Jay Guin and Ryan Christian of Richland Hills reveal how to infiltrate and divert

See how the Purpose Driven Cult "lets the owners graciously depart."

See Danny Dodd and Royce Ogle on Legalism

John T. Willis 2. "Sing" is vocal; "make melody" is instrumental. Psalms 33:2-3; 144:9; 149:1, 3 make this crystal clear. Amos 5:23 further verifies this reality.  People forget that God turned Israel over to worship the starry host because of musical idolatry at Mount Sinai. The Levites were under the KING and the COMMANDERS of the army: they made war and not worship. We will examine these passages in context.

Jay Guin is a good lawyer: he has come up with a new foundational authority for instrumental music.  However, his premise that God commanded the king, kingdom, temple, animal sacrifices and the associated instrumental noise is wrong: there is no historic scholarship among the church fathers that God commanded that which was the result of "firing" God and demanding a human king.

Beyond the Pitch Pipe

by Ryan Christian
September - December, 2010

I asked Ryan Christian, the worship minister for The Hills Church of Christ, to write an article explaining how a church considering the addition of an instrumental worship might go about it. After all, most of us in the Churches of Christ know nothing at all about how to conduct an instrumental service!

There are, of course, many ways that a church can offer an instrumental service, and the model used by The Hills is but one. It is the one found most commonly in the largest and fastest growing congregations.

As you read this, please consider —
  • “Band” does not equal “entertainment.” I’ve visited Ryan’s worship services, and they are nothing like a rock concert. They are intentionally and obviously worship services: congregational singing, accompanied by instruments.
No history exists that gives music any more honor than entertainment which evaporates when the sound ends.  Music was used to train warriors but only performed by the slaves or lower classes for the lower classes.  The ONLY Worship word used by Christ in the church in the wilderness, in endorsing the synagogue, by Paul, Peter or the historic church for centuries was to READ the Word of God as the ONLY way we just-mortals can know anything about God. Music cannot be worship because we do NOT give heed to Christ and his words but the musical-mediator standing in the holy places CLAIMING to lead you into God's presence.  Worship is in the PLACE of the human spirit as it holds the thought and thoughts in the human spirit. There was no "singing" until after Constantine and no "congregational singing" until after John Calvin.
  • It’s no more wrong to be selective in choosing instrumentalists who lead worship as in being selective in hiring a preacher or choosing a song leader — or selecting elders. Not everyone is gifted to lead. I’ve been in a cappella services led by a poorly chosen praise team or by a poorly chosen song leader, and it makes worship very difficult.
None of these are listed in the gifted men in Ephesiahs 4.  Those men were tasked specificially to shut down the craftsmen or sophists meaning all of what Jesus called the hypocritic performers. Only then can you hold synagogue or school (only) of the Word of Christ (Only).  Peter marks anyone who would further expound as a FALSE TEACHER.
  • Musical styles and the kinds of instruments used will vary depending on the congregation, the surrounding community, and the talents God gives the church. Your church doesn’t have to be like any other church. It does need to be very thoughtful about how it puts its services together in light of these things. I believe Ryan’s article will help churches considering an instrumental worship anticipate some of the practical problems they’ll face and give them a leg up in solving those problems.
Again, missed the direct command from the wilderness onward. Simple Simon can't hallucinate "music" in A School of the Words of Christ in the Prophets and made more certain by Jesus Christ.  No human HAS any thing with which the Word of God is ENHANCED. Shame.

1Pet. 4:11 If any man speak, let him speak as the oracles of God;
        if any man minister, let him do it as of the ability which God giveth:
        that God in all things may be glorified through Jesus Christ,
        to whom be praise and dominion for ever and ever. Amen.

You would be surprised how UNSILENT Jesus Christ has been: it is singing silly praise tunes with complex harmony which fractures the spirit which causes Jay not to have read the LOUD VOICE.

Laleo A. talk, chat, prattle,generally talk, speak,

OPPOSITE poiesis FABRICATION  A. , creation, production, opp. praxis (action, tōn melōn p.Id.Grg.449d; “mimēsis
2. of Poetry, tōn dithurambōn p., tēs tragōdias, tōn epōn,
        Melos B. esp. musical member, phrase: hence, song, strain, of lyric poetry,

2. music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c; Krētikon, Karikon, Iōnikon m.,
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos

II. representation by means of art, Pl.Sph.265b, R.598b, al.; esp. of dramatic poetry, Arist.Po.1447a22, al.

OPPOSITE poiesis FABRICATION  A. , creation, production, (action, tōn melōn p.Id.Grg.449d; mimēsis
2. of Poetry, tōn dithurambōn p., tēs tragōdias, tōn epōn,

OPPOSITE:  Melos B. esp. musical member, phrase: hence, song, strain, of lyric poetry,
OPPOSITE: 2. music to which a song is set, tune, Arist.Po.1450a14; opp. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c; Krētikon, Karikon, Iōnikon m.,
OPPOSITE: 3. melody of an instrument,
  • Of course, not every church needs to be instrumental. But for those churches considering adding an instrumental service, I strongly recommend visiting churches with a history of doing it well and spending some time with the worship leaders to learn all you can.
Jay Guin
Revelation 18 Christ the Alpha and Omega makes certain that NO CHURCH OF CHRIST can possibley have instruments to "do hard work."   He excises the speakers, singers, instrument players, craftsmen and brides performing Hieros Gamos.  As in Amos, Christ sees the music in the Temple and "will not pass that way again." He removes the lamps or seven spirits of knowledge.  Then, in Revelation 19 the Church will be FREE of the instruments because false teachers NEVER make that decision. Music is the mark that Jesus has been there and has gone. The godly members are raptured out by the RAPING music and do not look back at their lost "investment."

Jesus called the Scribes and Pharisees (writers and rhetoricians), Hypocrites. In Isaiah and Ezekiel Christ looking way down in time called them slickk speakers, singers and instrument players. They would be the MARK of people who bought and sould religion and neither had any intention of believing it.

Jesus also accused the Pharisees of REWRITING their doctrine to seduce more people to them. The result is that they ate up the homes or livings of widows by selling long prayers which includes hymns.

At the second advent, we find people who are much more powerful based on the number of people and work out a long, legalistic plan to take away the CHURCH houses of widows and honest workers who have "invested" only to see their investment diveted.
See Sound Doxology: The Effeminate Worship Leader.

Sorry, but history knows no difference including David and the Levites

Jesus called the Scribes and Pharisees, hypocrites

The ANTI-instrument message begins in heaven and then into the garden of Eden.

Christ Who speaks only in the prophets used the king of Tyre, Babylon and the end time Babylon Mother of harlots to MARK the work of Lucifer in a church near you.

Is. 14:10 All they shall speak and say unto thee, Art thou also become weak as we? art thou become like unto us?
Is. 14:11 Thy pomp is brought down to the grave,
        and the noise of thy VIOLS: the worm is spread under thee, and the MAGGOTS cover thee.
Amos 5:23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.
Is. 14:12 How art thou fallen from heaven, O Lucifer,
son of the morning! how art thou cut down to the ground,
        which didst weaken the nations!
Is. 14:13 For thou hast said in thine heart, I will ascend into heaven,
        I will exalt my throne above the stars of God:
        I will sit also upon the mount of the congregation, in the sides of the north:
Is. 14:14 I will ascend above the heights of the clouds; I will be like the most High.
Is. 14:15 Yet thou shalt be brought down to hell, to the sides of the pit.

Is. 23:15 And it shall come to pass in that day,
         that Tyre shall be forgotten seventy years,
        according to the days of one king:
        after the end of seventy years shall Tyre sing as an harlot.

What is the song of the harlot?

Is. 23:16 Take an harp, go about the city,
        thou harlot that hast been forgotten;
        make sweet melody,
        sing many songs, that thou mayest be remembered.
Is. 23:17 And it shall come to pass after the end of seventy years,
        that the LORD will visit Tyre,
        and she shall turn to her hire,
        and shall commit fornication with all the kingdoms
        of the world upon the face of the earth.

Isaiah 30 has Christ definingn how God will drive His enemies into hell: it will be to the beat of the wind, string and percussion instruments Lucifer brought with HER into the garden of Eden.

Ezek. 28:12 Son of man, take up a lamentation upon the king of Tyrus, and say unto him,
        Thus saith the Lord GOD; Thou sealest up the sum, full of wisdom, and perfect in beauty.
Ezek. 28:13 Thou hast been in Eden the garden of God; every precious stone was thy covering,
        the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire,
        the emerald, and the carbuncle, and gold:
        the workmanship of thy TABRETS and of thy PIPES was prepared
        in thee in the day that thou wast created. (Cast Down_

Ezek. 28:14 Thou art the anointed cherub that covereth; and I have set thee so:
        thou wast upon the holy mountain of God;
        thou hast walked up and down in the midst of the stones of fire.
Ezek. 28:16 By the multitude of thy merchandise they have filled the midst of thee with violence,
        and thou hast sinned: therefore I will cast thee as profane out of the mountain of God:
        and I will destroy thee, O covering cherub, from the midst of the stones of fire.

The SERPENT in the Garden of Eden was a Musical Enchanter(ess)

Deut. 18:10 There shall not be found among you any one that maketh his son or his daughter to pass through the fire,
        or that useth divination, or an observer of times, or an enchanter, or a witch,
Deut. 18:11 Or a charmer, or a consulter with familiar spirits, or a wizard, or a necromance

As soon as Hezekiah--Rick's etal Patternists--died, the Jews returned to the worship of the STARS and the SERPENT. This is the same "serpent" in the garden of eden and the Ophis as in sOPHISts in Revelation.

2Chr. 33:6 And he caused his children to pass through the fire in the valley of the son of Hinnom: also he observed times, and used enchantments, and used witchcraft, and dealt with a familiar spirit, and with wizards: he wrought much evil in the sight of the LORD, to provoke him to anger.
Jesus warned about parables to fool the clergy (Matthew 23)

The serpent was a Musical Enchanter or enchantress.

Nachash (h5172) naw-khash'; a prim. root; prop. to hiss, i. e. whisper a (magic) spell; gen. to prognosticate: - * certainly, divine, enchanter, (use) * enchantment, learn by experience, * indeed, diligently observe
Nachash "snake, serpent" with nshk "bite" provides a link between two verses in Amos speaking of the impossibility of escape Amos 5:19 and 9:3 - nachash often either carries overtones of the serpent in Eden (Gen 3) or of the mythology of Canaanite cultures (Is 27:1).
As if a man did flee from a lion, and a bear met him; or went into the house, and leaned his hand on the wall, and a serpent bit him. Amos 5:19
Nashak (h5391) naw-shak'; a prim. root; to strike with a sting (as a serpent); fig., to oppress with interest on a loan: - bite, lend upon usury.(The 'Law of Giving' is legalism)
Speaking directly to the "mantic" behaviour of music and speaking in tongues in Corinth, it is noted from the Classical writers that:

"The spirits were thought to speak in murmurings or piping sounds (Isa 8:19), which could be imitated by the medium (witch or ventriloquist)...Most spiritual and popular was the interpretation of dreams.

Is. 8:19 And when they shall say unto you, Seek unto them that have familiar spirits,
        and unto wizards that peep, and that mutter:
        should not a people seek unto their God? for the living to the dead?
Is. 8:20 To the law and to the testimony:
        if they speak not according to this word, it is because there is no light in them.

It also was the case that mediums intentionally would convert themselves into a semi-waking trance. In this way the suitable mediums attained to a certain kind of clarvoyance, found among various peoples.

This approaches the condition of an ecstatically aroused pseudo-prophet.. In Greece, too, oracles were pronounced by the Phythian prophetess who by vapors and the like was aroused to a practice of the mantic art. (Int Std Bible Ency, p. 2466)


1Cor. 1:18 For the preaching of the cross is to them that perish foolishness;
        but unto us which are saved it is the power of God.
1Cor. 1:19 For it is written, I will destroy the wisdom of the wise,
        and will bring to nothing the understanding of the prudent.
1Cor. 1:20 Where is the wise? where is the scribe?
        where is the disputer of this world?
        hath not God made foolish the wisdom of this world?
1Cor. 1:21 For after that in the wisdom of God
        the world by wisdom knew not God,
        it pleased God by the foolishness of preaching to save them that believe.

Sophis-tês , ou, ho, master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, meletan sophistais prosbalon Pi.I.5(4).28 , cf. Cratin.2; of musicians, sophistês . . parapaiôn chelun A.Fr.314 , cf. Eup.447, Pl.Com. 140; sophistêi Thrêiki (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with mod


Goes A.sorcerer, wizard, a juggler, cheat , Apistos [not to be trusted]  unbeliever, Magos, 

BacchaeAs many of them as I have caught, servants keep in the public strongholds with their hands bound, and as many as are absent I will hunt from the mountains, [I mean Ino and Agave, who bore me to Echion, and [230]  Autonoe, the mother of Actaeon.] And having bound them in iron fetters, I will soon stop them from this ill-working revelry. And they say that some stranger has come, a sorcerer, a conjuror from the Lydian land, [235]  fragrant in hair with golden curls, having in his eyes the wine-dark graces of Aphrodite. He is with the young girls day and night, alluring them with joyful mysteries. If I catch him within this house, [240]  I will stop him from making a noise with the thyrsos and shaking his hair, by cutting his head off.

So the speakers, singers and instruments CLAIM to be wise: they can get their own songs and sermons without consulting the teachings and commands of Jesus Christ.  A Goes is also a Pharmakeus. In John 18 fthey are called SORCERERS who HAD deceived the whold world.  In that sense they are the BEASTS in Revelatiopn


Rev. 17:1 And there came one of the seven angels which had the seven vials, and talked with me, saying unto me, Come hither; I will shew unto thee the judgment of the great whore that sitteth upon many waters:
Rev. 17:2 With whom the kings of the earth have committed fornication, and the inhabitants of the earth have been made drunk with the wine of her fornication.
Rev. 17:3 So he carried me away in the spirit into the wilderness:
      and I saw a woman sit upon a scarlet coloured beast,
      full of names of blasphemy, having seven heads and ten horns.
Rev. 17:4 And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:


Plato, symposium   [203d] rather is he hard and parched, shoeless and homeless; on the bare ground always he lies with no bedding, and takes his rest on doorsteps and waysides in the open air; true to his mother's nature, he ever dwells with want. But he takes after his father in scheming for all that is beautiful and good; for he is brave, strenuous and high-strung, a famous hunter, always weaving some stratagem; desirous and competent of wisdom, throughout life ensuing the truth; a master of jugglery, witchcraft, (SOPHISTES)
Thēreutēs deinos. “A mighty hunter,” a very Nimrod. For the notion of the chase in erotics, cp. the use of helein and diōkein in 182 E, etc., and of thēra in Soph. 222 D tōn erōntōn thēra (cp. thērōmai in Isocr. Hel. 219 D): for the same notion applied to philosophical enquiry, cp. Phaedo 66 C tēn tou ontos thēran: Gorg. 500 D, Theaet. 198 A ff. So Emerson (On Beauty), “The sharpestsighted hunter in the world is Love, for finding what he seeks and only that.”
Pleko  II. metaph., devise, contrive, mostly of tortuous means,
2. of Poets, p. humnon, rhēmata, Pi.O.6.86, N.4.94;ōdas Critias Fr.1 D.; “p. logousE.Rh.834, Pl.Hp.Mi.369b; form the plot of a tragedy, opp. luein, Arist.Po.1456a9:

Wisdom sophis-tēs , ou, o(, A. master of one's craft, adept, expert, of diviners, Hdt.2.49; of poets, “meletan sophistais prosbalonPi.I.5(4).28, cf. Cratin.2; of musicians, “sophistēs . . parapaiōn khelunA.Fr.314, cf. Eup.447, Pl.Com. 140; sophistē Thrēki (sc. Thamyris) E.Rh.924, cf. Ath.14.632c: with modal words added, “hoi s. tōn hierōn melōnAel.NA11.1; of the Creator of the universe (ho dēmiourgos, panu thaumaston legeis s. Pl.R.596d;

II. from late v B.C., a Sophist, i.e. one who gave lessons in grammar, rhetoric, politics, mathematics, for money, such as Prodicus, Gorgias, Protagoras
hence (from the ill repute of the professed sophists at Athens),

2. sophist (in bad sense), quibbler, cheat, Ar.Nu.331,1111, al., Pl.Sph. 268d; “goēta kai sophistēn onomazōnD.18.276.
3. later of the rhētores, Professors of Rhetoric, and prose writers of the Empire, such as Philostratus and Libanius, Suid.; “Apollōnidē sophistē

Goēs , ētos, o(,
A. sorcerer, wizard, Phoronis 2, Hdt.2.33,4.105, Pl.R. 380d, Phld.Ir.p.29 W.; “g. epōdos Ludias apo khthonosE.Ba.234, cf. Hipp.1038; prob. f.l. for boēsi Hdt.7.191.
2. juggler, cheat, “deinos g. kai pharmakeus kai sophistēsPl.Smp.203d; “deinon kai g. kai sophistēn . . onomazōnD.18.276; “apistos g. ponērosId.19.109; “magos kai g.Aeschin.3.137: Comp. “goētoterosAch.Tat.6.7 (s. v. l.). (Cf. Lith. žavēti 'incantare'.)
THE MARK OF THE BEASTS (zoe, lucifer)
Thêrion , to (in form Dim. of thêr), wild animal, esp. of such as are hunted, mala gar mega thêrion êen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama, S.Ichn.147 (dub. in A.Fr.26): used in Prose for thêr, X.An.1.2.7, Isoc.12.163, etc.; of the spider's prey, Arist.HA623a27; freq. of elephants, Plb.11.1.12, al.: pl., beasts, opp. men, birds, and fishes, h.Ven.4, Hdt.3.108.

III. as a term of reproach, beast, creature, hê mousikê aei ti kainon thêrion tiktei

If you look at the phrase the BEAST as Rhea (Eve, Zoe) is the person who introduces a NEW STYLE OF MUSICAL WORSHIP which is devoted to pleasure

A. mousikos
aei always
B. kainos , esp. of new dramas, the representation of the new tragedies,  (Aphrodisias dedicated to Aphrodite (ZOE); comedy, sexual love, pleasure, a woman's form of oath, Aster or Venus or ZOE.
C Tikto mostly of the mother 
D. of Rhea one of the zoogonic or vivific principles

Of Rhea (Zoe)

Who driv'st thy holy car with speed along,
Drawn by fierce lions, terrible and strong. 
Mother of Jove, whose mighty arm can wield 
Th' avenging bolt, and shake the dreadful shield.
Drum-beating, frantic, of a splendid mien,
Brass-sounding, honor'd, Saturn's blessed queen.
Thou joy'st in mountains and tumultuous fight,
And mankind's horrid howlings, thee delight.

War's parent, mighty, of majestic frame,
Deceitful saviour, liberating dame. 
Mother of Gods and men, from whom the earth
And lofty heav'ns derive their glorious birth;
Th' ætherial gales, the deeply spreading sea
Goddess ærial form'd, proceed from thee.
Come, pleas'd with wand'rings, blessed and divine,
With peace attended on our labours shine;
Bring rich abundance, and wherever found
Drive dire disease, to earth's remotest bound

THUS hath the Lord God shewed unto me: and behold a basket of summer fruit. Amos 8:1

And he said, Amos, what seest thou? And I said, A basket of summer fruit. Then said the Lord unto me, The end is come upon my people of Israel; I will not again pass by them any more. Amos 8:2

A basket:

Keluwb (h3619) kel-oob'; from the same as 3611; a bird-trap (as furnished with a clap-stick or treadle to spring it); hence a basket (as resembling a wicker cage): - basket, cage.

As a cage is full of birds, so are their houses full of deceit: therefore they are become great, and waxen rich. Je.5:27

Keleb (h3611) keh'leb; from an unused root mean. to yelp, or else to attack; a dog; hence (by euphemism) a male prostitute: - dog.

The Cynics were the old style praise singers. Worship is IN THE SPIRIT and if you can see it, hear it, taste it or smell it it is NOT worship but theater.
Phil. 3:2 Beware of dogs, beware of evil workers, beware of the concision.
Phil. 3:3 For we are the circumcision, which worship God in the spirit, and rejoice in Christ Jesus, and have no confidence in the flesh.

The Levites would musical mock Jesus up to the cross.

For dogs have compassed me: the assembly [multitude, swarm] of the wicked have inclosed me: they pierced my hands and my feet. Ps.22:16

Yea, they are greedy dogs which can never have enough, and they are shepherds that cannot understand: they all look to their own way, every one for his gain, from his quarter. Is.56:11

That's why in Isaiah 55 Christ deprived them of MONEY.
And in Isaiah 58 commanded them NOT to seek their own pleasure or speak their own words.

And I will appoint over them four kinds, saith the Lord: the sword to slay, and the dogs to tear, and the fowls of the heaven, and the beasts of the earth, to devour and destroy. Je.15:3

Rev. 18:14 And the fruits that thy soul lusted after are departed from thee, and all things which were dainty and goodly are departed from thee, and thou shalt find them no more at all.

Opôr-a belonging to bakcheios III. metaph., life's summer, the time of youthful ripeness, Pi.I.2.5 ;

Bakch-eios or Bakcheios, A. of or belonging to Bacchus and his rites, botrus S.Fr.255.2 ; nomos E.Hec.686 (lyr.); rhuthmos X.Smp.9.3 , etc.: hence, frenzied, rapt

Nomos , ho, ( [nemô] ) can mean "the Law of God" without respect to MOSES.
A. that which is in habitual practice
, use or possession, not in Hom. (cf. J.Ap.2.15), though read by Zenod. in Od.1.3.
I. usage, custom, [Mousai] melpontai pantôn te nomous kai êthea kedna Hes.Th.66n. archaios aristos


I. the Muse, in pl. the Muses, goddesses of song, music, poetry, dancing, the drama, and all fine arts, Hom.: the names of the nine were Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Polymnia or Polyhymnia, Urania, and Calliope, Hes.,

II. mousa, as appellat., music, song, Pind., Trag.:--also eloquence, Eur.
Rev. 18:22 And the voice of harpers, and musicians, and of pipers, and trumpeters,
        shall be heard no more at all in thee; and no craftsman, of whatsoever craft he be,
        shall be found any more in thee;
        and the sound of a millstone shall be heard no more at all in thee;
Rev. 18:23 And the light of a candle shall shine no more at all in thee;
        and the voice of the bridegroom and of the bride shall be heard no more at all in thee: for
        thy merchants were the great men of the earth; for by thy SORCERIES were all nations deceived.
Rev. 18:24 And in her was found the blood of prophets, and of saints,
        and of all that were slain upon the earth.
kour-ētes , ōn, oi(, (koros B, kouros A)
II. as pr.n., Kourētes (Hdn.Gr.1.63, al.), Dor. Kōrētes , divinities coupled with Nymphs and Satyrs, K. “theoi philopaigmones orkhēstēresHes.Fr.198; worshipped in Crete, “Kōrētas kai Numphas kai KurbantasGDI5039.14 (Hierapytna); Kōrēsi tois pro kartaipodōn ib.iv p.1036Dios tropheis legontaiStr.10.3.19, cf. 11, E.Ba.120 (lyr.), Orph.H.38.1, Fr.151, etc.: prov., Kourētōn stoma, of prophecy, Zen.4.61. (Sg. only late, “ho Koronous dēloi noun kai ton Kourēta toutouDam.Pr. 267.)
2. armed dancers who celebrated orgiastic rites, Str.10.3.7: hence used to translate Lat. Salii, D.H.2.70; “Kourētōn Bakkhos eklēthēn hosiōtheisE.Fr.472.14 (lyr.).
3. at Ephesus, religious college of six members, “sunedrion KourētōnEphes.2 No.83c, cf. SIG353.1 (iv B. C.), Str.14.1.20.
(Gortyn); K. “

THE SATYROI were rustic fertility Daimones (Spirits) of the wilderness and countryside. They were usually associated with the gods Dionysos, Rheia, Gaia, Hermes and Hephaistos; and were said to mate with the Nymphai in the mountains.

As companions of Dionysos, they were depicted draped in animal skins, drinking, dancing, playing tambourines and flutes (the instruments of the Dionysian orgy) and sporting with the Nymphai Bakkhai.

They were also frequently shown in vase paintings, dancing around the goddess Gaia (Earth), rising up from the fertile earth.

Other closely related Daimones included: the Panes (goat-legged satyroi), and the Seilenoi (elderly satyroi). Child satyrs were known as Satyriskoi.

Orgi-a , iôn, ta,

A. secret rites, secret worship, practised by the initiated, a post-Hom. word ; used of the worship of Demeter at Eleusis, h.Cer.273,476. Ar.Ra.386, Th.948 ; of the rites of the Cabeiri and Demeter Achaia, Hdt.2.51,5.61; of Orpheus, Id.2.81; of Eumolpus, App.Anth.1.318 ; of Cybele, E.Ba.78 (lyr.): most freq. of the rites of Dionysus, Hdt.2.81, E.Ba.34, al., Theoc.26.13.

II. generally, rites, sacrifices, SIG57.4 (Milet., v B. C.), A.Th.179 (lyr.), S.Tr.765, Ant.1013 ; orgia Mousôn Ar.Ra.356 

So you want to start an instrumental service. What should the band consist of? What style of music is appropriate? How do we make sure the church doesn’t stop singing? Good questions. Read on.

Over the years, in our a cappella services at The Hills Church of Christ (formerly Richland Hills), we’ve attempted to craft assemblies that incorporate Christ-centered songs, encourage congregational singing, provide moments to encounter God, and
create a flow of worship that allows people to respond to the Spirit’s moving.
2Cor. 3:17 Now the Lord is that Spirit: and where the Spirit of the Lord is, there is liberty.
2Cor. 3:18 But we all,
        with open face beholding as in a glass the glory of the Lord,
        are changed into the same image from glory to glory,
        even as by the Spirit of the Lord.
When people are "moved" by religious there is no history (or the modern Vineyard) which denies that they are SEXUALLY AROUSED wanting to pleasure the god they have NO faith in.The Name of the Holy (adjective) Spirit (mind) is Jesus Christ the Righteous.  Those who deny the only relationship:
God the One Father in Heaven
Jesus of Nazareth whom God made to be both Lord and Christ

John calls you an Anti-Christ. Furthermore, if you say that God commanded you to impose instruments planning to sow discord then you have blasphemed The Holy Spirit OF (preposition) Christ who spoke only through the Prophets and Apostles. Remembering that Rick Atchley's Levite PATTERNISM performed SOOTHSAYING with instrumental accompaniment....

"Nay, rather, to speak out more truly, the augurs, the dream interpreters, the SOOTHSAYERS, the prophets, and the PRIESTLINGS, ever vain, have devised these fables; for they,

fearing that their own arts be brought to nought, and that they may extort but scanty contributions from the devotees, now few and infrequent,

whenever they have found you to be willing that their craft should come into disrepute, cry aloud, the Gods are neglected, and

in the temples there is now a very thin attendance. For ceremonies are exposed to derision, and the time-
honoured rites of institutions once sacred have sunk before the superstitions of
new religions.

And men--a senseless race--being unable, from their inborn blindness, to see even that which is placed in open light,
        dare to assert in their
        what you in your sane mind
do not blush to believe. (Arnobius Against the Heathen, Ante-Nicene Fathers, VI, p. 418).

Mark me, and be astonished, and lay your hand upon your mouth Job 21:5 .
Even when I remember I am afraid, and trembling taketh hold on my flesh. Job 21:6
Wherefore do the wicked live, become old, yea, are mighty in power? Job 21:7
Their seed is established in their sight with them, and their offspring before their eyes. Job 21:8
Their houses are safe from fear, neither is the rod of God upon them. Job 21:9
Their bull gendereth, and faileth not; their cow calveth, and casteth not her calf. Job 21:10
They send forth their little ones like a flock, and their children dance. Job 21:11
They take the timbrel and harp, and rejoice at the sound of the organ. Job 21:12
They spend their days in wealth, and in a moment go down to the grave. Job 21:13


Therefore they say unto God, Depart from us; for we desire not the knowledge of thy ways. Job 21:14

What is the Almighty, that we should serve him? and what profit should we have, if we pray unto him? Job 21:15

This is what Jesus identifies as the HYPOCRITES pointing to Isaiah and also to Ezekiel 33. There, rhetorical speaking, singing or playing instruments are MARKS of people who are collecting money or just being entertained.

Lo, their good is not in their hand: the counsel of the wicked is far from me. Job 21:16

How oft is the candle of the wicked put out and how oft cometh their destruction upon them! God distributeth sorrows in his anger. Job 21:17

They are as stubble before the wind, and as chaff that the storm carrieth away. Job 21:18

"It (the pipe meaning to love passionately) was apparently a secular instrument and is never listed in the temple orchestra; only in Ps. 150:4 it is mentioned in a religious (but not ritual) function. Its ethos was not blameless at all, as we see from Genesis Rabbah 50:

"The angels said to Lot: There are players of the pipe (organ) in the country, hence it ought to be destroyed. Its rabbinical identification with the aboda, the flute of the notorious Syrian bayaderes, emphasizes the erotic element which already the Hebrew name suggests. (Interpreter's Dictionary of the Bible, p. 460, Abingdon).

This instrumental music in worship or seduction was revealed through Jubal (or Jubal as Satan's change agent) but he had no authority to "handle" them to overpower the people with instruments and musical worship teams:

And his brothers name was Jubal: he was the father of all such as handle (meaning without authority) the harp and organ. Ge.4:21

This post was edited on 7/23 10:53 PM

Although these goals have remained the same since our addition of instrumental services, the planning, coordination, and execution of these services have become vastly different. Making the shift from a cappella to instrumental has by no means made us experts in the process. However, the experience has given us insights that we hope prove valuable to others who are embarking on this journey.



For the transition to be successful, a talented, passionate worship leader is essential to paving the way. His talent must extend beyond having strong vocals or playing an instrument. A leader must also be gifted in running rehearsals efficiently, communicating with and leading a diverse team, as well as leading corporate worship.

Christ GOTTCHA when He defined the Qahal, Synagogue or Church of Christ in the Wilderness.
It was INCLUSIVE of Rest (from the minister-masters) forcing people to Goose Clap.
It was EXCLUSIVE of vocal or instrumental rejoicing.  Even simple simon is more reverent when Jesus (only) comes to teach when the elders teach that which is written.  Or if you can imagine singing in A School of Christ (the Campbells, Jesus, Paul, History) then Paul in Romans 15 commads that you use one mind and one mouth to teach THAT WHICH IS WRITTEN for our learning.  Simple Simon knows that a Disciple goes to SCHOOL.

"Hallel, in Jewish ritual, selection from the Psalms, chanted as part of the liturgy during certain festivals. The more frequently used selection includes Psalms 113-118 and is known as the Egyptian Hallel, presumably because Psalm 114 begins, "When Israel went out of Egypt"

It is sung in synagogues on the first two days of Passover, on Shabuoth, on Sukkot, on each morning of the eight days of Hanukkah, and at the close of the Seder.

"The Hallel through the generations, on specific occasions: Pesachim 117a
"Hallel requires a full stomach and a satisfied spirit: Taanis 25b-26a
The reading is beloved to the people, and so they listen closely: Megillah 21b

"The Hallel as an Institution of the Prophets, to use to pray for salvation from danger: Pesachim 117a [2x] Saying the Hallel daily is blasphemous: Shabbos 118b

Singing is said to be like a "schoolboy reading the hallel."

"These musical fragments show that Greek music was predominantly vocal, although instrumental pieces were sometimes presented.
"The music was homophonic; i.e., it consisted of single melodic lines.
"Ancient Greek was a pitched language, so melody had to be an outgrowth of the natural inflections of the spoken language
"In early Christian times the Gnostics used the Greek scale in their incantations, and Byzantium adopted the Greek modes. Britannica
Understanding the vision of the church leadership in terms of style, worship philosophy, and boundaries is also critical to creating a smooth transition for the ministry and the church body.


A cappella is a great equalizer in terms of style. A song medley can contain a 200-year old song, followed by a Southern gospel song, followed by one written last year, and all may flow together nicely. That type of flow is more challenging to achieve when accompanied instrumentally. Although the worship band will want to branch out from time to time into different worship styles, church leadership needs to agree on a “go to” style of worship. The possibilities are numerous, ranging from softer Christian Top 40 to brasher twenty-something rock.

Not according to Christ from the wilderness onward to after Calvin allowed some Psalms (only) to be set to meter to be sung in unison (only). That is how Martin Luther defined the synagogue in Romans 15

47. Having destroyed unity, taken captive the conscience and deprived of liberty,

the Pope proceeds to take your money. Then he gives you a bill of exchange
permitting you to
eat butter, eggs and meat
a privilege Christ gave you in the Gospel,
a privilege whereof the
Pope robbed you
and which he as the pious shepherd
sells to you again.

But your indulgence in the privilege again, gives offense to your fellows.
In short, the government of the Pope so abounds with grasping and re-grasping,
with offense and repetition of offenses, with exchanges and re-exchanges,
that it is plainly evident it simply belongs
to the
designing devil who effects confusion of conscience
until no one is able to
comprehend the right course.

For instance, the distracted world attempts to serve God by setting apart houses, churches, cloisters;
........... vestures, gold-trimmed, silk and [50] every other kind;
........... silver vessels and images; bells and organs, candles and lamps;
........... the money for which expense should have been appropriated to the poor
........... if the object was to make an offering to God.

Further, it keeps up a muttering and wailing in the churches day and night.
........... But true praise and honor of God, a service that cannot be confined to place or person,
........... is quietly ignored the world over.

The pretenses of priests and monks about their system of exercises
being service to the Lord, are false and delusive.

53. Service to God is praise of him. It must be free and voluntary, at table, in the chamber, cellar, garret, in house or field, in all places, with all persons, at all times. Whosoever teaches otherwise is no less guilty of falsehood than the Pope and the devil himself.

When choosing your worship style, consider the demographics of your church and community. What styles do they listen to? Also consider your talent pool. And remember that no style spans all tastes. The key is to agree on a single style so that expectations are understood by the church leadership as well as the worship band.

A Christian Leader (don't blame the discorded elders) cannot think of instruments in THE SCHOOL OF CHRIST without blaspheming Him beyond redemption.  Those who FLED BABYLON leaving their "property"  behind know the persona when they see it: you will find no exception in recorded history.

Tatian to the Greeks

I have often seen a man ( Tatian here describes an actor. [And in America heathenism has returned upon us in most of the indecencies here exposed. Are we Christians?]) -

and have been amazed to see, and the amazement has ended in contempt, to think how he is one thing internally,
but outwardly
counterfeits what he is not-giving himself excessive airs of daintiness
and indulging in all sorts of
darting his eyes about;
throwing his hands hither and thither,
raving with his face smeared with mud; sometimes personating Aphrodité, sometimes Apollo; a solitary accuser of all the gods, an epitome of superstition, a vituperator of heroic deeds, an actor of murders, a chronicler of adultery, a storehouse of madness, a teacher of cynaedi, an instigator of capital sentences;-

and yet such a man is praised by all.

But I have rejected all his falsehoods, his impiety, his practices,-in short, the man altogether.

But you are led captive by such men, while you revile those who do not take a part in your pursuits.
I have no mind to
stand agape at a number of singers,
nor do I desire to be affected in sympathy with a man when he is
winking and gesticulating in an unnatural manner.

What wonderful or extraordinary thing is performed among you? They utter ribaldry in affected tones, and go through indecent movements; your daughters and your sons behold them giving lessons in adultery on the stage. Admirable places, forsooth, are your lecture-rooms, where every base action perpetrated by night is proclaimed aloud, and the hearers are regaled with the utterance of infamous discourses!

Admirable, too, are your mendacious poets, who by their fictions beguile their hearers from the truth!


Matt. 11:11 Verily I say unto you, Among them that are born of women there hath not risen a greater than John the Baptis
        notwithstanding, he that is least in the kingdom of heaven is greater than he.
Matt. 11:12 And from the days of John the Baptist until now
        the kingdom of heaven suffereth violence, and the violent take it by force

-Biazō , force one to do, force the victims [to be favourable], 4. contend or argue vehemently, “audō polin se b. todeA.Th.1047.
b. nomous to do them violence, Th. 8.53; (We can be more successful if we change the BYLAWS)
biasamenos tauta panta
having broken through all these restraints, Lys.6.52
-Lys. 6 51 For this man donned a ceremonial robe, and in imitation of the rites he revealed the sacred things to the uninitiated, and spoke with his lips the forbidden words: those deities whom we worship, and to whom with our devotions and purifications we sacrifice and pray, he mutilated. And for such a deed priestesses and priests stood up and cursed him, facing the west, and shook out their purple vestments according to the ancient and time-honored custom. He has admitted this action.

Cf. the solemn cursing of Alcibiades described by Plut. Alc. 22. In prayers and vows addressed to thecelestial gods the speaker faced the east, but in those addressed to the infernal gods, the west.

-Lys. 6 52 Moreover, transgressing the law that you made, whereby he was debarred from the temples as a reprobate, he has violated all these restrictions and has entered into our city; he has sacrificed on the altars which were forbidden him, and come into the presence of the sacred things on which he committed his impiety; he has entered into the Eleusinium, and baptized his hands in the holy water.
-Audaō , impf. 1. utter sounds, speak, utter a cry,
3. of oracles, utter, proclaim, ib. 392, etc.; “houstinas kompeis gamous audanspeak out concerning them, A.Pr.948.
4. au. agōna sing of a contest, Pi.O.1.7.
Soph. OT 392  Oedipus Tyrannus

[380] O wealth, and empire, and skill surpassing skill in life's keen rivalries, how great is the envy in your keeping, if for the sake of this office which the city has entrusted to me, a gift unsought, [385] Creon the trustworthy, Creon, my old friend, has crept upon me by stealth, yearning to overthrow me, and has suborned such a scheming juggler as this, a tricky quack, who has eyes only for profit, but is blind in his art! [390]

Agur-tēs , ou, o(, (ageirō) prop.
A. collector, esp. begging priest of Cybele, “Mētros a.AP6.218 (Al.); “Gallois a.Babr.141.1:— then,
2. vagabond, E.Rh.503,715, cf. Lysipp.6, Clearch.5; dolios a., of Tiresias, S.OT388; “a. kai manteisPl.R.364b.
Gallos ,
A. priest of Cybele, Schwyzer 633.11 (Eresus, ii/i B. C.), Arr. Epict.2.20.17, AP6.234 (Eryc.), 220 (Diosc.):—fem. form Gallai Lyr.Adesp.121.
II. eunuch, J.AJ4.8.40, PGnom.244, D.L.4.43.
Come, tell me, where have you proved yourself a seer? Why, when the watchful dog who wove dark song was here, did you say nothing to free the people? Yet the riddle, at least, was not for the first comer to read: there was need of a seer's help, [395] and you were discovered not to have this art, either from birds, or known from some god. But rather I, Oedipus the ignorant, stopped her, having attained the answer through my wit alone, untaught by birds.
Kuon  of the “Bakkhai, Lussas k.E.Ba.97  Pan is the kuōn of Cybele, Pi.Fr.96:
3. of the Cynics, “areskei toutois kunōn metamphiennusthai bion
of the “Bakkhai, Lussas k.E.Ba.977 (lyr.)

rhapsōd-os , o(,
A. reciter of Epic poems, sts. applied to the bard who recited his own poem, as to Hesiod, Nicocl. ap. Sch.Pi.N.2.2 (v. infr.); but usu., professional reciters, esp. of the poems of Homer, Hdt.5.67, Pl.Ion 530c, etc.: also rh. kuōn, ironically, of the Sphinx who chanted her riddle, S.OT391. (Prob. from rhaptō, aoidē; Hes.Fr. 265 speaks of himself and Homer as en nearois humnois rhapsantes aoidēn, and Pi.N.2.2 calls Epic poets rhaptōn epeōn aoidoi: not from rhabdos (cf. “rhabdos1.6) as if rhabdōdos (Eust.6.24, rhabdōdia ib.16).)
Pind. O. 1 Water is best, and gold, like a blazing fire in the night, stands out supreme of all lordly wealth. But if, my heart, you wish to sing of contests, [5] look no further for any star warmer than the sun, shining by day through the lonely sky, and let us not proclaim any contest greater than Olympia. From there glorious song enfolds the wisdom of poets, so that they loudly sing [10] the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified [15] by the choicest music, which we men often play around his hospitable table. Come, take the Dorian lyre down from its peg, if the splendor of Pisa and of Pherenicus placed your mind under the influence of sweetest thoughts,

Start Up Costs / Sound Needs

Start up costs and sound needs should be carefully considered before moving to instrumental services. In most cases, sound systems will require upgrades, such as a sound board, speakers, and subs. Consider utilizing a local sound consulting firm and even sound techs from other churches for assistance.

In addition to the sound system, equipment will need to be purchased to support a full band. This may include a drum set, drum kit microphones, keyboard, music stands, cables, direct input boxes, and a monitor system. At The Hills, we utilize Aviom in-ear monitors that reduce room volume and allow for individually customized mixes. Your budget or even your venue size may not support a quality full band. If so, start small with just one or two instruments plus vocals.

Jesus WON'T be there: The gospel means "come to me all ye that labor and are heavy laden and I will give you rest." Paul said that we have to go OUTSIDE of the "VENUE" and suffer reproaches if we want to find Jesus.  A laded burden includes
-Phortos is less complicated but is the same meaning as Phortos

A. load, freight, cargo, Od.8.163, 14.296, Hes.Op. 631, Hdt.1.1, S.Tr.537, and later Prose, as PEnteux.2.11 (iii B. C.), Plu.Marc.14, Luc.VH1.34; epoiēsanto me ph., expld. as pepragmateumai, prodedomai, phortos gegenēmai, Call.Fr.4.10P.; ph. erōtos, of Europa on the bull, Batr.78, cf. Nonn.D.4.118.
2. metaph., heavy load or burden, ph. khreias, kakōn, E.Supp.20, IT1306; cf. phortion.
II. Att., vulgar stuff, rubbish, balderdash, Ar.Pax748 (anap.) Pl.796.
III. mass of detail, 'stuff', in semi-colloquial sense, Aret.CD1.4

BURDEN IS: Airo (h142) ah'ee-ro; a prim. verb; to lift; by impl. to take up or away; fig. to raise (the voice), keep in suspense (the mind); spec. to sail away (i.e. weigh anchor); by Heb. [comp. 5375] to expiate sin: - away with, bear (up), carry, lift up, loose, make to doubt, put away, remove, take (away, up).

Epithesis , eôs, hê, setting on its base, tou andriantos

laying or putting on, application
application of epithets, tas e. poieisthai Arist.Rh.1405b22 .
imposition of increased burdens, Cat.Cod.Astr.7.134
setting upon, attack, Antipho 2.2.13; This was imposing an extra tax when the nation was NOT at war.

The only way to GET this money is to STEAL it from the honest workers.  There is NO Law of Giving.

Clement: Does the sovereign order the payment of tribute, I am ready to render it. Does my master command me to act as a bondsman and to serve, I acknowledge the serfdom.

Man is to be honoured as a fellow-man, ( [1 Pet. ii. 17. This claim for man as man is the inspiration of Christianity.

Terence breathes it from his wounded soul in slavery; and his immortal line, "Homo sum: humani nihil a me alienum puto" (Haeuntontimor., act. i. sc. 1, verse 25), looks as if it had been written in the second century of illumination.])

God alone is to be feared,-

He who is not visible to human eyes,
nor comes within the compass of human art.
Only when I am commanded to deny Him, will I not obey, but will rather die than show myself false and ungrateful.

Our God did not begin to be in time: He alone is without beginning, and He Himself is the beginning of all things. God is a Spirit, (John 4:24) not pervading matter, but the Maker of material spirits, ( [Over again Tatian asserts spirits to be material, though not fleshly; and I think with reference to 1 Cor. xv. 44.]) and of the forms that are in matter; He is invisible, impalpable, being Himself the Father of both sensible and invisible things.

Him we know from His creation, and apprehend His invisible power by His works. (Rom 1:20)

I refuse to adore that workmanship which He has made for our sakes. The sun and moon were made for us: how, then, can I adore my own servants? How can I speak of stocks and stones as gods? For the Spirit that pervades matter (( [Over again Tatian asserts spirits to be material, though not fleshly; and I think with reference to 1 Cor. xv. 44.])) is inferior to the more divine spirit; and this, even when assimilated to the soul, is not to be honoured equally with the perfect God.

Nor even ought the ineffable God to be presented with gifts;
for He who is in want of nothing is not to be
misrepresented by us as though He were indigent. But I will set forth our views more distinctly.

Upon the first day of the week let every one of you lay by him in store, as God hath prospered him, that there be no gatherings when I come. 1 Corinthians 16:2

[linked image]

Didache 1:5 Give to every one that asketh of thee, and ask not again;

for the Father wishes that from his own gifts there should be given to all.
Blessed is he who giveth according to the commandment, for he is free from guilt;
but woe unto him that receiveth.

For if a man receive being in need, he shall be free from guilt;

but he who receiveth when not in need, shall pay a penalty as to why he received and for what purpose; and when he is in tribulation he shall be examined concerning the things that he has done, and shall not depart thence until he has paid the last farthing.

For of a truth it has been said on these matters, let thy almsgiving abide in thy hands until thou knowest to whom thou hast given. Didache 1:6


The tried men of our elders preside over us, obtaining that honour not by purchase, but by established character. There is no buying and selling of any sort in the things of God. Though we have our treasure-chest, it is not made up of purchase-money, as of a religion that has its price. On the monthly day,

[On ordinary Sundays, "they laid by in store," apparently: one a month they offered.]

if he likes, each puts in a small donation; but only if it be his pleasure, and only if he be able: for there is no compulsion; all is voluntary. These gifts are, as it were, piety's deposit fund. For they are not taken thence and spent on feasts, and drinking-bouts, and eating-houses,
        but to support and bury poor people,
        to supply the wants of boys and girls destitute of means and parents,
        and of old persons confined now to the house;
        such, too, as have suffered shipwreck; and if there happen to be any in the mines,
        or banished to the islands, or shut up in the prisons,
        for nothing but their fidelity to the cause of God's Church,
        they become the nurslings of their confession

Selecting Musicians

Churches won’t allow just anybody to preach, and the same should apply to those up front leading worship. An audition process is necessary to assure quality musicianship.

Before auditioning, we ask each musician to complete a questionnaire detailing their musical experience, other time commitments, their personal testimony, and why they’d like to be a part of the worship band. They also rank themselves in areas such as faithfulness to commitments and punctuality. We consider each of these areas prayerfully in the selection process.

Mark 12:14 And when they were come, they say unto him, Master, we know that thou art true,
        and carest for no man: for thou regardest not the person of men,
        but teachest the way of God in truth: Is it lawful to give tribute to Caesar, or not?
Luke 20:21 And they asked him, saying, Master, we know that thou sayest and teachest rightly,
        neither acceptest thou the person of any, but teachest the way of God truly:

Galatians 2:6 But of these who seemed to be somewhat, (whatsoever they were, it maketh no matter to me: God accepteth no man’s person:) for they who seemed to be somewhat in conference added nothing to me:
1Timothy 5:21 I charge thee before God, and the Lord Jesus Christ, and the elect angels, that thou observe these things without preferring one before another, doing nothing by partiality.

1Peter 1:17 And if ye call on the Father, who without respect of persons judgeth according to every man’s work,
        pass the time of your sojourning here in fear

James 2:1 My brethren, have not the faith of our Lord Jesus Christ, the Lord of glory, with respect of persons.
James 2:9 But if ye have respect to persons, ye commit sin, and are convinced of the law as transgressors.
James 2:10 For whosoever shall keep the whole law, and yet offend in one point, he is guilty of all.

James 3:17 But the wisdom that is from above is first pure, then peaceable, gentle, and easy to be intreated, full of mercy and good fruits, without partiality, and without hypocrisy.
When auditioning, recruit other musicians from within or outside your church to assist in selecting musicians. This method lends credibility to the worship minister and helps to avoid the illusion that only favorites are chosen. Provide auditioners several songs to choose from and have them play in more than one style. They’ll need to play songs in varying tempos, dynamics and feels.

Eph. 4:9 (Now that he ascended,
        what is it but that he also descended first into the lower parts of the earth?


Eph 4:10
He that descended is the same also that ascended up far above all heavens,
        that he might fill all things
Eph 4:11 And he gave some, apostles; and some, prophets; and some, evangelists;
        and some, pastors and teachers



Eph 4:12 For the perfecting of the saints, for the work of the ministry, for the edifying of the body of Christ:

The Word EDIFY means EDUCATE: Romans 15 says you speak "that which is written" using one MIND and one MOUTH to educate.

Musical performance in religion does not perfect, enable service, does not edify, does not UNIFY, does not give knowledge of the Son of God, does not perfect and does not make one like Christ: Jesus cast the musical minstrels out "like dung."

Eph 4:13
Till we all come in 
        A. the unity of THE faith, and of
        B. the knowledge of the Son of God,
        C. unto a perfect MAN,
        D. unto the measure of the stature of the fulness of Christ:

Stature: 2244. helikia, hay-lik-ee´-ah; from the same as 2245; maturity (in years or size):  age, stature. [Comrade, not playmate]

WHY? TO PREVENT THE BLASPHEMOUS HOSTILE TAKING OF THE KINGDOM BY FORCE: music is always witchcraft, soothsaying (Ricks Levites) or Sorcerers: the lusted after fruits under the end-time mother of harlots as speakers, singers and instrument players.  John says they will be cast ALIVE into the Lake of Fire.

Eph 4:14 That we henceforth be no more children, tossed to and fro, 
        and carried about with every wind of doctrine,
        by the sleight of men, and cunning craftiness
whereby they lie in wait to deceive;

-Fluctuo  fluctus, to move in the manner of waves, i. e. to wave, rise in waves, undulate, to move to and fro, be driven hither and thither
I. Trop., to be restless, unquiet, uncertain, doubtful; to rage, swell; to waver, hesitate, vacillate, fluctuate,  Oratio II. In partic., formal language, artificial discourse,
-Oratio E. A prayer, an address to the Deity (eccl. Lat.): “respice ad orationem servi tui,Vulg. 3 Reg. 8, 28: “per orationes Dominum rogantes,id. 2 Macc. 10, 16: “pernoctans in oratione Dei,id. Luc. 6, 12.—Also absol., prayer, the habit or practice of prayer: “perseverantes in oratione,Vulg. Act. 1, 14: “orationi instate,id. Col. 4, 2; cf. Gell. 13, 22,

-cĭto . To put into quick motion, to move or drive violently or rapidly, to hurl, shake, rouse, excite, provoke, incite, stimulate, promote,
Carried About:
Greek Panourgia see more below

-Circumfero to bear something or carry around  “lyram in conviviis,Quint. 1, 10, 19
-Lyra , ae, f., = lura,
I. a lute, lyre, a stringed instrument resembling the cithara, fabled to have been invented by Mercury and presented to Apollo, Hyg. Astr. 2, 7: “curvae lyrae parens,Hor. C. 1, 10, 6: “Threiciam digitis increpuisse lyram,Ov. H. 3, 118: “mox cecinit laudes prosperiore lyrā,id. A. A. 3, 50; Val. Fl. 5, 100.—
II. Transf.
A. Lyric poetry, song: “imbellis,Hor. C. 1, 6, 10: “Aeoliae Lesbis amica lyrae,Ov. Am. 2, 18, 26; id. P. 3, 3, 45.—
B. In gen., poetic genius: “Inferior lyra,Stat. Th. 10, 445.—
C. Lyra, the constellation, the Lyre: “exoriente Lyra,Ov. F. 1, 315; cf. Hyg. Astr. 3, 6; Varr. R. R. 2, 5.

-Con-vīvĭum , ii, n. vivo; lit., I. a living together; hence, a meal in company, a social feast, entertainment, banquet

-Quint. 1, 10, 19 From the importance thus given to music also originated the custom of taking a lyre round the company after dinner, and when on such an occasion Themistocles confessed that he could not play, his education was (to quote the words of Cicero) “regarded as imperfect.”
B.  Of a narrative or discourse, to publish abroad, proclaim, divulge, disseminate among the people, report
C. In the lang. of religion, to lustrate, purify any one by carrying around him consecrated objects (torches, offerings, etc.)
D.  In rhetoric: “oratio deducta et circumlata,expanded, drawn out into periods, Quint. 4, 1, 60 Spald.
-Ventus wind 3. Ventis verba dare, i. q. not to keep one's word or promise, Ov. H. 2, 25 Ruhnk.
B. [Plur., personified as deities, the winds: te, Apollo sancte, fer opem; teque, omnipotens Neptune, invoco, fame, applause, Turbo

Plur., personified as deities, the winds: te, Apollo sancte, fer opem; teque, omnipotens Neptune, invoco; Vosque adeo, Venti! Turpil. ap. Cic. Tusc. 4, 34, 73 (Com. Rel. v. 119 Rib.); Lucr. 5, 1230 (1228); cf. Ov. H. 17 (18

Panourgia (g3834) pan-oorg-ee'-ah; from 3835; adroitness, i.e. (in a bad sense) trickery or sophistry: - (cunning) craftiness, subtilty.

-Panourg-êma  A. knavish trick, villainy, S.El.1387 (lyr.), LXX Si.1.6 (v.l.); sophistry, Gal.5.251; cf. panourgeuma.
1Cor. 3:18 Let no man deceive himself. If any man among you
        seemeth to be wise in this world,
        let him become a fool, that he may be wise.
1Cor. 3:19 For the wisdom of this world is foolishness with God.
        For it is written, He taketh the wise in their own craftiness.
1Cor. 3:20 And again, The Lord knoweth the thoughts of the wise, that they are vain.

-Sophia A. cleverness or skill in handicraft and art, as in carpentry, tektonos, hos rha te pasēs eu eidē s. Il.15.412; of the Telchines, Pi.O.7.53; entekhnos s., of Hephaestus and Athena, Pl.Prt.32 1d; of Daedalus and Palamedes, X.Mem.4.2.33, cf. 1.4.2; in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117 -HH 4 483 What skill is this? What song for desperate cares? What way of song? For verily here are three things to hand all at once from which to choose, —mirth, and love, and sweet sleep. [450] And though I am a follower of the Olympian Muses who love dances and the bright path of song —the full-toned chant and ravishing thrill of flutes —yet I never cared for any of those feats of skill at young men's revels, as I do now for this:

And they say that from the utterance of Zeus you have learned both the honors due to the gods, O Far-worker, and oracles from Zeus, even all his ordinances. Of all these I myself have already learned that you have great wealth. Now, you are free to learn whatever you please; [475] but since, as it seems,
        your heart is so strongly set on playing the lyre,
        chant, and play upon it,
        and give yourself to merriment,
        taking this as a gift from me, and do you, my friend,
        bestow glory on me.
Sing well with this clear-voiced companion in your hands; for you are skilled in good, well-ordered utterance. [480] From now on bring it confidently to the rich feast and lovely dance and glorious revel, a joy by night and by day. Whoso with wit and wisdom enquires of it cunningly, him it teaches [485] through its sound all manner of things that delight the mind, being easily played with gentle familiarities, for it abhors toilsome drudgery; but whoso in ignorance enquires of it violently, to him it chatters mere vanity and foolishness.
The most crucial components to a contemporary band are the drummer and electric guitarist. A strong drummer will play in a steady tempo, locking the band together. In addition to skill on the instrument, the electric guitarist will need a working knowledge of effects pedals and amps to create the sounds common in modern worship. Even a talented classic rock guitarist may not be in the regular rotation if he/she doesn’t have a working knowledge of effects pedals.

The drum or tabret has the same root meaning as Topheth: that is a symptom of God driving His enemies into "Hell."

With a strong drummer and electric guitarist on board, the next most key musician is the pianist, one who is able to play both lead and as a part of the rhythm section. Pianists must be able to improvise off chord charts instead of relying on fully notated music.

It is clear that those churches who have done a hostile takeover always DRUM OUT the owners.

Eph 5:18 And be not drunk with wine, wherein is excess; but be filled with the Spirit;

The word "psallo" has no musical content: it can be used of smiting or striking the strings of a harp (only) with the fingers but NEVER with a plectrum.  Perhaps psallo which never means musical melody was left there as a TRAP to terminate those not OF FAITH or OF TRUTH.  You cannot use a drum while defending yourself with the PSALLO word.

hupauleô , play on the flute in accompaniment, melos tisi Alcm. 78 ; penthimon ti D.C.74.5 ; hu. lusiôidos 1 one who played women's characters in male attire, [David's naked dance..} Plut. Posidon.4J. ; Pandionidi Luc. Harm.1 : abs., Id.Salt.83.

1 one who played women's characters in male attire, Plut

kat-auleô ,
A. charm by flute-playing, tinos Pl.Lg.790e, cf. R.411a; tina Alciphr.2.1: metaph., se . . -êsô phobôi I will flute to you on a ghastly flute, E.HF871 (troch.):--Pass., of persons, methuôn kai katauloumenos drinking wine to the strains of the flute, Pl.R.561c; k. pros chelônidos psophon to be played to on the flute with lyre accompaniment,

For by the voice of the Lord the Assyrians shall be overcome, even by the stroke where with he shall smite them. Isaiah 30:31 LXX

And it shall happen to him from every side, that they from whom their hope of assistance was, in which he trusted, themselves shall war against him in turn with drums and with harp. Isaiah 30:32 LXX

If you want a full band and lack the talent at your church, look in your community. Is there a local university with musicians who may be willing to play? Or a church down the road with musicians who would love to play more frequently? Consider paying outside musicians for their time. A talented drummer and electric guitarist would be well worth the investment.

God cannot USE human talent: He is NOT worshipped by the works of human hands.

Talented a cappella team vocalists may not transition well to singing with a worship band. Audition the singers on contemporary songs to listen for a stylistic fit. Have them sing accompanied by a guitar or piano to learn whether they can sing with instruments. We want a vocal team that can lead others musically, but most important, we want individuals who are committed to helping others worship. How they worship matters.

That translates to "standing in the holy place CLAIMING to be God." Worship is IN THE PLACE of the human spirit: outside are DOGS or Catamites or old style praise singers.


Our God is a creative God. And he doesn’t do shabby work. Let’s follow his lead and pursue excellence. We want the church to focus on the Lord rather than being distracted by technical difficulties and the band’s mistakes.

We often tell the worship band that their practice during the week and our rehearsal time is just as much a worship offering as leading in the assembly. Properly prepare, and then prayerfully pursue the Lord.

The UNIQUE Worship word in the synagogue or ekklesia or as defined by Paul and which continued for centuries before professional music guys took over is to GIVE HEED to the Word of Christ in the Prophets and Apostles. Of course, the "worship leaders" know that they are sucking up all of the "giving heed" and they are blasphemers. The word ANATHEMA identifies a thing or person which has been dedicated to give glory to a temple as NOT REDEEMABLE and MUST be burned. That's what the Scriptures say of the Lake of Fire.

Practice vs. Rehearsals

At The Hills, we consider practice and rehearsal to be two separate things. Practice is what the musicians do by themselves to better their skills and prepare for each song. A rehearsal is when the band learns to put it all together. In practice, an electric guitarist will learn guitar riffs, determine what settings are needed on his pedals and amp, and determine when to play rhythm versus lead electric. At rehearsal, the guitarist will put what he’s learned into a full band sound.

What he is saying is that they see church as a VENUE and themselves as PROFESSIONAL PERFORMERS.

They are DELIVERATELY violating common decency and direct commands of God.  There is nothing in this INSTITUTE which is not ANTI-Biblical
Hebrews 5:12 For when for the time ye ought to be teachers,
        ye have need that one teach you again which be the first principles of the oracles of God;
        and are become such as have need of milk, and not of strong meat.
1Peter 4:11 If any man speak,
        let him speak as the oracles of God;
         if any man minister, let him do it as of the ability which God giveth:
        that God in all things may be glorified through Jesus Christ, to whom be praise and dominion for ever and ever. Amen.
Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupēArist.EN1105b21), “sophiē psukhēn pathōn aphaireitai

Logos, verbal noun of lego
        Opposite kata pathos
        Opposite music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

Opposite Pathos  A. that which happens to a person or thing, incident, accident,
where this incident took place, unfortunate accident,
2. what one has experienced, good or bad, experience
II. of the soul, emotion, passion (“legō de pathē . . holōs hois hepetai hēdonē ē lupēArist.EN1105b21), “sophiē psukhēn pathōn aphaireitai
Bottom line: when the full band rehearses, all musicians need to come already knowing their parts. The amount of time it takes to get ready differs with each musician according to his or her familiarity with the song and skill level. However, the expectation for preparedness at rehearsal time is the same for all.

At a rehearsal, the leader needs to:
Pride is always a concern when people lead in front of others. This is the case from the preacher to the song leader to the drummer. Continually remind your musicians that all is done for God’s glory and not their own.



2Timothy 4:4 And they shall turn away their ears from the truth,
        and shall be turned unto fables.

FABLES TO FOOL: Fābŭla , ae, f. fari,
B.  Of particular kinds of poetry.
1.  Most freq., a dramatic poem, drama, play (syn.: “ludus, cantus, actio, etc.): in full, fabula scaenica,Amm. 28, 1, 4; “or, theatralis,id. 14, 6, 20: “fabula ad actum scenarum composita,”fabulam, quae versatur in tragoediis atque carminibus non a veritate modo

  Cantus , ūs, m. id., I. the production of melodious sound, a musical utterance or expression, either with voice or instrument; hence, song, singing, playing,
1. With the voice, a singing, song; in full, cantus vocum, Cic. Rosc. Am. 46, 134: “fit etiam saepe vocum gravitate et cantibus ut pellantur animi, etc.,
2. With instruments, a playing, music: “citharae,horribili stridebat tibia cantu,Cat. 64, 264: “querulae tibiae,  “lyrae, Plin. 34, 8, 19, § 72: “tibicine
FABLES TO FOOL:   Scaenĭcus (scen- ), a, um, adj., = skēnikos, I. of or belonging to the stage, scenic, dramatic, theatrical (class.).
stage-plays, theatrical representations, “fabula,a drama, Amm. 28, 1, 4: organa,Suet. Ner. 44: “coronae,id. ib. 53: “habitus,id. ib. 38: gestus,Cic. de Or. 3, 59, 220: “modulatio,Quint. 11, 3, 57:
1. scaē-nĭcus , i, m., a player, actor, Cic. Off. 1, 31, 114: “orator plurimum aberit a scaenico 2. scaenĭca , ae, f., a female player, an actress,
Orgănum , i, n., = organon,Of musical instruments, a pipe, Quint. 11, 3, 20; 9, 4, 10; Juv. 6, 3, 80; Vulg. Gen. 4, 21; id. 2 Par. 34, 12 et saep. an organ, water-organ: “organa hydraulica,Suet. Ner. 41: aquatica, Mythogr. Lat. 3, 12.—Of a church-organ, Cass. Expos. in Psa. 150; Aug. Enarr. in Psa. 150, n. 7.—  B. Transf.: organum oris, the tongue of a man, Prud. steph

2Timothy 4:5 But watch thou in all things, endure afflictions,
        do the work of an evangelist, make full proof of thy ministry.

New Worship Wars?

The addition of instruments provides a whole new set of challenges. Here are a few:
  1. Volume preferences – One prefers that the instruments be barely heard while another prefers that the kick drum shakes their clothing. As in the case with musical styles, you will not succeed in pleasing everyone on volume levels. We try to land on a volume that’s very full but still allows the congregation to hear itself sing. If the volume is not loud enough, many feel self conscious in singing out. If the volume is too loud and especially with poor equipment and mixing, the worship experience can be literally painful. Quality sound equipment and a talented engineer are crucial.

  2. Perception of performance – Whether the church worships a cappella or with a worship band, the lead worshipers risk criticism for seeking to entertain the church rather than to lead worship. More passionate musicians can sometimes be perceived as showy when their intention is simply to physically express the worship that they feel. Certainly, an element of trust between the worship leader and the church comes into play here (the congregation must trust that the worship leaders are sincerely worshiping and not just showing off), but there are ways (beyond the scope of this article) that the worship band can communicate a spirit of praise rather than performance.

    Watch how others lead worship, and discuss their example with your team. Keep the band and the church focused on the Lord.

  3. Style – Strong musical tastes tend to surface when instruments are present. Therefore, it’s crucial that the leadership have an agreed style of worship. Although branching into other styles from time to time can be refreshing, changing styles every week or between every song can be tiring and confusing to the band and the church.

Don’t Neglect the A Cappella Service

An instrumental service takes a tremendous amount of time, energy, and coordination. If your church will still have an a cappella service, assure that the non-instrumental gathering has just as much attention put towards it as in the past. Those attending either style of worship deserve the best in terms of preparation and creativity.

In closing, if the Lord is leading your church to pursue instrumental worship, pursue it passionately and on your knees in prayer. May the Lord be magnified in all our services. May we grow more like Jesus as we honor him in worship. And when the lost in this world attend our assemblies, may they fall on their knees and proclaim “God is in this place.”
PLATO in Protagoras:

[347c] But if he does not mind,
        let us talk no more of poems and verses,
        but consider the points on which I questioned you at first, Protagoras,
        and on which I should be glad to reach, with your help, a conclusion.
Paul "dialoged" until midnight: dialegō  d. horous talk in definitions,
4. use a dialect or language, b. speak articulately, Opposite Poieo 
For it seems to me that arguing about poetry
        is comparable to the wine-parties of common market-folk.
        These people, owing to their inability to carry on a familiar conversation over their wine
        by means of their own voices and discussions

[347d] such is their lack of education--
        put a premium on flute-girls
        by hiring the extraneous voice of the flute at a high price,
        and carry on their intercourse by means of its utterance.

But where the party consists of thorough gentlemen who have had a proper education,
        you will see neither flute-girls nor dancing-girls nor harp-girls,
        but only the company contenting themselves with their own conversation,
        and none of these fooleries and frolics--
        each speaking and listening decently in his turn,

Ryan ChristianRyan Christian is the Praise and Worship Minister for The Hills Church of Christ. He grew up in Lubbock before graduating from Abilene Christian University in 1993 with an accounting degree. Upon graduation, he moved to Fort Worth and worked in the banking industry.

Christian joined RHCC's praise team in 1993 and joined the RHCC staff as full-time worship minister in August 1997.

Ryan met his wife, Kelly, at RHCC and married in 1995. They have two children, Maddie and Ethan. You can reach him at [Ryan.Christian@RHChurch.org].

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