mix. Therefore, drummers should know the field that they are drumming in, and it would be a good idea for music ministries to have their drummers watch and listen to other drummers performing praise music.
When picking roll models, drummers should stick to what they like, what they find as cool and exciting, and also what they find as knew and challenging. These guidelines may or may not cause a drummer to begin to move outside of his or her comfort zone in drumming, so at least one roll model should be picked outside of the respective drumming knowledge that one already has. For instance, if a rock drummer has never played jazz music, then at least one of his or her aspiring roll models should be a jazz drummer, like Steve Gadd or Dave Weckl.
DVDs, CDs and instructional videos are all great for learning, so long as they are played along with or followed along. The CDs are great for listening only, which is awesome because it forces the listener to use their existing knowledge to determine what is being played and how. The DVDs are great for listening and viewing, which is particularly helpful for visual learners and for those who cannot exactly determine what is being played and how. The instructional videos are great for learning, because they typically demonstrate to some degree what to do and how to do it, and often times in full speed and slow motion. All three are great tools to use to learn more about drumming. It is important, though, for drummers to choose drummers that they like listening to for picking CDs, DVDs and instructional videos, so that they know what they are in a sense getting into. It does not mean, however, that a drummer cannot choose a roll model that they have never heard, which at worst if a drummer did do that it would mean he or she might not like what they come across. It is easier to learn and study from someone or something that one is passionate about. If a drummer is passionate about the drumming of Carter Beauford, the drummer of the Dave Matthew’s Band, then it logically follows that they will have a good and fruitful time learning from his drumming by listening to CDs, watching DVDs, and learning from his video, Under the Table and Drumming.
Drummers should be following roll models simply for the sake of learning. By listening to a handful of drummers through the various aforementioned methods, drummers can greatly improve and expand their abilities. In musical ministries, this methodology is important. One can become well-equipped on how to drum to praise music simply by listening to praise CDs and watching DVDs, or by simply watching various drummers play for praise bands. It is important for music ministry bands to have drummers who can play praise music. There is nothing worse than a drummer who plays hard rock to a modern-day praise song, because the two genres (at least in drumming) do not mix. Therefore, drummers should know the field that they are drumming in, and it would be a good idea for music ministries to have their drummers watch and listen to other drummers performing praise music.
Tuesday, December 12, 2006
Drumming Philosophy 8: volume
Volume is an important factor in drumming and for drummers. If the drums are too loud, then not only does it hurt the ears and the hearing of the listeners (and even the drummer’s), but it also overpowers the sound of the band as a whole. If the drums are too soft, it can lead to problems with timing and rhythm within the band. However, it is not too often that drummers to play too soft; rather, drummers these days are notorious for playing too loud.
Drummers should be able to play at all volumes. However, it is easy to play loud, but it is absolutely difficult to play the same material at a soft level that would normally be played loud. It takes an immense amount of control—at least for drummers—to play something that is normally loud and play it soft. It is not easy, but it is fundamentally essential.
In some cases, drummers find themselves in situations where there are no mics or Plexiglas cages to help with sound. In such cases, drummers become their own soundboard too. When this happens, they need to be able to turn up or turn down the volume at a moment’s notice without missing a beat. This ability can only be reached through practice, so it is imperative that songs be practiced at different volumes throughout personal practice time.
If the drums being played are electric, then problem solved, unless there is no knowledgeable sound technician, then the problem is not solved. In fact, unless there is a knowledgeable sound technician present with electric drums, the sound quality of the drums mixed with the rest of the music can get pretty nasty. The same goes for mic’d acoustic drums. Such issues of electronics with drums solely depend on the knowledge of the sound technicians. However, when a drum set is acoustic and un-mic’d, then it becomes the complete responsibility of the drummer to take control of the volume of the drum set. The volume employed might vary depending on the concert setting, which could be in a poor acoustic building or a good acoustic building; a building with carpet all around or a building with tile all around; a building with a tall ceiling or a building with a short ceiling. Sometimes, one song that is usually played really loud in practice in a small, carpeted and short-ceiling building might only be able to be played at a medium level by the drummer—although it will sound much louder to the audience—in an auditorium with great acoustics, wood floors and a tall ceiling. In order to learn to control volume, drummers should practice their songs at different volumes for one, but two they must also learn to adapt to their surroundings.
There is yet one more key to mastering volume as a drummer. It is important for drummers—and also all instrumentalists and vocalists—to be able to hear the nearest instrument being played next to you just a hair louder than yourself. Well, this rule of thumb was taught to me in orchestra, so I don’t know how well it applies in a band and monitor setting. Yet, it does, because a drummer should not be playing so loud to the point that they end up overbearing their monitor so that they can no longer hear what is coming out of it. They should be able to hear their monitor just a little bit louder than what they are playing. If they cannot, then they probably should not turn their monitor up louder, but rather they should bring their own volume down until they reach that point. This lesson is particularly essential for musical ministries that rely on stage monitors for their musicians. Monitors should not be house speakers, so keep their volume levels as low as possible, and drummers should set their volume accordingly.
Drummers ought to practice songs and materials at a range of volumes, learn to adapt to concert surroundings, and play just a little bit softer than the nearest instrument or monitor in an effort to be masters of volume, which becomes crucial when there is no sound technician available to mic and/or mix the drums into the house speakers. Therefore, in praise teams, it is a good idea for there to be a sound technician of some sort who is able to mix the drums well in with the house, but if there is not, then it becomes absolutely necessary for the drummer to be able to adjust his or her own volume acoustically if there are no electric drums. (This reasoning presupposes that if there are electric drums present, then there will be a soundboard that is controlled by a good sound technician) Praise teams should look for drummers who have the ability to control their own volume when playing by having them play the same song at two contrasted volumes and/or by having them practice in two different concert settings, such as an auditorium and a small classroom. It is important for music ministries to have drummers who are able to play at all volumes lest we all lose our hearing for the sake of some ill-mixed songs.
Drummers should be able to play at all volumes. However, it is easy to play loud, but it is absolutely difficult to play the same material at a soft level that would normally be played loud. It takes an immense amount of control—at least for drummers—to play something that is normally loud and play it soft. It is not easy, but it is fundamentally essential.
In some cases, drummers find themselves in situations where there are no mics or Plexiglas cages to help with sound. In such cases, drummers become their own soundboard too. When this happens, they need to be able to turn up or turn down the volume at a moment’s notice without missing a beat. This ability can only be reached through practice, so it is imperative that songs be practiced at different volumes throughout personal practice time.
If the drums being played are electric, then problem solved, unless there is no knowledgeable sound technician, then the problem is not solved. In fact, unless there is a knowledgeable sound technician present with electric drums, the sound quality of the drums mixed with the rest of the music can get pretty nasty. The same goes for mic’d acoustic drums. Such issues of electronics with drums solely depend on the knowledge of the sound technicians. However, when a drum set is acoustic and un-mic’d, then it becomes the complete responsibility of the drummer to take control of the volume of the drum set. The volume employed might vary depending on the concert setting, which could be in a poor acoustic building or a good acoustic building; a building with carpet all around or a building with tile all around; a building with a tall ceiling or a building with a short ceiling. Sometimes, one song that is usually played really loud in practice in a small, carpeted and short-ceiling building might only be able to be played at a medium level by the drummer—although it will sound much louder to the audience—in an auditorium with great acoustics, wood floors and a tall ceiling. In order to learn to control volume, drummers should practice their songs at different volumes for one, but two they must also learn to adapt to their surroundings.
There is yet one more key to mastering volume as a drummer. It is important for drummers—and also all instrumentalists and vocalists—to be able to hear the nearest instrument being played next to you just a hair louder than yourself. Well, this rule of thumb was taught to me in orchestra, so I don’t know how well it applies in a band and monitor setting. Yet, it does, because a drummer should not be playing so loud to the point that they end up overbearing their monitor so that they can no longer hear what is coming out of it. They should be able to hear their monitor just a little bit louder than what they are playing. If they cannot, then they probably should not turn their monitor up louder, but rather they should bring their own volume down until they reach that point. This lesson is particularly essential for musical ministries that rely on stage monitors for their musicians. Monitors should not be house speakers, so keep their volume levels as low as possible, and drummers should set their volume accordingly.
Drummers ought to practice songs and materials at a range of volumes, learn to adapt to concert surroundings, and play just a little bit softer than the nearest instrument or monitor in an effort to be masters of volume, which becomes crucial when there is no sound technician available to mic and/or mix the drums into the house speakers. Therefore, in praise teams, it is a good idea for there to be a sound technician of some sort who is able to mix the drums well in with the house, but if there is not, then it becomes absolutely necessary for the drummer to be able to adjust his or her own volume acoustically if there are no electric drums. (This reasoning presupposes that if there are electric drums present, then there will be a soundboard that is controlled by a good sound technician) Praise teams should look for drummers who have the ability to control their own volume when playing by having them play the same song at two contrasted volumes and/or by having them practice in two different concert settings, such as an auditorium and a small classroom. It is important for music ministries to have drummers who are able to play at all volumes lest we all lose our hearing for the sake of some ill-mixed songs.
Monday, December 11, 2006
Moving Out
My wife and I applied for an apartment yesterday, and now we are moving out in a few days. We are excited, and yet, I am kind of sad. I am sure I will get over it, but it is obvious that it has to hurt just a little bit, since I love my family whom we are currently living with. The thing is, we are only 15 minutes away at most, so it isn't that big of a change, or at least it isn't anything like what my wife endured after having left all that she has ever known in Redding to come move to the Sacramento region! If she can do that, then I think that I can move 15 minutes away.
Friday, December 8, 2006
Ephesians Sentence by Sentence: 1:7-10
Ἐν ᾧ ἔχομεν τὴν ἀπολύτρωσιν διὰ τοῦ αἳματος αὐτοῦ, τὴν ἄφεσιν τῶν παραπτωμάτων, κατὰ τὸ πλοῦτος τῆς χάριτος αὐτοῦ ἧς ἐπερίσσευσεν εἰς ἡμᾶς, ἐν πάσῃ σοφίᾳ καὶ φρονήσει, γνωρίσας ἡμῖν τὸ μυστήριον τοῦ θελήματος αὐτοῦ, κατὰ τὴν εὐδοκίαν αὐτοῦ ἣν προέθετο ἐν αὐτῷ εἰς οἰκονομίαν τοῦ πληρώματος τῶν καιρῶν, ἀνακεφαλαιώσασθαι τὰ πάντα ἐν τῷ Χριστῷ, τὰ ἐπὶ τοῖς οὐρανοῖς καὶ τὰ ἐπὶ τῆς γῆς ἐν αὐτῷ. In the one whom we have redemption through his blood, the forgiveness of transgressions in accordance with the richness of his grace that abounds in us, he made known to us the mystery of his will in all wisdom and understanding in accordance with his good will that he set forth in him for an administration of the fullness of the times to sum up all things in Christ, all things in the heavens and all things on the earth in him.
In vv. 7-10, Paul actually continues from what he wrote in v. 6. In fact, it is arguable that this sentence (vv. 7-10) is actually part of the same sentence in vv. 3-6. The opening words Ἐν ᾧ tie this sentence (if we stick with the punctuation provided by Nesle Aland in the 27th edition) in with ἐν τῷ ἠγαπημένῳ from the previous sentence. Therefore, Paul is further discussing the person of Jesus Christ.
It is in Jesus Christ (dative of sphere) that we have redemption, and this redemption is provided by his blood (genitive of means). What is this redemption? It is the release from captivity (BDAG). Paul is specifically writing about the forgiveness (release of captivity) of transgressions. The word παράπτωμα has the idea of erroneous slips, but these slips can be willful or accidental (Liddell-Scott); the word can mean transgression, and it bears the idea of simply crossing the boundaries or stepping over the boundaries, which can be done willfully or accidentally. Transgression is thus trespassing—stepping over the boundary of a designated area that one is not to enter or cross into, whether intentionally or not. In the person of Jesus Christ, Paul states that we have been ransomed in full—our fines for trespassing have been completely paid—and this forgiveness is in line with the richness of his grace.
The grace of Jesus abounds in Paul and the recipients. The word ἐπερισσεύω means to have more than enough (Liddell-Scott), indicating that the grace that is within Paul and his recipients is more than enough to cover their transgressions.
God now becomes the center of the focus of Paul’s words. It is God who makes his will known—even though it is a mystery to us, and he has made it known to us in all wisdom and understanding. The phrase ἐν πάσῃ σοφίᾳ καὶ φρονήσει is a dative of means, and therefore we see that God has made his will known to us by means of wisdom and understanding. It is by wisdom and understanding that we know God’s will. God made his will known to us in accordance with his good will or intention. That good will was set forth or displayed in the person of Jesus Christ (again, dative of sphere).
God set forth his good will in Christ for an administration of the fullness of the times. What in the world does that mean? I’m glad you asked, let me tell you. The word οἰκονομία is not administration here, but plan (Liddell-Scott). God has ordered a specific plan in which it will come to a full and complete end (i.e., fullness of the times). This plan is significantly tied in with God’s making the mystery of his will known to Paul and the recipients. Evidently, this plan is part of the mystery. However, it is in Christ that this mysterious plan is summed up. The word ἀνακεφαλαιόω is an infinitive that indicates means. Christ is the means by which God sums up all things, both in heaven and on earth. We see more datives of sphere, where the two spheres—the heavenly and the earthly—are brought together in another sphere—Jesus Christ. Paul is emphatically demonstrating that Christ is the one in whom all things will be summed up or brought together in the end—i.e., everything will find its conclusion in him.
In the one whom we have redemption through his blood, the forgiveness of transgressions in accordance with the richness of his grace, which overflows in us, he made known to us the mystery of his will through all wisdom and understanding in accordance with his good will that he displayed in him for a plan when the times are full to bring everything together in Christ, all things in the heavens and all things on the earth in him.
The blood of Jesus Christ is the source of our redemption--the release from captivity. This redemption is in line with the overflowing grace of Jesus that is in us. We have all the grace we need to redeem us from our transgressions and then some left over. No transgression of ours is not covered in the grace of Christ. Furthermore, God has made known his good purposes and plans in the person of Jesus Christ, the one in whom we are identified to be in. It is in Christ that all things will be brought together. All things in heaven, and all things on earth will be brought together in Christ when time has reached its fullness.
In vv. 7-10, Paul actually continues from what he wrote in v. 6. In fact, it is arguable that this sentence (vv. 7-10) is actually part of the same sentence in vv. 3-6. The opening words Ἐν ᾧ tie this sentence (if we stick with the punctuation provided by Nesle Aland in the 27th edition) in with ἐν τῷ ἠγαπημένῳ from the previous sentence. Therefore, Paul is further discussing the person of Jesus Christ.
It is in Jesus Christ (dative of sphere) that we have redemption, and this redemption is provided by his blood (genitive of means). What is this redemption? It is the release from captivity (BDAG). Paul is specifically writing about the forgiveness (release of captivity) of transgressions. The word παράπτωμα has the idea of erroneous slips, but these slips can be willful or accidental (Liddell-Scott); the word can mean transgression, and it bears the idea of simply crossing the boundaries or stepping over the boundaries, which can be done willfully or accidentally. Transgression is thus trespassing—stepping over the boundary of a designated area that one is not to enter or cross into, whether intentionally or not. In the person of Jesus Christ, Paul states that we have been ransomed in full—our fines for trespassing have been completely paid—and this forgiveness is in line with the richness of his grace.
The grace of Jesus abounds in Paul and the recipients. The word ἐπερισσεύω means to have more than enough (Liddell-Scott), indicating that the grace that is within Paul and his recipients is more than enough to cover their transgressions.
God now becomes the center of the focus of Paul’s words. It is God who makes his will known—even though it is a mystery to us, and he has made it known to us in all wisdom and understanding. The phrase ἐν πάσῃ σοφίᾳ καὶ φρονήσει is a dative of means, and therefore we see that God has made his will known to us by means of wisdom and understanding. It is by wisdom and understanding that we know God’s will. God made his will known to us in accordance with his good will or intention. That good will was set forth or displayed in the person of Jesus Christ (again, dative of sphere).
God set forth his good will in Christ for an administration of the fullness of the times. What in the world does that mean? I’m glad you asked, let me tell you. The word οἰκονομία is not administration here, but plan (Liddell-Scott). God has ordered a specific plan in which it will come to a full and complete end (i.e., fullness of the times). This plan is significantly tied in with God’s making the mystery of his will known to Paul and the recipients. Evidently, this plan is part of the mystery. However, it is in Christ that this mysterious plan is summed up. The word ἀνακεφαλαιόω is an infinitive that indicates means. Christ is the means by which God sums up all things, both in heaven and on earth. We see more datives of sphere, where the two spheres—the heavenly and the earthly—are brought together in another sphere—Jesus Christ. Paul is emphatically demonstrating that Christ is the one in whom all things will be summed up or brought together in the end—i.e., everything will find its conclusion in him.
In the one whom we have redemption through his blood, the forgiveness of transgressions in accordance with the richness of his grace, which overflows in us, he made known to us the mystery of his will through all wisdom and understanding in accordance with his good will that he displayed in him for a plan when the times are full to bring everything together in Christ, all things in the heavens and all things on the earth in him.
The blood of Jesus Christ is the source of our redemption--the release from captivity. This redemption is in line with the overflowing grace of Jesus that is in us. We have all the grace we need to redeem us from our transgressions and then some left over. No transgression of ours is not covered in the grace of Christ. Furthermore, God has made known his good purposes and plans in the person of Jesus Christ, the one in whom we are identified to be in. It is in Christ that all things will be brought together. All things in heaven, and all things on earth will be brought together in Christ when time has reached its fullness.
Thursday, December 7, 2006
Drumming Philosophy 7: acoustic vs. electric
Should drummers use acoustic or electric drums? Well, despite my personal preferences, both types have their uses, so let’s consider them here.
Acoustic drums are versatile, because they do not rely so much on electricity and speakers to be used. They are also versatile because they can have a variety of sounds without switching any buttons, but by merely hitting different locations of the drums. Acoustic drums are desirable, because they are good-looking. They are also desirable because of the quality of sound produced from them.
Electric drums are versatile, because they are easy to set up in the house sound system. They are also versatile because they can have a variety of sounds—hundreds and hundreds of drums, sound effects, honking cars and the works—all at the fingertips. Electric drums are desirable, because they are easy to control in terms of volume. They are also desirable because of the compact design for storing and moving.
Depending on the likes and dislikes, and the needs of the drummer or band, acoustic may be more desirable than electric or electric more than acoustic. Each drummer has a different preference and need, and each band has a different preference and need. So which one should be used? It depends.
If a drummer for a ministry band has the tendency to play overwhelmingly loud, then it would be wise for that band to have him use electric drums. If a drummer doesn’t like computerized sounds and has no need to incorporate barking dogs into his or her beats, then acoustic drums would be a great investment for that drummer.
In terms of musical ministry, each band and church should weigh needs and costs as well. Some electric set ups can be cheap, but the quality poor, just like acoustics. Furthermore, when electric set ups break or short-circuit, it can get costly to fix, but when an acoustic breaks, it is usually just the head, which can be replaced for about $10-$20.
Should drummers stick to acoustics over electrics or vice versa? It really doesn’t matter one way or the other. It’s all about preferences, needs and money. Go with what you want, invest in what you need, and buy what you can afford.
Acoustic drums are versatile, because they do not rely so much on electricity and speakers to be used. They are also versatile because they can have a variety of sounds without switching any buttons, but by merely hitting different locations of the drums. Acoustic drums are desirable, because they are good-looking. They are also desirable because of the quality of sound produced from them.
Electric drums are versatile, because they are easy to set up in the house sound system. They are also versatile because they can have a variety of sounds—hundreds and hundreds of drums, sound effects, honking cars and the works—all at the fingertips. Electric drums are desirable, because they are easy to control in terms of volume. They are also desirable because of the compact design for storing and moving.
Depending on the likes and dislikes, and the needs of the drummer or band, acoustic may be more desirable than electric or electric more than acoustic. Each drummer has a different preference and need, and each band has a different preference and need. So which one should be used? It depends.
If a drummer for a ministry band has the tendency to play overwhelmingly loud, then it would be wise for that band to have him use electric drums. If a drummer doesn’t like computerized sounds and has no need to incorporate barking dogs into his or her beats, then acoustic drums would be a great investment for that drummer.
In terms of musical ministry, each band and church should weigh needs and costs as well. Some electric set ups can be cheap, but the quality poor, just like acoustics. Furthermore, when electric set ups break or short-circuit, it can get costly to fix, but when an acoustic breaks, it is usually just the head, which can be replaced for about $10-$20.
Should drummers stick to acoustics over electrics or vice versa? It really doesn’t matter one way or the other. It’s all about preferences, needs and money. Go with what you want, invest in what you need, and buy what you can afford.
Drumming Philosophy 6: one set, several instruments
Sometimes it seems as though beginning drummers and maybe even some intermediate drummers consider the drums as one instrument. Any advanced drummer will probably realize that drums are comprised over several instruments, and that each drum and each cymbal should be treated as its own instrument.
Along with that understanding comes a philosophy of how to use each instrument. Each instrument has a specific function or purpose. Drummers should learn how to use all the instruments and learn how each functions in a song. Additionally, different strokes with the sticks will yield different sounds, and striking the instruments in different locations on them will also result in different sounds. But each and every one of these sounds has a specific role. When drummers can learn to utilize all of the different sounds, they develop a mind-set in which they can perform at a higher level of musical sound and composition. For example, in Drumming Philosophy 5, the use of the crash cymbal was critiqued, and we highlighted the fact that the crash cymbal has a distinct role in songs, and when that role is violated, the crash cymbal loses its purpose and becomes a nuisance. Likewise, all the instruments in the drum set have specific roles, and each instrument should be utilized in accordance with its role.
When drummers break these rules on an overwhelming consistent basis, they end up making the drums undesirable to listen to and even include in a song. Drummers performing in musical ministries ought to take this into account, because if they do not, then either they will no longer be asked to participate, or at worst the drums could be taken out completely due to one bad experience.
All drummers need to learn to think of each tom, each cymbal, the snare and the bass as their own instruments, to learn each of their roles, and to systematically employ those roles. Together they form one sound, but the sound is only enjoyable when their roles are fulfilled.
Along with that understanding comes a philosophy of how to use each instrument. Each instrument has a specific function or purpose. Drummers should learn how to use all the instruments and learn how each functions in a song. Additionally, different strokes with the sticks will yield different sounds, and striking the instruments in different locations on them will also result in different sounds. But each and every one of these sounds has a specific role. When drummers can learn to utilize all of the different sounds, they develop a mind-set in which they can perform at a higher level of musical sound and composition. For example, in Drumming Philosophy 5, the use of the crash cymbal was critiqued, and we highlighted the fact that the crash cymbal has a distinct role in songs, and when that role is violated, the crash cymbal loses its purpose and becomes a nuisance. Likewise, all the instruments in the drum set have specific roles, and each instrument should be utilized in accordance with its role.
When drummers break these rules on an overwhelming consistent basis, they end up making the drums undesirable to listen to and even include in a song. Drummers performing in musical ministries ought to take this into account, because if they do not, then either they will no longer be asked to participate, or at worst the drums could be taken out completely due to one bad experience.
All drummers need to learn to think of each tom, each cymbal, the snare and the bass as their own instruments, to learn each of their roles, and to systematically employ those roles. Together they form one sound, but the sound is only enjoyable when their roles are fulfilled.
Wednesday, December 6, 2006
Ephesians Sentence by Sentence: 1:3-6
Εὐλογητὸς ὁ θεὸς καὶ πατὴρ τοῦ κυρίοῦ ἡμῶν Ἰησοῦ Χριστοῦ, ὁ εὐλογήσας ἡμᾶς ἐν πάσῃ εὐλογίᾳ πνευματικῇ ἐν τοῖς ἐπουρανίοις ἐν Χριστῷ, καθὼς ἐξελέξατο ἡμᾶς ἐν αὐτῷ πρὸ καταβολῆς κόσμου εἶναι ἡμᾶς ἁγίους καὶ ἀμώμους κατενώπιον αὐτοῦ ἐν ἀγάπῃ, προορίσας ἡμᾶς εἰς υἱοθεσίαν διὰ Ἰησοῦ Χριστοῦ εἰς αὐτόν, κατὰ τὴν ε᾽θδοκίαν τοῦ θελήματος αὐτοῦ, εἰς ἔπαινον δόξης τῆς χάριτος αὐτοῦ ἧς ἐχαρίτωσεν ἠμᾶς ἐν τῷ ἠγαπημένῳ. Blessed be the God and father of our Lord Jesus Christ, the one who blessed us with every spiritual blessing in the heavens in Christ, just as he selected us in him before founding the world for us to be holy and blameless before him in love predetermining us for adoption as sons through Jesus Christ in him according to the desire of his will for the praise of his glorious grace that he blessed us in the one being loved.
Paul gives a blessing to the God and Father of Jesus Christ in verse 3, because of the gracious work that he had done in Paul and the receipients, which is mentioned in verse 6. The God of Jesus Christ is identified as the one who blessed Paul and the recipients, and he blessed them with every spiritual blessing in the sphere of the heavens through Christ. The use of the dative for spiritual blessing is a thing of possession, thus indicating that God gave them something to possess. The use of the dative for the latter is of agency, which indicates that God blessed them through Christ. God is the one who blessed them in every spiritual blessing in the heavenly sphere through Christ.
Paul continues, and he ties the blessing through Christ in with God's choosing. The use of the conjunction καθὼς identifies an analogy or comparison. Paul is making a point about God's blessing by referring to God's choosing. Before we look at the comparison being made, let's first look at God's choosing so that we can fully understand what's being said.
God chose Paul and the recipients in him--Christ. The dative ἐν αὐτῷ could be association or sphere. If it is association, then we would translate it "in association with him," thus indicating that God chose Jesus and because we are associated with Jesus we were also chosen. If it is sphere, then we would translate it "in the sphere of him," thus indicating that it is in Christ himself that we are chosen. Sphere best meets the idea of choosing: God chooses those in something, those who are in a particular realm, and that realm is Christ. And God chose them in the sphere of Christ before the laying of the foundation of the world. What did he choose Paul and his recipients for? He chose for them to be holy and blameless before him in love. He chose them to be holy and blameless in what? In love. The dative ἐν ἀγάπῃ is also of sphere; Paul and the recipients were chosen for the purpose that they would be holy and blameless in the realm of love.
God also predestined Paul and the recipients for adoption as children (literally, sons). The participle here is contemporaneous with the aorist verb ἐξελέξατο. God did not choose them and then predestine them; rather, God did both at the same time, and again, he did it through Jesus Christ. The genitive διὰ Ἰησοῦ Χριστοῦ reveals that God predestined us for himself in Jesus Christ, because it is spatial. They were predestined for adoption as God's sons in Jesus Christ. This predestination is in accordance with the approval of the will of God. What for? For the purpose of the praise of God's glorious grace. This grace was freely given to Paul and the recipients in the Beloved, in the sphere of the one being loved, that is in Christ.
Blessed be the God and Father of our Lord, Jesus Christ, the one who blessed us with every spiritual blessing in the heavens in the sphere of Christ, just as he chose us in Christ before the laying of the foundation of the world to be holy and blameless before him in the sphere of love, he also contemporaneously predestined us for adoption as sons in Jesus Christ for him in accordance with the approval of his will for the praise of his glorious grace that he has freely given to us in the sphere of the one being loved.
Jesus Christ is essential when it comes to grace and God. God gives us his grace in Christ. We are adopted as God's children in Christ. We are chosen as God's in Christ. We are blessed in Christ. We are predestined in Christ. It is in the sphere of Christ that all of the spiritual blessings in heaven come from God. In the person of Jesus Christ is where God meets us and blesses us. We are blessed because we are in Christ. We ought to honor God for this blessing, as Paul did in the epistle.
Paul gives a blessing to the God and Father of Jesus Christ in verse 3, because of the gracious work that he had done in Paul and the receipients, which is mentioned in verse 6. The God of Jesus Christ is identified as the one who blessed Paul and the recipients, and he blessed them with every spiritual blessing in the sphere of the heavens through Christ. The use of the dative for spiritual blessing is a thing of possession, thus indicating that God gave them something to possess. The use of the dative for the latter is of agency, which indicates that God blessed them through Christ. God is the one who blessed them in every spiritual blessing in the heavenly sphere through Christ.
Paul continues, and he ties the blessing through Christ in with God's choosing. The use of the conjunction καθὼς identifies an analogy or comparison. Paul is making a point about God's blessing by referring to God's choosing. Before we look at the comparison being made, let's first look at God's choosing so that we can fully understand what's being said.
God chose Paul and the recipients in him--Christ. The dative ἐν αὐτῷ could be association or sphere. If it is association, then we would translate it "in association with him," thus indicating that God chose Jesus and because we are associated with Jesus we were also chosen. If it is sphere, then we would translate it "in the sphere of him," thus indicating that it is in Christ himself that we are chosen. Sphere best meets the idea of choosing: God chooses those in something, those who are in a particular realm, and that realm is Christ. And God chose them in the sphere of Christ before the laying of the foundation of the world. What did he choose Paul and his recipients for? He chose for them to be holy and blameless before him in love. He chose them to be holy and blameless in what? In love. The dative ἐν ἀγάπῃ is also of sphere; Paul and the recipients were chosen for the purpose that they would be holy and blameless in the realm of love.
God also predestined Paul and the recipients for adoption as children (literally, sons). The participle here is contemporaneous with the aorist verb ἐξελέξατο. God did not choose them and then predestine them; rather, God did both at the same time, and again, he did it through Jesus Christ. The genitive διὰ Ἰησοῦ Χριστοῦ reveals that God predestined us for himself in Jesus Christ, because it is spatial. They were predestined for adoption as God's sons in Jesus Christ. This predestination is in accordance with the approval of the will of God. What for? For the purpose of the praise of God's glorious grace. This grace was freely given to Paul and the recipients in the Beloved, in the sphere of the one being loved, that is in Christ.
Blessed be the God and Father of our Lord, Jesus Christ, the one who blessed us with every spiritual blessing in the heavens in the sphere of Christ, just as he chose us in Christ before the laying of the foundation of the world to be holy and blameless before him in the sphere of love, he also contemporaneously predestined us for adoption as sons in Jesus Christ for him in accordance with the approval of his will for the praise of his glorious grace that he has freely given to us in the sphere of the one being loved.
Jesus Christ is essential when it comes to grace and God. God gives us his grace in Christ. We are adopted as God's children in Christ. We are chosen as God's in Christ. We are blessed in Christ. We are predestined in Christ. It is in the sphere of Christ that all of the spiritual blessings in heaven come from God. In the person of Jesus Christ is where God meets us and blesses us. We are blessed because we are in Christ. We ought to honor God for this blessing, as Paul did in the epistle.
Tuesday, December 5, 2006
Ephesians Sentence by Sentence: 1:1-2
Παῦλος ἀπόστολος Χριστοῦ Ἰησοῦ διὰ θελήματος θεοῦ τοῖς ἁγίος τοῖς οὗσιν ἐν Ἐφέσῳ καὶ πιστοῖς ἐν Χριστῷ Ἰησοῦ, χάρις ὑμῖν καὶ εἰρήνη ἀπὸ θεοῦ πατρὸς ἡμῶν καὶ κυρίου Ἰησοῦ Χριστοῦ. Paul, an apostle of Christ Jesus by the will of God, to the saints living in Ephesus and to the faithful ones in Christ Jesus: grace to you and peace from God our Father and Lord Jesus Christ.
The apostle Paul is the author of the epistle to the Ephesians. Paul is an apostle Χριστοῦ Ἰησοῦ. Indeed, our phrase is a genitive of possession, which indicates Paul is an apostle belonging to Christ Jesus. This fact harkens back to the event when Saul is met by Jesus, becomes Paul and also an apostle alongside the Twelve.
The Apostle Paul is writing to the saints in Ephesus by the will of God. The preposition διὰ is a genitive of agency here, and it points to the fact that the Apostle Paul was made an apostle by God's will. It was by God's will that Paul became an apostle of Jesus Christ.
The apostle is writing to the saints literally "being" in Ephesus, or for a smoother translation the ones "who are" in Ephesus. The use of the dative article points to the dative of recipient, which indicates that the saints, whomever they may be, were the ones being written to. The prepositional phrase ἐν Ἐφέσῳ identifies that the recipients of the epistle are located in the place of Ephesus, because it is a dative of place or sphere.
There is a small problem here, however. The dative prepositional phrase ἐν Ἐφέσῳ is omitted by the best textual witnesses. Scholars are uncertain as to whether or not ἐν Ἐφέσῳ was part of the original text. If it is not, then the recipients are the saints who are indeed faithful in Christ Jesus . The dative prepositional phrase is widely attested despite not being located in the three earliest and best manuscripts (Papyrus 46 and the original א and B), being found in some relatively early translations (Syriac and Coptic) along with some other manuscripts (A D and the second corrector of א and B). Although we cannot say with indisputable certainty, we can be fairly certain that the document originally included ἐν Ἐφέσῳ, since the phrase has some early support (though not the earliest) and wide attestation. It could easily have not been placed in the earliest manuscripts for the sake of passing the copies around in circulation; the general style of Ephesians is less personable than some of the other letters, so by making the introduction much more general ("to the saints who are indeed faithful in Christ"), it makes the letter much more applicable in a direct sense to the readers of the time. It is best to include ἐν Ἐφέσῳ.
The apostle Paul is the author of the epistle to the Ephesians. Paul is an apostle Χριστοῦ Ἰησοῦ. Indeed, our phrase is a genitive of possession, which indicates Paul is an apostle belonging to Christ Jesus. This fact harkens back to the event when Saul is met by Jesus, becomes Paul and also an apostle alongside the Twelve.
The Apostle Paul is writing to the saints in Ephesus by the will of God. The preposition διὰ is a genitive of agency here, and it points to the fact that the Apostle Paul was made an apostle by God's will. It was by God's will that Paul became an apostle of Jesus Christ.
The apostle is writing to the saints literally "being" in Ephesus, or for a smoother translation the ones "who are" in Ephesus. The use of the dative article points to the dative of recipient, which indicates that the saints, whomever they may be, were the ones being written to. The prepositional phrase ἐν Ἐφέσῳ identifies that the recipients of the epistle are located in the place of Ephesus, because it is a dative of place or sphere.
There is a small problem here, however. The dative prepositional phrase ἐν Ἐφέσῳ is omitted by the best textual witnesses. Scholars are uncertain as to whether or not ἐν Ἐφέσῳ was part of the original text. If it is not, then the recipients are the saints who are indeed faithful in Christ Jesus . The dative prepositional phrase is widely attested despite not being located in the three earliest and best manuscripts (Papyrus 46 and the original א and B), being found in some relatively early translations (Syriac and Coptic) along with some other manuscripts (A D and the second corrector of א and B). Although we cannot say with indisputable certainty, we can be fairly certain that the document originally included ἐν Ἐφέσῳ, since the phrase has some early support (though not the earliest) and wide attestation. It could easily have not been placed in the earliest manuscripts for the sake of passing the copies around in circulation; the general style of Ephesians is less personable than some of the other letters, so by making the introduction much more general ("to the saints who are indeed faithful in Christ"), it makes the letter much more applicable in a direct sense to the readers of the time. It is best to include ἐν Ἐφέσῳ.
Paul's greeting extends grace and peace to his recipients from God. The genitive preposition ἀπὸ is probably one of source; therefore, grace and peace do not come from Paul, but from God who is their source. Paul uses the first person plural in the rest of the phrase ἀπὸ θεοῦ πατρὸς ἡμῶν, thus identifying himself with the recipients and recognizing that God is the Father of all of them. The conjunction καὶ is important, because it ties Jesus in with God. The conjunction is a coordinating conjunction, linking God and Jesus together. Jesus is connected with God as the source of grace and peace. Paul extends God's and the Lord's grace and peace to his recipients.
And just who is this Lord? The Lord is Jesus Christ. The use of the genitive by all the nouns here indicates simple apposition; hence, the nouns are referring to the same thing or person, which is Jesus Christ. Grace and peace sourced in God and the Lord--who is Christ Jesus--is extended to the recipients of the epistle.
Paul, an apostle of Christ Jesus by God's will, to the saints who are in Ephesus and faithful in Christ Jesus, grace to you and peace from God our Father and Lord Jesus Christ.
Paul identified himself as an apostle by God's will. He was made an apostle by the will of God. He is writing to the faithful saints located in Ephesus. He extends grace to his readers and peace from God. He is seeking to contact them, but he is also seeking grace and peace on their behalf. We should have this mentality among ourselves today. We need to be seeking grace and peace for others in all our communications. When there are issues to address, positively or negatively, we need to do it with grace and peace.
And just who is this Lord? The Lord is Jesus Christ. The use of the genitive by all the nouns here indicates simple apposition; hence, the nouns are referring to the same thing or person, which is Jesus Christ. Grace and peace sourced in God and the Lord--who is Christ Jesus--is extended to the recipients of the epistle.
Paul, an apostle of Christ Jesus by God's will, to the saints who are in Ephesus and faithful in Christ Jesus, grace to you and peace from God our Father and Lord Jesus Christ.
Paul identified himself as an apostle by God's will. He was made an apostle by the will of God. He is writing to the faithful saints located in Ephesus. He extends grace to his readers and peace from God. He is seeking to contact them, but he is also seeking grace and peace on their behalf. We should have this mentality among ourselves today. We need to be seeking grace and peace for others in all our communications. When there are issues to address, positively or negatively, we need to do it with grace and peace.
Ephesians Sentence by Sentence
I am going to do a series in which I walk through Ephesians sentence by sentence. I am not going verse by verse, because verses are sometimes fragmented sentences and therefore not entirely complete. I would rather look at whole sentences if I am going to study it, so that I can get more of a complete thought.
This study is going to be working out of Nesle Aland’s 27th edition of Novum Testamentum Graece. That’s correct—I will be translating Ephesians from the Greek New Testament sentence by sentence, and to the best of my abilities, I will discuss all relevant textual-critical and translational issues alongside grammatical-syntactical analysis with relevant application.
I will give the Greek text first, and I will give my translation second. Then, I will work through the grammar and syntax, and when necessary I will also work through some textual criticism. Finally, I will tie the entire discussion into a short devotion.
I hope that this practice will be a good learning experience for me and also for you. Enjoy.
This study is going to be working out of Nesle Aland’s 27th edition of Novum Testamentum Graece. That’s correct—I will be translating Ephesians from the Greek New Testament sentence by sentence, and to the best of my abilities, I will discuss all relevant textual-critical and translational issues alongside grammatical-syntactical analysis with relevant application.
I will give the Greek text first, and I will give my translation second. Then, I will work through the grammar and syntax, and when necessary I will also work through some textual criticism. Finally, I will tie the entire discussion into a short devotion.
I hope that this practice will be a good learning experience for me and also for you. Enjoy.
Drumming Philosophy 5: crash cymbals
When used correctly, crash cymbals are a nice touch to fills and accents in a song. When used incorrectly, cymbals are a nuisance to songs.
Harkening back to playing with moderation (less is more), it is imperative to sparingly use crash cymbals. Using crash cymbals too frequently causes the cymbals to lose value in that they no longer have their primary purpose—to highlight certain features of the song. Crash cymbals are for brightening the song with skillful accents. Crash cymbals are for bringing a fill to a climax. Crash cymbals are not, however, supposed to mark the beginning of every other measure. Using crash cymbals in such a fashion may have its use once in a while, but for every song, hardly. The problem is that when crash cymbals are over employed, they drown out the instruments in the song; they make the progression of the song muddy; and they detract from the fills and leads into other sections of the song, i.e., going from chorus to verse, for example. Utilizing crash cymbals too much makes the distinctions between sections less clear, it puzzles the flow of the song, and it mutes all else that is going on in the song. It is very unnecessary.
Drummers should learn to use a little sense of caution when deciding to excessively resort to hitting crash cymbals for these reasons. Drummers in a ministry setting should particularly be aware that over utilization of crash cymbals will cause the voices to not be clearly heard, which can cause problems in leading a church congregation in praise music.
Additionally, remember back to our first lesson—less is more. In this case, if crash cymbals are sparingly used, in the event that they are employed it actually sticks out as something highlighted in the song. However, if it had been overly used, nothing would have stuck out as out of the ordinary and the accent would be passed over as unimportant.
Crash cymbals are fun and explosive, but when they are used in an excessive manner they become destructive and irritating. Drummers should use the “less is more” principle in how they use crash cymbals in addition to how they use bass accents and fills.
Harkening back to playing with moderation (less is more), it is imperative to sparingly use crash cymbals. Using crash cymbals too frequently causes the cymbals to lose value in that they no longer have their primary purpose—to highlight certain features of the song. Crash cymbals are for brightening the song with skillful accents. Crash cymbals are for bringing a fill to a climax. Crash cymbals are not, however, supposed to mark the beginning of every other measure. Using crash cymbals in such a fashion may have its use once in a while, but for every song, hardly. The problem is that when crash cymbals are over employed, they drown out the instruments in the song; they make the progression of the song muddy; and they detract from the fills and leads into other sections of the song, i.e., going from chorus to verse, for example. Utilizing crash cymbals too much makes the distinctions between sections less clear, it puzzles the flow of the song, and it mutes all else that is going on in the song. It is very unnecessary.
Drummers should learn to use a little sense of caution when deciding to excessively resort to hitting crash cymbals for these reasons. Drummers in a ministry setting should particularly be aware that over utilization of crash cymbals will cause the voices to not be clearly heard, which can cause problems in leading a church congregation in praise music.
Additionally, remember back to our first lesson—less is more. In this case, if crash cymbals are sparingly used, in the event that they are employed it actually sticks out as something highlighted in the song. However, if it had been overly used, nothing would have stuck out as out of the ordinary and the accent would be passed over as unimportant.
Crash cymbals are fun and explosive, but when they are used in an excessive manner they become destructive and irritating. Drummers should use the “less is more” principle in how they use crash cymbals in addition to how they use bass accents and fills.
Friday, December 1, 2006
Drumming Philosophy 4: practice
Practice does not necessarily make perfect. Rather, practice with proper form makes perfect. What better way to practice, then, than to play along with CDs? It is a helpful tool to practice playing along with music on the stereo, because most of the time the tempo is steady, which helps in developing timing, and playing to the music helps to develop one’s sense of musical progression, song development and structure, which is absolutely essential for any performing drummer who must improv. Drummers should incorporate this method into their personal practice sessions, in addition to learning different styles and working on various solos.
Therefore, drummers should be practicing several hours a day. Professional musicians will often times practice up to eight hours a day, like Kenny G, for example, because there is always something to be learned and worked on, and the skills already learned can always be sharpened just a little bit more. However, most musicians do not get paid and make a living off of performing music, so not all musicians can afford such practice time. Well, to be blunt, if a drummer or any other musician for that matter wants to get better, he or she has no choice but to make time for practice.
It might help to set up a practice schedule of some sort, not only for the practice structure, but also a weekly plan. Mondays could be devoted to working on a new style. Tuesdays could be dedicated for soloing. Wednesdays could be set for playing with CDs. Thursdays could be used for going back to the basics and working on chops. Fridays can be a little bit of everything. Whatever works, do it. But if practice time does not seem to easily present itself, then make time for it and create a schedule.
Drummers in music ministries really ought to be practicing the music that they perform at home. I would not go so far as to say that team leaders should require practice sheets to be turned in by all members of the band to demonstrate that they have practiced outside of team practice and performance, but it should be expected. Drummers should feel confidant that they know what they are doing when they are playing, and the more they familiarize themselves with the style of the music they are performing, the better off they will be in practices, which will inevitably go much smoother for the team, and the better off they will be in performances where they fill in as emergency drummers and have to improv. Practice is absolutely essential for all drummers, even those who only perform in music ministries. It would therefore be wise for musical ministry drummers to purchase a few “worship music” albums and learn to play along with those in practice throughout the week if they want to be effective in their roles for their ministries.
Therefore, drummers should be practicing several hours a day. Professional musicians will often times practice up to eight hours a day, like Kenny G, for example, because there is always something to be learned and worked on, and the skills already learned can always be sharpened just a little bit more. However, most musicians do not get paid and make a living off of performing music, so not all musicians can afford such practice time. Well, to be blunt, if a drummer or any other musician for that matter wants to get better, he or she has no choice but to make time for practice.
It might help to set up a practice schedule of some sort, not only for the practice structure, but also a weekly plan. Mondays could be devoted to working on a new style. Tuesdays could be dedicated for soloing. Wednesdays could be set for playing with CDs. Thursdays could be used for going back to the basics and working on chops. Fridays can be a little bit of everything. Whatever works, do it. But if practice time does not seem to easily present itself, then make time for it and create a schedule.
Drummers in music ministries really ought to be practicing the music that they perform at home. I would not go so far as to say that team leaders should require practice sheets to be turned in by all members of the band to demonstrate that they have practiced outside of team practice and performance, but it should be expected. Drummers should feel confidant that they know what they are doing when they are playing, and the more they familiarize themselves with the style of the music they are performing, the better off they will be in practices, which will inevitably go much smoother for the team, and the better off they will be in performances where they fill in as emergency drummers and have to improv. Practice is absolutely essential for all drummers, even those who only perform in music ministries. It would therefore be wise for musical ministry drummers to purchase a few “worship music” albums and learn to play along with those in practice throughout the week if they want to be effective in their roles for their ministries.
Subscribe to:
Posts (Atom)
