Archive for the ‘Music Theory’ Category

Tips for Choir Members

Thursday, May 23rd, 2013

I have been directing choirs for over 32 years and I have been working with Choir Directors, Church Musicians and Church Choirs for almost 20 years. Here are some tips for the Choir, the musicians (and the Pastor), that may be an encouragement to your Choir Director… the Second Man.

1. Be Prompt! There is seldom ever a legitimate excuse for being late to Choir Practice (or Church for that matter)

2. No talking! When the Choir Director is working with a vocal section grant them the same courtesy that you would expect them to grant you.

3. Be Prepared! Bring a pencil (not a pen unless it is erasable) to make notes on your music.

4. Be an Encouragement! Say thank you to the Choir Director (and musicians) Bring them a pie or cookies on occasion, slip them a $20.00 bill or receive a special offering.

5. Compensate them! When your Church is in a financial position give them a salary. As your Church grows put them on full time staff. No one (except a Choir Director and Musicians) know how much time a good (key word – GOOD) Choir Director will spend in preperation for choir practice.

6. Communicate! Let your Choir Director know if you will not be available for a service or if you are going to miss Choir Practice

7. Do Your Best! Ecclesiastes 9:10 – enough said!!

8. Improve! As a musician or a singer, constantly challange yourself to do better. I advise every musician to have 3 other musicians in their life. One who is better than they are so they can learn to improve. One who is not as good as you are so you can be a mentor to them. One who is on your level so you can encourage each other and learn together.

9. Pray daily! Pray for your Pastor, pray for your Choir director, pray for your musicians pray for your fellow choir members and church members.

10. Be Sincere! Know who you are singing about, know why you are singing!

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Thank You Piano Lessons Registration

Thursday, February 28th, 2013

Before we get Started.

There are several things that you will need before we get started.

  • Piano (tuned, as I don’t do well with untuned pianos) or a keyboard. If you have a keyboard, it must have at least 61 keys (preferably 88 keys, but we can start with 61) and have weighted action keys.
  • Laptop with Skype (you can google Skype for help if needed) installed and a webcam and have high speed internet.
  • Email address for correspondence.
  • Printer – A lot of the information that I give you will be songs I have set to music from my computer. I will send them to you by email and you will need to print them out and keep them.
  • 3 ring Binder with clear sleeves You will need this to keep all the songs in that you are working on.
  • Church Hymnal We will be working on songs from the hymnal. I would rather you have the “Red Back” Church Hymnal, but if your church uses a different hymnal please let me know.
  • Paper and Pen to take notes each lesson.

In preparation for the first lesson, please answer the following questions. Hit submit when you are finished.

Do you have a piano at home?

yes no 

Tell me where you go to church.


How often do you play in church?


What instruments do you play?

How long have you taken lessons?

What was the name of your lesson book?
If none just type none in the box)


What was the last level book that you completed?


What keys can you currently play in?


On a scale of 1 to 5 with 1 being the lowest and 5 being the highest, What is your level of commitment to work to develop your talent for use in His Service?

1 2 3 4 5 

What is the easiest way to contact you?


List 10 songs in the Hymnal that you would be comfortable playing without practice if you were called on to play for the congregation. (THIS IS YOUR COMFORT ZONE


List 5 songs from the Hymnal that you could probably play if you were given just a little time to practice before hand. (THIS IS YOUR CLOSE ZONE)


List 3 songs from the Hymnal that is sung at your church that if you were ask to play for the congregation that would be a definite NO. (THIS IS YOUR CONQUERING ZONE



captcha

Type the code above into the box below

During your first lesson, be prepared to play me a couple of songs that you are very familiar with. If you read music, I will want to hear you play a song by notes so that I will be aware of your reading ability. Please do not be intimidated or afraid of messing up. I cannot help you fix mistakes if I do not hear them. Remember, I am here to help you!

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Piano Lessons Via Skype

Thursday, February 28th, 2013

WHATSOEVER THY HAND FINDETH TO DO, DO IT WITH THY MIGHT
Donna Kerns
Thanks for your interest in the Piano Lessons via SKYPE. This has taken some time to develop and set up. I am sure that there will be a few quirks to work out with each student, but we will deal with these on an individual basis. Here is a brief summary of how this will work.

At this time I am only accepting students who already play the piano, whether by note or ear. I will be working on improvisation, transposing, expressive playing, arranging, and accompaniment variations. I am looking for people who are willing to sacrifice a little time to take their piano playing to a higher level. This can only be obtained thru diligent practice. Please do not sign up for this if you are not sincere about going through with it. I am limited on the number of students I can have, and I want to help everyone that I can.

I will only be teaching Church Music. Church Music is a field of its own. There are so many variables as to what is needed to be a good church musician. I am very disappointed in the lack of this type of teaching from typical piano teachers. The longer I teach and work with church pianist who have taken lessons, I am finding the reason most teachers never teach these necessities is they themselves have a lack of knowledge of how to do this efficiently. I talk to people weekly, who have spent 4-7 years and thousands of dollars on piano lessons, and still can’t play songs from the hymn book. I say SHAME ON THAT TEACHER!!!!!!

How Will This Work?
The lessons will be taken by Skype. Upon signing up, you will receive 10 thirty minutes lessons. The lessons will start based on your current level of piano playing and will advance from there. In each lesson we will add new techniques which will have to be developed before going on to the next lesson. We will learn to apply these techniques in different keys as well. Therefore, it does not necessarily mean that the lessons would be on a weekly time frame. I don’t think that you should need more than 2 weeks to become familiar with the new techniques. So realistically speaking, you would have a lesson every 1 – 2 weeks. Because of this and also because of my schedule, the times will be flexible.

What Will I Need To Get Started?
There are several things that you will need.
Piano (tuned, as I don’t do well with untuned pianos) or a keyboard. If you have a keyboard, it must have at least 61 keys (preferably 88 keys, but we can start with 61) and have weighted action keys.
Laptop with Skype (you can google Skype for help if needed) installed and a webcam and have high speed internet.
Email address for correspondence.
Printer – A lot of the information that I give you will be songs I have set to music from my computer. I will send them to you by email and you will need to print them out and keep them.
3 ring Binder with clear sleeves You will need this to keep all the songs in that you are working on.
Church Hymnal We will be working on songs from the hymnal. I would rather you have the “Red Back” Church Hymnal, but if your church uses a different hymnal please let me know.
Paper and Pen to take notes each lesson.
In preparation for the first lesson, please copy and paste the following questions along with the answers in an email and send them to me at dkerns1964@yahoo.com
Do you have a piano at home?
Tell me where you go to church.
How often do you play in church?
What instruments do you play?
How long have you taken lessons?
What was the name of your lesson book?
What was the last level book that you completed?
What keys can you currently play in?
How hard are you willing to work to develop your talent for use in His Service?
What is the easiest way to contact you?
List 10 songs in the Hymnal that you would be comfortable playing without practice if you were called on to play for the congregation. (THIS IS YOUR COMFORT ZONE)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
List 5 songs from the Hymnal that you could probably play if you were given just a little time to practice before hand. (THIS IS YOUR CLOSE ZONE)
1.
2.
3.
4.
5.
List 3 songs from the Hymnal that is sung at your church that if you were ask to play for the congregation that would be a definite NO. (THIS IS YOUR CONQUERING ZONE)
1.
2.
3.
During your first lesson, be prepared to play me a couple of songs that you are very familiar with. If you read music, I will want to hear you play a song by notes so that I will be aware of your reading ability. Please do not be intimidated or afraid of messing up. I cannot help you fix mistakes if I do not hear them. Remember, I am here to help you!

WHAT WILL IT COST?
This is the question that you are waiting for. I have tried to be fair about the pricing. I do not want to take advantage of any student, neither do I expect them to take advantage of my services. Remember this will not be your typical piano lesson that you get from the local music store.
There is a one time registration fee of 25.00
The charge for 10 thirty minute lessons is 200.00 That is 20.00 per lesson. If when you have finished 10 lessons, you feel that you want to continue advancing with another 10 lessons the cost would be another 200.00 with the same payment options.
There are 2 payment options.

The first option is to pay the registration (25.00) and half of the lesson fee (100.00) up front. The balance of 100.00 would be split and paid at 10.00 each time you take a lesson. So you would pay a total of 125.00 up front, and 10.00 with each lesson. (Remember that the lessons will not necessarily be every week).


Pay $100.00 + $25.00 registration fee + $10.00 per lesson






The other option is to pay it all upfront. If you choose this format, I will waiver the 25.00 deposit. This would cost you just the 200.00 for the lessons.


Pay $200.00 in full waive registration fee






Some would question why there is not just a fee per lesson. I am looking for sincerely interested students who have a desire to serve God with the talents that He has given them and are willing to work to make that happen. I am not looking for someone to fill a slot to build my number of students to a maximum. I am not looking for parents who are making their children take piano to gain a step up the social ladder. That would be a waste of your money and my time. If a per lesson payment option is available then it is easy to say, well I haven’t practiced so I will just wait until later, or I don’t have the money this week so I will just wait thus you don’t practice. At this point, practice is neglected and lessons are sporadic eventually ending in failure.

So I have thought it out and the best scenario is to set the lessons in blocks of 10. Each set of 10 lessons will cost 200.00. Paying half of that up front will show that you plan to work hard and finish them, and not just take a couple of lessons and leave me hanging. It will also be an encouragement to you to go on because you have already invested that money into the lessons. I guarantee that I can help you advance your playing by ear, as well as teach you to improvise your music.

The only other cost you might incur would be if I felt that a scales and keys book, or another piano book would be advantageous to your learning. These would range from 5.00 to 15.00 and would not be needed before the first lesson.

If you have read this and are still interested in the lessons, please let me know. We are hoping to have everything set up to go live with the lessons by the first of April. For starters I am only going to have 10 slots available. They will be available on first come basis.

Thanks,
Donna Kerns
Making Music for the Master

You can reach me at the following:
By an IM on fb
Dkerns1964@yahoo.com
706-625-0906 Home
706-307-9828 Cell
These numbers are also available on my facebook about me page.

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Birthday Special

Friday, January 11th, 2013

Happy Birthday to my Darling wife Donna. I will not reveal her age, but this is the last year in her… nah… just won’t do it. But in honor of her Birthday (NEXT year) and as a Birthday present for her this year, If you would like to give her a gift AND get something in return, for this weekend only, you can download her piano projects for only $5.00 each!!

Click Here to get Peaceful Praise for only $5.00
Click Here to get Powerful Praise for only $5.00
Click Here to get Prayerful Praise for only $5.00

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How Do You Know How To Change Chords In Music

Saturday, April 28th, 2012

For Free Guitar lessons and get 10 high quality video lessons that teach you step-by-step how to play some of the most impressive skills on guitar.

Simply go to

http://jamorama.churchchoirmusic.com


One of the most frequently asked questions by beginning and even intermediate guitarist and musicians is how do you know when to change chords and how do you hear chord changes.

That is a very important subject not just for guitarist but for all musicians.

The best way to hear chord changes is to recognize chord progressions.

It helps to understand a little bit of chord theory and the Nashville Numbering System. Without going
into great detail or a full explanation of the Nashville Numbering System here is a general overview.

The Nashville Number System is a chord charting system that makes charting music and transposing keys easier and quicker. With this system, the scale degrees of the major diatonic scale, the do, re, me scale that every musician has heard of is represented by numbers.

This is a movable do system in the sense that whatever key you are starting in becomes the root or the do or in the case of the Nashville Numbering System the 1. The Nashville Numbering System or NNS as it is sometimes referred to uses numbers to represent the different letters in the scale. The major scale using the Nashville Number System would be 1-2-3-4-5-6-7-1.

The key that you are in will determine the position of the 1 thus dictating what the 2, 3, 4, 5, 6, and 7 are for that particular key.

Take for instance the scale or key of C which has no flats or sharps, the C scale is C-D-E-F-G-A-B-C. In the NNS we would simply change these letters to the numbers 1-2-3-4-5-6-7-1.

C is the first scale degree of the diatonic scale for the key of C. The first tone of the scale is also called the tonic because it is the tonal center or final resolution tone. The tonic tone is the pitch upon which all other pitches in a specified key are referenced.

So in the Nashville Numbering System our Tonic tone or the first note of any given key becomes the 1.

Looking at the key of C, the notes in order are C-D-E-F-G-A-B-C. Since C is the first tone in the C scale, the second tone would be D which is the 2, E the third tone is the 3, F the 4, G the 5, A the 6 and B the 7. In most cases the 1, 4, 5 and are major chords, the 2, 3 and 6 are minor chords and the 7 is a diminished chord.

Most songs utilize 3 main chords, the 1, the 4 and the 5. The 6 of the key is usually a minor chord and is also the relative minor. Every major key has a relative minor and it is always the 6 of the scale. For instance the key of G which has 1 sharp, F#, the G scale would be G-A-B-C-D-E-F#-G. The 6 or relative minor of the key of G would be Emin.

Now on to the subject of chord changes and chord progressions. A chord progression of 1 – 4 – 5 in the key of C is going to use the C chord which is our 1, the F chord which is our 4 (because it is the 4th tone of the scale C D E F) and G which is our 5.

Now listen to that progression or chord change from the 1 to the 4 in the key of C. Now listen to that same progression or chord change from the 1 to the 4 in the key of G. Hear that the interval is the same from 1 to 4 in both keys. You will find that a 1 – 4 progression will sound the same as far as the interval from 1 to 4 in every key.

Guitar players have an advantage over piano players we can use a little device called a capo, so if you learn the 7 chords in the key of C and the 7 chords in the key of G you can play any song in any given key.

The 2, 3 and the 6 chord you will need to know the minor chord so for D, A, E and B you need to learn the minor chords. E and A are the 3 and 6 respectively for the key of C and B and E are the 3 and 6 respectively for the key of G.

So how do you know when to change chords and how do you hear chord changes? You listen. Study those progressions, learn what a 1 to a 4 progression sounds like. The key is not important at first, just learn to identify those intervals from a 1 to a 4, 1 to a 5, 1 to a 2 passing to the 5 and so on.

If you will learn and study those intervals, those progressions then you can sit down and listen to a song that you have never heard before and chart that song using the Nashville Numbering System and turn around with very little practice and play that song like you’ve played it all your life.


For Free Guitar lessons and get 10 high quality video lessons that teach you step-by-step how to play some of the most impressive skills on guitar.

Simply go to

http://jamorama.churchchoirmusic.com

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I Have Not Forgotten Sheet Music

Wednesday, March 21st, 2012
I Have Not Forgotten Sheet Music

I Have Not Forgotten Sheet Music

I Have Not Forgotten was written by two friends of mine, Lance Carpenter and Ricky Atkinson. It was song of the year in 2005 and was recorded by the Inspirations. Many choirs and other Quartets/Trios have used this great song and I’m sure you would get a blessing out of it too.

Click Here
or go to http://www.churchchoirmusic.com/afcommerce/getproduct.php?pid=412 to get your copy of the Sheet Music for “I Have Not Forgotten”.

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He’s Alive Sheet Music

Saturday, March 17th, 2012

He's Alive Sheet Music

He's Alive Sheet Music


This song written by Ernie Dawson of Heirline is a wonderful reminder that the Lord Jesus is not dead, but he is alive and the tomb is empty. This is a great song to use a soloist with and have the choir back them up. Wonderful song to use at Easter

Click Here to get >>>> He’s Alive Sheet Music <<<< Click Here

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Key Signatures and Major and Minor Scales

Wednesday, September 7th, 2011

Key Signatures – what are they? What do they tell us? How do you identify them? These are some questions that all musicians, guitarists, pianist, singers and theorist alike will ask. There are 15 major keys and 15 minor keys all identifiable by the key signature found in every piece of music. Each key, both major and minor, have corresponding scales. The key signature is the compilation of flat or sharp signs that are found at the beginning of a musical score between the musical clef and the time signature that identify which notes in the musical scale are flatted or sharped to signify the key of the music and the musical scale.

Each major key has a corresponding relative minor key that is identified by the same number of sharps or flats, so how do you know if the key is major or minor? You have to understand a little bit of music theory to fully comprehend and recognize the difference between major and relative minor keys. The easiest way to explain this is to examine the key of C which has no sharps or flats in its key signature. The scale for the key of C is C D E F G A B. Count up from the C (including the C) to the 6th note in the scale and the note is A. If a piece of music ends on the A it is most likely the key of A minor. Minor keys will have a sad, mournful feel. The determining factor of major or relative minor key is going to be the tonic of the scale. If the tonic of the scale is C or the 1, the key is C major, if the tonic of the key is A or the 6, then the key will be minor.

There are also what we call enharmonic key signatures. The major enharmonic keys are B and Cb, F# and Gb and C# and Db. The minor enharmonic keys are G# minor and Ab minor, D# minor and Eb minor and A# minor and Bb minor. Enharmonic keys sound the same but are written differently. For instance, the keys of B and Cb sound exactly the same but B is written with 5 sharps where as Cb is written with 7 flats. The B major diatonic scale is B C# D# E F# G# A#. The Cb major diatonic scale is Cb Db Eb Fb Gb Ab Bb.

If you examine the other enharmonic keys and scales you will see the relationship between each enharmonic key.

All major diatonic scales are going to follow the same pattern – whole step, whole step, half step, whole step, whole step, whole step half step or w, w, h, w, w, w, h. Take for instance the C scale, C D E F G A B C. From C to D is a whole step. From D to E is a whole step. From E to F is a half step (on the piano keyboard there is no note between the E and the F.) From F to G, G to A and A to B are whole steps. From B to C is a half step (as with the F to G there is no note between them.)

The Pure or Natural minor scale follows a similar pattern to the major diatonic scale. Simply start with the 6 of the major diatonic scale. Using the key of A minor, which is the relative minor of the key of C, we would use the C scale and count up 6; 1-C 2-D 3-E 4-F 5-G 6-A. Start on this 6th note of the scale and continue the pattern like this:

w h w w h w w.

There are also two additional minor scales that are modified versions of the Pure minor and they are the Harmonic minor scale and the Melodic Minor scale. For the purpose of this article we will be listing the Major diatonic and Pure minor scales.

The order of sharp or flats is always going to follow a certain pattern as well. The order of sharps will always be F C G D A E B. The order of flats will always be B E A D G C F. The best way that I have found to memorize or remember the order of sharps and flats is with a mnemonic acronym. Sharps – Father, Charles, Goes, Down, And, Ends, Battle. Associate that phrase as being sharp or cool, Father Charles Goes Down And Ends Battle, that is pretty sharp. On the other hand, to remember flats, just reverse that phrase Battle Ends And Down Goes Charles Father, that is bad or flat.

Following is the major and relative minor keys and scales.

C and A minor – identified with no sharps or flats.
The C major scale is C D E F G A B
The A minor scale is A B C D E F G

G and E minor – identified with 1 sharp – F (Father)
The G major scale is G A B C D E F#
The E minor scale is E F# G A B C D E

D and B minor – identified with 2 sharps – F and C (Father Charles)
The D major scale is D E F# G A B C#
The B minor scale is B C# D E F# G A

A and F# minor – identified with 3 sharps – F C and G (Father Charles Goes)
The A major scale is A B C# D E F# G#
The F# minor scale is F# G# A B C# D E

E and C# minor – identified with 4 sharps – F C G and D
(Father Charles Goes Down)
E major scale E F# G# A B C# D#
C# minor scale C# D# E F# G# A B

B and G# minor – identified with 5 sharps – F C G D and A
(Father Charles Goes Down And)
The B major scale is B C# D# E F# G# A#
The G# minor scale is G# A# B C# D# E F#

F# and D# minor – identified with 6 sharps F C G D A and E
(Father Charles Goes Down And Ends)
The F# major scale is F# G# A# B C# D# E#
The D# minor scale is D# E# F# G# A# B C#

C# and A# minor – identified with 7 sharps – F C G D A E B
(Father Charles Goes Down And Ends Battle)
The C major scale is C# D# E# F# G# A# B#
The A# minor scale is A# B# C# D# E# F# G#

F and D minor – indentified with 1 flat – B (Battle)
The F major scale is F G A Bb C D E
The D minor scale is D E F G A Bb C

Bb and G minor – identified with 2 flats – B E (Battle Ends)
The Bb major scale is Bb C D Eb F G A
The G minor scale is G A Bb C D Eb F

Eb and C minor – identified with 3 flats – B E A (Battle Ends And)
The Eb major scale is Eb F G Ab Bb C D
The C minor scale is C D Eb F G Ab Bb

Ab and F minor – identified with 4 flats – B E A D
(Battle Ends And Down)
The Ab major scale is Ab Bb C Db Eb F G
The F minor scale is F G Ab Bb C Db Eb

Db and Bb minor – identified with 5 flats – B E A D G
(Battle Ends And Down Goes)
The Db major scale is Db Eb F Gb Ab Bb C
The Bb minor scale is Bb C Db Eb F Gb Ab

Gb and Eb minor – identified with 6 flats – B E A D G C
(Battle Ends And Down Goes Charles)
The Gb major scale is Gb Ab Bb Cb Db Eb F
The Eb minor scale is Eb F Gb Ab Bb Cb Db

Cb and Ab minor – identified with 7 flats – B E A D G C F
(Battle Ends And Down Goes Charles Father)
The Cb major scale is Cb Db Eb Fb Gb Ab Bb
The Ab minor scale is Ab Bb Cb Db Eb Fb Gb

For some reason, at least for me, some people have trouble memorizing sharps, but memorizing flats just seems to come more natural. An easy way for me to remember sharps is to take the key of the sharp – for instance B which has 5 sharps, flat it – B flat, I know that Bb has 2 flats (I use Bb quiet frequently) subtract 2 from 7 – 5… B has 5 flats. This works for all the sharp keys. The key of Eb has 3 flats – 3 from 7 equals 4 – E has 4 sharps.

I hope this helps to clarify and understand key signatures and major diatonic and natural minor scales.

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The Story Behind The Song – I Know Whom I Have Believed

Saturday, September 3rd, 2011

This beloved hymn written by Major Daniel Webster Whittle, the exact date of his composition is not known, but it was originally published in 1883 in Gospel Hymns No. 4. It is one of about two hundred hymns composed by Major Whittle as he was known. It is one of his most well known hymns, one other popular hymn that he wrote is “There Shall Be Showers of Blessings” If you look at these two hymns for the authorship you may be a bit confused, you will see the name El Nathan on the left hand side indicating that El Nathan wrote the Lyrics, and you will see James McGranahan on the right hand side, indicating that he wrote the music. El Nathan is a pseudonym – a fictitious name used by a person or sometimes a group, which Daniel Webster Whittle used. He also used the pseudonyms Elias Nathan and W.W.D.

Daniel Webster Whittle was born in Chicopee Falls, Massachusetts on November 22, 1840. He was named after the great American politician Daniel Webster who was greatly admired by Whittle’s father. Little is known of his childhood. His father had heard Daniel Webster, the great statesman, make a stirring speech. Daniel Webster in this speech said “It is my living sentiment, and by the blessing of God it shall be my dying sentiment — independence now and independence forever!”

This would later inspire his parents to name him after Daniel Webster in hopes that he would become a great leader in the fight for freedom as well. His mother is said to have been a godly woman who instilled in him and his three brothers strong Christian principles.

Daniel Whittle worked as a cashier for Wells Fargo bank as a teenager and into his early twenties. He was not a wicked man at first, on the contrary, he was quiet religious. He surrendered his life to the Lord one night while acting as a night watchman at the Wells Fargo Bank. He went into the vault, got down on his knees and gave his surrendered his life for the Heavenly Father to use as he would. He even became the Sunday School Superintendent at the great Tabernacle in Chicago where he would meet his wife, Miss Abbie Hanson. He would join the army in 1861 and be commissioned as a 2nd Lieutenant. In the summer of 1862, August as the Civil War began to intensify his unit was called to go South. August 22, 1862, the night before his departure, he and Abbie were married. It would be a year before they would be reunited. In his own words he tells of his departure, “My dear mother was a devout Christian, and parted from me with many a tear, and followed me with many a prayer. She had placed a New Testament in a pocket of the haversack that she’d arranged for me”

This little New Testament would pay a vital part in his rededication. Whittle rose to the rank of Major and while leading a charge, actually filling in, and he was wounded in his sword arm which led to the amputation of his arm and a stay in a prisoner of war camp. It was while he was in this POW camp that out of boredom he began to search for something to read. He found in his personal effects the little New Testament that his Mother had placed there. He read through the New Testament in a matter of days and started through it again. One night the nurse woke him up and told him that one of his men was dying and had been begging for someone to pray for him. The nurse told Major Whittle that he (the nurse) was a wicked man and could not pray. Major Whittle confessed that he too was wicked man with many sins in his own life and could not pray either. The nurse said that he thought Major Whittle was a Christian because he had observed him constantly reading the Scripture and the Major Whittle did not cuss as the other men. The nurse begged Major Whittle to at least accompany him to see the boy as he did not want to return alone. Moved with compassion, Major Whittle reluctantly agreed. Here, in Major Whittle’s own words, is what took place that night: “I dropped on my knees and held the boy’s hand in mine. In a few broken words I confessed my sins and asked Christ to forgive me. I believed right there that He did forgive me. I then prayed earnestly for the boy. He became quiet and pressed my hand as I prayed and pleaded God’s promises. When I arose from my knees, he was dead. A look of peace had come over his troubled face, and I cannot but believe that God who used him to bring me to the Savior, used me to lead him to trust Christ’s precious blood and find pardon. I hope to meet him in heaven.”

Ten years later at the encouragement of his close friend D.L. Moody he would enter into evangelism. Some of his first songs were set to music by Phillip Bliss. Whittle attended and participated in the memorial service for Phillip Bliss. Later he would work closely with the man who would set to music many of his later songs, and who set the music to this song, “I Know Whom I Have Believed”, James McGranahan. Major Whittle died March 4, 1901 after having written over 200 hymns.

The refrain of the hymn is a direct quotation from the King James Bible in II Timothy 1:12 “…for I know whom I have believed, and am persuaded that he is able to keep that which I have committed unto him against that day.” From the standpoint of theology and the content of this hymn, there are many things that could be considered, the first two verses clearly fall into the study of Soteriology, the doctrine of Salvation. The third verse could be looked at from two different ways, Pneumatology, the doctrine of the Holy Spirit, and Harmitiology, the doctrine of sin. The last verse could be explored using Eschatology, the doctrine of last things. The doctrine of Grace could not be overlooked from the standpoint of the song as a whole, neither could Christology be ignored. We will look briefly at all of these doctrines contained within this great hymn.

First, consider the refrain of the hymn, as already mentioned, it is a direct verbatim quotation (excluding the conjunction “But”, the Scriptures says for) from II Timothy 1:12 from the King James Version of the Scripture. Volumes could be written in defense of the use of the King James Bible, but suffice it to say, that the King James Bible is the Word of God for the English speaking people. It rests upon the Masoretic text of the Old Testament and the Greek Textus Receptus text of the New Testament.

In the first verse, there are two Biblical words that are doctrines within themselves, the word Grace and the word Redeemed. Grace has adequately been defined in an acrostic as God’s Riches At Christ Expense. Grace is God’s unmerited favor toward lost humanity. The word grace appears 170 times in 159 verses of our King James Bible. It first appears in Genesis 6:8 where Noah found grace in the eyes of the Lord it comes from the Hebrew word khane and means favor, pleasant and precious. The first time it appears in the New Testament is in Luke 2:40 where Jesus as a child grew in wisdom and the grace of God was upon him. They are two different Greek words used for grace in the New Testament, euprepeia, and charis. Euprepeia is used only once, in James 1:11 and it speaks of appearance and beauty. All of the other New Testament appearances of grace is the word charis and it speaks of “the merciful kindness by which God, exerting his holy influence upon souls, turns them to Christ, keeps, strengthens, increases them in Christian faith, knowledge, affection, and kindles them to the exercise of the Christian virtues”

The other Bible word used in the first verse of “I Know Whom I Have Believed” is the word Redeemed and it appears 142 times in 119 verses in some form of redeem, or redeemed. In the New Testament it has the meaning of to buy as in the marketplace. You and I were on the slave market of sin, but the Lord Jesus paid the price for our redemption with his own blood and purchased us, as the verse says “for his own”.

Emery Bancroft defines regeneration as “the communication of the divine nature to man by the operation of the Holy Spirit through the Word.” Major Whittle is saying in these verses what many Christians have declared, “I don’t know how or why he did it, I just know he did it.” You and I may not understand all that God has provided for us through regeneration, but the blind man explained it very well when he said “I was blind, but now I see”

In the lines of the third verse Major Whittle makes it clear that it is the Spirit of God, the Holy Spirit, that convinces man of sin. For man to be converted, he must be convicted of his sin and convinced of his need for Salvation and upon his confession he will be converted. The Bible declares in John 16:8 that when he (the Holy Spirit) is come, “he will reprove the world of sin, and of righteousness and of judgment:”6 The word “reprove” means to convict and to convince and that is what the Holy Spirit does, he convicts and convinces men of sin.

The lines “Revealing Jesus through his Word” and “Creating faith in Him” takes us to the book of Romans chapter 10 verse 13 where the Bible says “so then faith cometh by hearing and hearing by the Word of God.7 Adam Clarke in his commentary on this verse said: “Preaching the Gospel is the ordinary means of salvation; faith in Christ is the result of hearing the word, the doctrine of God preached. Preaching, God sends; if heard attentively, faith will be produced; and if they believe the report, the arm of the Lord will be revealed in their salvation.”

The Lord Jesus is revealed through the preaching of the Scriptures. Creation Conscience and the Cross are the three great witnesses of the Lord Jesus. Rom 1:19 “Because that which may be known of God is manifest in them; for God hath shewed it unto them. Rom 1:20 For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead; so that they are without excuse:”
Man’s Conscience testifies to the fact that there is good and evil and that there is a God “…that which may be known of God is manifest in them…”. God has put in the conscience of every man the fact that there is a higher power, and this knowledge of the conscience, this light, this witness, testifies to the fact that there is a God – but this alone will not save a man. Creation itself testifies to the fact that there is a higher deity, there is a God. “For the invisible things of him from the creation of the world are clearly seen…” Anyone with a rational mind knows that this earth, the universe, this cosmos did not just happen, this creation testifies to that fact. But yea, again, this testimony, this light, this witness will not save a man. It is only by the testimony and witness of the Cross that a man or woman may be saved, and that testimony is revealed in the Word of God. Some have said in disbelief “how could a loving God send someone in Africa to Hell who has never heard the Gospel?” The answer could be that if that person rejects the testimony of conscience and rejects the testimony of creation, why do you think he would respond any differently to the testimony of the cross. If however they were to accept the testimony of the conscience and creation, God can and often does send a missionary thousands of miles with the message of the witness of the cross so that man may hear the Word, believe and be saved.

Verse four is a testimony of Daniel Whittle of his faith in the Lord Jesus, that no matter what the days may hold, that he will see the face of God.

In verse five we see hints of eschatology, “I know not when my Lord may come” this is a direct reference to Matthew 24:36 and Mark 13:32, of that day and hour knoweth no man. We do not know when he is coming, but we can rest assured that he is coming.

The main subject of the song is assurance. Salvation is not something that you hope for, Salvation is not something that you try for, it is not something that you work for, the work is already done and you can know that you are saved. The Bible declares in 1Jn 5:13 These things have I written unto you that believe on the name of the Son of God; that ye may know that ye have eternal life, and that ye may believe on the name of the Son of God. I’m glad I can say along with Paul and with Major Daniel Webster Whittle “I KNOW whom I have believed”!

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Friday, September 2nd, 2011

I once heard a wise Preacher and great Chorister say “Every bird sings except a buzzard!” I don’t really know if that is the truth in regards to birds and buzzards, but the Bible does encourage and admonish us to sing. Everyone does not have the knowledge and ability to play an instrument but everyone was born with an instrument… the instrument of their voice. Everyone can sing; some better than others, but everyone can sing and everyone who sings can benefit from Singorama. Singorama is an interactive Audio course that you can purchase and download to your computer. With Singorama you will not only learn learn to sing with professional precision, you will learn many other vital aspects of singing that will bring your voice to a professional standard. Singorama promises to increase your vocal range by as much as 1 octave. The Singorama system teaches much more than simple warm up exercises, it delivers positive results that will get the best performance possible out of your vocal range. You will not only increase your vocal range and improve your vocal quality, you’ll learn such important professional techniques as how to hold a microphone, how to choreograph stage movements and improve you stage presence, you’ll even learn how to deal with stage fright. When you have successfully completed the Singorama course you will not only sing like a pro, you’ll look like one too!

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