John T. Willis: Sing and Make Melody

Revised 11.22.19 John T. Willis sows discord and discords tens of thousands teaching that singing and making melody by the Jacob-cursed and God-abandoned Levites is a command for the Church of Christ (the Rock) ordained in the wilderness after Israel fell into instrumental idolatry of the always-pagan trinity under the symbol of Apis the bull calf as one of the Demos or Beasts.  ALL of the playing or SMITING instruments are derived from violence.  Psallo in the Greek text first speaks of making the bow string twang to send forth a singing arrow into the literal heart: it is therefore used of shooting hymns or "love arrows" into your male of female friend.

Theology points to the study and worship of Apollyon who is leader of the LOCUSTS or MUSES.  Spiritus is personified only of Apollon and His Musical Worship team are defined as dirty prostitutes serving as AS SHEPHERDESSES.  John calls singers and instrument players SORCERERS and says that they WILL BE CAST ALIVE INTO THE LAKE OF FIRE.

Jude references the Mount Sinai Instrumental-Trinitarian-Perverted PLAY and says that they are FOREORDAINED.  You can get many Phds and be Biblically and Historically illiterate.

Plutarch Marcus Antonius:

XXIII. Plut. Ant. 23.1 After that, Caesar was conveyed to Rome, and it was thought he would not live long, nor escape the sickness he had. Antonius on the other side went towards the east provinces and regions to levy money: and first of all he went into Greece, and carried an infinite number of soldiers with him.

Now, because every soldier was promised five thousand silver drachmas, he was driven of necessity to impose extreme tallages [imposts] and taxations.  [There is no Law of Giving: that's why religious craftsmen are called parasites]

At his first coming into Greece, he was not hard nor bitter unto the Grecians,
        but gave himself-only to hear wise men dispute, to see plays,
        and also to note the ceremonies and sacrifices of Greece, ministering justice to every man:
        and it pleased him marvellously to hear them call him Philellen (as much to say, a lover of the Grecians),
        and specially the Athenians, to whom he did many great pleasures.

Wherefore the Megarians, to exceed the Athenians, thinking to shew Antonius a goodly sight, [p. 172] they prayed him to come and see their senate-house and council hall. Antonius went thither to see it. So when he had seen it at his pleasure, they asked him: "My lord, how like you our hall?', "Me thinks," quoth he, "it is little, old, and reedy to fall down." Furthermore he took measure of the temple of Apollon Pythias, and promised the senate to finish it.

Arnobius Book IV.12. But let them be true, as you maintain, yet will you have us also believe that Mellonia, for example, introduces herself into the entrails, or Limentinus, and that they set themselves to make known  what you seek to learn? Did you ever see their face their deportment, their countenance? or can even these be seen in lungs or livers?

May it not happen, may it not come to pass, although you craftily conceal it, that the one should take the other's place, deluding, mocking, deceiving, and presenting the appearance of the deity invoked?

If the magi, who are so much akin to  soothsayers, relate that, in their incantations, pretended gods  steal in frequently instead of those invoked;  that some of these, moreover, are spirits of grosser substance,  who pretend that they are gods, and delude the ignorant by their lies and deceit,- why should we not similarly believe that here, too, others substitute themselves for those who are not, that they may both strengthen your superstitious beliefs, and rejoice that victims are slain in sacrifice to them under names not their own?

Not by that which the "Magi assert, that they have intercessory prayers, won over by which some powers make the way easy to those who are striving to mount to heaven; not by that which Etruria holds out in the Acherontic books that souls become, and are freed from the law of death, if the blood of certain animals is offered to certain deities.

These are empty delusions, and excite vain desires. None but the Almighty God can preserve souls; nor is there any one besides who can give them length of days, and grant to them also a spirit which shall never die."

(Footnote: Magi are 'certain fortune-telling vagrant seers, who persuade the rich that they have power with the gods, by means of charms and sacrifices... on familiar terms with evil powers, and thus able to accomplish whatever is within these spirit's power.) (Arnibious, Ante-Nicene, VI, p. 457

Acts 13:5 And when they were at Salamis, they preached the word of God in the synagogues of the Jews:
        and they had also John to their minister.
Acts 13:6 And when they had gone through the isle unto Paphos,
         they found a certain sorcerer, a false prophet, a Jew, whose name was Bar-jesus:
Magos [a^, ou, ho, Magian, one of a Median tribe, Hdt.1.101, Str. 15.3.1: hence, as belonging to this tribe,
2. one of the priests and wise men in Persia who interpreted dreams, Hdt.7.37, al., Arist.Fr. 36, Phoen.1.5, Ev.Matt.2.1.
3. enchanter, wizard, esp. in bad sense, impostor, charlatan, Heraclit.14, S.OT387, E.Or.1498 (lyr.), Pl.R.572e, Act.Ap.13.6, Vett. Val.74.17: also fem., Luc.Asin.4, AP 5.15 (Marc. Arg.).
II. magos, on, as Adj., magical, “magps tekhnē prattein tiPhilostr.VA1.2; “kestou phōneusa magōteraAP5.120 (Phld.). (Opers. maguš 'Magian'.)

Sophos , ē, on, A. skilled in any handicraft or art, clever, harmatēlatas s. Pi.P.5.115, cf. N.7.17; “kubernētēsA.Supp.770; “mantisId.Th.382; “oiōnothetasS.OT484 (lyr.); of a sculptor, E.Fr.372; even of hedgers and ditchers, Margites Fr.2; but in this sense mostly of poets and musicians, Pi.O.1.9, P.1.42, 3.113; en kithara s. E.IT1238
etc.; also en oiōnois, kithara, E. IT662, 1238 (lyr.);
Margit-ēs , ou, ho, (margos) Margites, i. e.
A.madman, hero of a mock-heroic poem of the same name, ascribed to Homer, Arist.Po.1448b30, etc.

marg-os , ē, on, also os, on (A.Eu.67, Pl.Lg.792e):—poet. Adj. (used once by Pl.),
A.mad, marge madman! Od.16.421; “maia philē, margēn se theoi thesan23.11, cf. Pi.O.2.96, etc.; “thumos m.Thgn.1301; “lussēs pneumati margōA.Pr.884 (anap.); tasde tas margous, of the Furies, Id.Eu.l.c.; margoi hēdonai Pl.l.c.; of horses, rampant, furious, “margōn epibētores hippōnHom.Epigr.4.4, cf.A.Th.475; of wine, “oinos de hoi epleto margosHes.Fr.121.
2. of appetite, greedy, gluttonous, “meta d' eprepe gasteri margēOd.18.2; “to m. sēs gnathouE.Cyc.310: metaph., “oidmati margōEmp.100.7; “margois phlox edainuto gnathoisPhryn.Trag.5.4.
3. lewd, lustful, Thgn.581, A.Supp.741, E.El.1027, etc.
Plat. Laws 792e I should assert further—were it not that it would be taken as a jest—that women with child, above all others, should be cared for during their years of pregnancy, lest any of them should indulge in repeated and intense pleasures or pains, instead of cultivating, during the whole of that period, a cheerful, bright and calm demeanor.

Aesch. PB 877 Io

eleleu eleleu,
Oh! Oh! Alas! Once again convulsive pain and frenzy, striking my brain, inflame me. I am stung by the gadfly's barb, [880] unforged by fire. My heart knocks at my ribs in terror; my eyeballs roll wildly round and round. I am carried out of my course by a fierce blast of madness; I've lost all mastery over my tongue, [885] and a stream of turbid words beats recklessly against the billows of dark destruction.Exit

XXIV. But when he was once come into Asia, having left Lucius Censorinus governor in Greece, and that he had felt  the riches and pleasures of the east parts, and that princes, great lords, and kings, came to wait at his gate for his coming out: and that queens and princesses, to excel one another, gave him very rich presents, and came to see him, curiously setting forth themselves, and using all art that might be to shew their beauty, to win his favour the more (Caesar in the mean space turmoiling [troubling] his wits and body in civil Wars at home, Antonius living merrily and quietly abroad), he easily fell again to his old licentious life.
For straight, one Anaxenor, a player of the cithern [guitarist], Xoutus, a player of the flute, Metrodorus a tumbler, and such a rabble of minstrels and fit ministers for the pleasures of Asia (who in fineness and flattery passed all the other plagues he brought with him out of Italy), all these flocked in his court, and bare the whole sway: and after that all went awry. For every one gave themselves to riot and excess, when they saw he delighted in it: and all Asia was like to the city Sophocles speaketh of in one of his tragedies:

Strab. 14.1 Well-known natives of Magnesia are: Hegesias the orator, who, more than any other, initiated the Asiatic style, as it is called, whereby he corrupted the established Attic custom; and Simus the melic poet, he too a man who corrupted the style handed down by the earlier melic poets and introduced the Simoedia,62 just as that style was corrupted still more by the Lysioedi and the Magoedi, and by Cleomachus the pugilist, who, having fallen in love with a certain cinaedus63 and with a young female slave who was kept as a prostitute by the cinaedus, imitated the style of dialects and mannerisms that was in vogue among the cinaedi. Sotades was the first man to write the talk of the cinaedi; and then Alexander the Aetolian. But though these two men imitated that talk in mere speech, Lysis accompanied it with song; and so did Simus, who was still earlier than he. As for Anaxenor, the citharoede64, the theatres exalted him, but Antony exalted him all he possibly could, since he even appointed him exactor of tribute from four cities, giving him a body.guard of soldiers. Further, his native land greatly increased his honors, having clad him in purple as consecrated to Zeus Sosipolis,65 as is plainly indicated in his painted image in the market-place.

Bakkhaō , o be in Bacchic frenzy, to rave, A.Th.498.

Eur. Ba. 145 Chorus
[135] He is sweet in the mountains 1, whenever after the running dance he falls on the ground, wearing the sacred garment of fawn skin, hunting the blood of the slain goat, a raw-eaten delight, rushing to the [140] Phrygian, the Lydian mountains, and the leader of the dance is Bromius, evoe! 2 The plain flows with milk, it flows with wine, it flows with the nectar of bees.
        [145] The Bacchic one, raising the flaming torch of pine on his thyrsos,
            like the smoke of Syrian incense,

Matt. 12:19 He shall not strive, nor cry; neither shall any man hear his voice in the streets.
Matt. 12:20 A bruised reed shall he not break, and smoking flax shall he not quench,
        till he send forth judgment unto victory.
Matt. 12:21 And in his name shall the Gentiles trust.

Isa 42:2 He shall NOT cry, nor lift up, nor cause his voice to be heard in the street

h6817. tsaw-ak´; a primitive root; to shriek; (by implication) to proclaim (an assembly):—x at all, call together, cry (out), gather (selves) (together).

Lift up is Nasa h5375 is the SELF-pleasure outlawed in Romans 15: rhetoric, singing, playing instruments, acting. Areskos or Placeo shows that performance is to make insurrection or sectarianism to lift up and carry away your property:

NOT: cla-mo ,: “clamare de pecuniā,[MONEY] Cic. Verr. 2, 5, 7, § 17 al.—Of a vehement bawling before a tribunal: I. Neutr., to call, cry out, shout aloud, to complain with a loud voice, vociferari (class. and very freq.; mostly of human beings): 

ac-cĭpĭo  A. Llear To take a thing by hearing, i. e 1: “carmen  [SINGING-PLAYING] auribus,Lucr. 4, 983 (so id. 6, 164); 1, 270; cf. Verg. A. 2, 65

His Voice   persōna , ae, I. A mask, esp. that used by players, which covered the whole head, and was varied according to the different characters to be representedut tragicus cantor

NOT: per-sŏnus I.resounding, ringing (post-Aug.): “Io ovanti persona sistro,Val. Fl. 4, 418: “verno persona cantu virgulta,
II. Transf., a personage, character, part, represented by an actor:vox ,a voice, sound, tone, cry, call. inclinata ululantique voce canere,

siderā excantata voce Thessalā,incantation, B. Speech, language, in gen., = sermo
cultus hominum recentum Voce formasti catus (Mercurius),
NOT: Never in the fŏrum , A. A market, as a place for buying and selling
forum coqui-num also, in which professional cooks offered their services in preparing special entertainments, Plaut. Ps. 3, 2, 1.—   “vacuo clausoque sonant fora sola theatro,Juv. 6, 68.—

darts about, arousing the wanderers with his racing and dancing, agitating them with his shouts, [150] casting his rich locks into the air. And among the Maenad cries his voice rings deep: 3 “Go, Bacchae, go, Bacchae, with the luxury of Tmolus that flows with gold, [155]
        sing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, [160] when the sweet-sounding sacred pipe sounds a sacred playful tune suited [165] to the wanderers, to the mountain, to the mountain!” And the Bacchante, rejoicing like a foal with its grazing mother, rouses her swift foot in a gamboling dance.

1 cf. Dodds, ad loc.

2 A ritual cry of delight.

3 This last phrase taken verbatim from Dodds, ad loc.

        Was full of sweet perfumes and pleasant songs,
        With woeful weeping mingled there-amongs.
        For in the city of Ephesus, women, attired as they go in the feasts and sacrifice of [Dionysus] Bacchus,
        came out to meet him with such solemnities and ceremonies
         as are then used: with men and children disguised like fauns and satyrs.

The Beast:
thērion , to (in form Dim. of thēr),  A. wild animal, esp. of such as are hunted, mala gar mega thērion ēen, of a stag, Od.10.171, 180 (never in Il.); in Trag. only in Satyric drama

sikinn-i^s si^, or siki_nis (E.Cyc.37), idos,
A. SikinninD.H.7.72:—Sicinnis, a dance of Satyrs used in the Satyric drama, S.Fr.772, E. l.c., D.H. l.c., Luc.Salt.22: named from its inventor Sicinnus, Ath.1.20e, cf. Scamon 1; or from Sicinnis, a nymph of Cybele, although originally danced in honour of Sabazios, Arr.Fr.106J.— Also written Sikinnon , to/, Suid.; Sikinna ,
 “ mousikē aei ti kainon thērion tiktei” 

mousikę aei ti kainon thęrion tiktei
Mousikos, musical, agônes m. kai gumnikoi  choroi te kai agônes ta mousika music,  

II. of persons, skilled in musickuknos [minstrel]  kai alla zôia; peri aulous - professional musicians, mousikos kai melôn poętęs, use with singing, skilled in speaking before a mob. Melody

B. aei always
C. 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 Lucifer
D. Therion
E. Tikto mostly of the mother  of Rhea one of the zoogonic or vivific principles

Moreover, the city was full of ivy, and darts wreathed about with ivy, psalterions , flutes, and howboyes [hautboys]; and in their songs they called him Bacchus, father of mirth, courteous and gentle: and so was he unto some, but to the most part of men cruel and extreme. [Savage]

psaltēriōn   trigōna   2. a musical instrument of triangular form, with strings of equal thickness but unequal lengths

Genesis 4:[21] et nomen fratris eius Iubal ipse fuit pater canentium cithara et organo

kai suriggōn kai

surigx , iggos, , A. [select] shepherd's pipe, Panspipe, “aulōn suriggōn t' 
2. cat-call, whistle, hiss, as in theatres, Id.Lg.700c; cf. “surizō11.2, surigmos:—the last part of the nomos Puthikos was called surigges, prob. because it imitated the dying hisses of the serpent Pytho, Str.9.3.10
aulōn  flute  of tunes, to be played on the flute,ho Bakkheios rhuthmos ēuleitoX. Smp.9.3; “auleitai pan melathronis filled with music

Xen. Sym. 9.3 Then, to start proceedings, in came Ariadne, apparelled as a bride, and took her seat in the chair. Dionysus being still invisible, there was heard the Bacchic music played on a flute. Then it was that the assemblage was filled with admiration of the dancing master. For as soon as Ariadne heard the strain, her action was such that every one might have perceived her joy at the sound; and although she did not go to meet Dionysus, nor even rise, yet it was clear that she kept her composure with difficulty. 

For he robbed noblemen and gentlemen of their goods, to give it unto vile flatterers: who oftentimes begged living men's goods, as though they had been dead, and would enter their houses by force. As he gave a citizen's house of Magnesia unto a cook, because (as it is reported) he dressed him a fine supper. In the end he doubled the taxation, and imposed a second upon Asia.

Vocal or Instrumental Psallo is NOT Psallō IN THE HEART or SILENT.  The Key factor in the Christian Assembly is that both male and female remain silent "so that we might all come to a knowledge of THE TRUTH or the Word of God.
Religious Music was performed by WOMEN or EFFEMINATE Males.  They both thought that their condition and public persona proved that they spoke for the "gods."  Paul then rebuffs all mediators in song and sermon but the READER because:

1Tim. 2:5 For there is ONE GOD
        and one mediator between God and men,
        the MAN Christ Jesus;

Paul prevents and outbreak of WRATH or an ORGY

The Evil Psallo  I. In gen., to play upon a stringed instrument; esp., to play upon the cithara, to sing to the cithara: “psallere saltare elegantius,Sall. C. 25, 2  canituri,”  SING and cantare marked as SORCERY.    saltare et cantare; Cic. Catil. 2.10.23   Suet. Tit. 3

Saltatio   Dancing was originally closely connected with religion. Plato thought all dancing should be based on religion, as it was, he says, among the Egyptians. It has been shown under Chorus that the chorus in the oldest times consisted of the whole population of a city, who met in a public place to offer up thanksgivings to the god of their country by singing hymns and performing dances. These dances, which, like all others, were accompanied by music, were

In that regard, epic's position is parallel to that of rhetoric. Beginning with Aristotle's Rhetorica (1404a), critics of rhetorical performance have ascribed to lively delivery the same effect as that of acting. There is a persistent association between theatrics, bad rhetoric and effeminacy.

Rhetoric was forever at pains to disentangle itself from unwanted associations with female deception and histrionic art, because it was viewed as the art of socially weak women and slaves,and rhetoricians of all ages have assiduously fought against any trace of bodily and vocal practice associated with these groups.

However, from the examples that I have just used, it is evident, I believe, which art of music I consider appropriate in the training of the orator and to what extent.

Nevertheless, I think that I need to be more explicit in stating that the music which I prescribe is not the modern music which has been emasculated by the lascivious melodies of the effeminate stage and has to no small extent destroyed the amount of manly vigor that we still possessed.

I refer rather to the music of old with which people used to sing the praises of brave men and which the brave themselves used to sing. 

But this fact does not justify degeneration into sing-song or the effeminate modulations now in vogue. There is an excellent saying on this point attributed to Gaius Caesar while he was still a boy:

"If you are singing, you sing badly; if you are reading, you sing."

The Evil Psallo psallere saltare   ēlĕgans   I. In the ante-class. period in a bad sense, luxurious, effeminate, fastidious, nice: elegans homo non dicebatur cum laude “mulier (Phrynewith formosa),

saltātor , ōris, m. salto,
I.a dancer (generally among the Romans with an accessory contemptuous signif.), Cic. Off. 1, 42, 150; id. Mur. 6, 13; id. Deiot. 10, 28; id. Fin. 3, 7, 24; Quint. 1, 12, 14; 11, 3, 89; Suet. Calig. 54; id. Ner. 6; Macr. S. 2, 10 al.

--saltātĭo , ōnis, f. id.,
I. a dancing; concr., a dance, Quint. 1, 11, 18 sq.; 2, 18, 1; Scipio Afric. ap. Macr. S. 2, 10: “multarum deliciarum comes est extrema saltatio,Cic. Mur. 6, 13; id. Brut. 62, 225; id. Fin. 3, 7, 24; Quint. 11, 3, 128; Suet. Tit. 7 al.Plur., Plaut. Stich. 5, 2, 11.
--dēlĭcĭae , ārum, f. (sing. dēlĭcĭa , ae, f.; [delicio; that which allures, flatters the senses], delight, pleasure, charm, allurement; deliciousness, luxuriousness, voluptuousness, curiosities of art; sport, frolics, etc. (freq. and class.; for syn. cf.: voluptas, libido, delectatio, oblectatio, delectamentum, oblectamentum).

mŭlĭer , II. Transf., as a term of reproach, a woman, i. e. a coward, poltroon: “non me arbitratur militem, sed mulierem,Plaut. Bacch. 4, 8, 4.

Cic. Catil. 2.10.23 In these bands are all the gamblers,
        all the adulterers, all the unclean and shameless citizens.
        These boys, so witty and delicate,
        have learnt not only to love and to be loved,
            not only to sing and to dance,
            but also to brandish daggers and to administer poisons;
       and unless they are driven out,
       unless they die, even should Catiline die, 
       I warn you that the school of Catiline would exist in the republic.
But what do those wretches want? Are they going to take their wives with them to the camp? how can they do without them, especially in these nights? and how will they endure the Apennines, and these frosts, and this snow?
      unless they think that they will bear the winter more easily
      because they have been in the habit of dancing naked at their feasts. O
war much to be dreaded, when Catiline is going to have his bodyguard of prostitutes!

Suet. Tit. 3 While yet a boy, he was remarkable for his noble endowments both of body and mind; and as he advanced in years, they became still more conspicuous.
        He had a fine person, combining an equal mixture of majesty and grace;
        was very strong, though not tall, and somewhat corpulent.
Gifted with an excellent memory, and a capacity for all the arts of peace and war; he was a perfect master of the use of arms and riding; very ready in the Latin and Greek tongues,
        both in verse and prose; and such was the facility he possessed in both,
        that he would harangue and VERSIFY extempore.
        Nor was he unacquainted with MUSIC,
                but could both SING and PLAY upon the HARP sweetly and scientifically.
        I have likewise been informed by many persons,
                that he was remarkably quick in writing short-hand,
                would in merriment and jest engage with his secretaries
                in the imitation of any hand-writing he saw, and often say, "
                that he was admirably qualified for forgery."

The Evil Psallo includes: Phrȳ , ēs, f., = Phrunē.
I. A celebrated hetśra in Athens, so wealthy that she offered to rebuild the city of Thebes after it had been destroyed by Alexander: “nec quae deletas potuit componere Thebas Phryne,Prop. 2, 6, 6; cf. Quint. 2, 15, 9; Val. Max. 4, 3, ext. 3.—
II. A Roman courtesan, Hor. Epod. 14, 16.—
Quint. Inst. 2 15.9 So also according to general opinion Phryne was saved not by the eloquence of Hyperides, admirable as it was, but by the sight of her exquisite body, which she further revealed by drawing aside her tunic. And if all these have power to persuade, the end of oratory, which we are discussing, cannot adequately be defined as persuasion.

componere   Plin. praef. § 25: carmen,Cic. Mur. 12, 26: “carmina,Tac. Or. 12; id. A. 3, 49: “epistulasblanditias tremulā voce,T

2. In a bad sense, soft, effeminate, unmanly, weak (syn. effeminatus): “philosophus tam mollis, tam languidus, tam enervatus,Cic. de Or. 1, 52, 226: “Sabaei,Verg. G. 1, 57: “viri molles, i. e. pathici,Liv. 33, 28; Sen. Ep. 87: “disciplina,effeminate,
III. A procuress, Tib. 2, 6, 45.

The Evil Psallo includes:  căno , cĕcĭni, cantum (ancient I.imp. cante = canite, “once canituri,Vulg. Apoc. 8, 13), 3, v. n. and a. [cf. kanassō, kanakhē, konabos; Germ. Hahn; Engl. chanticleer; kuknos, ciconice; Sanscr. kōkas = DUCK; A. With carmen, cantilenam, versus, verba, etc., to sing, play, rehearse, recite
Rev. 8:12 And the fourth angel sounded,
        and the third part of the sun was smitten,
        and the third part of the moon,
        and the third part of the stars;
        so as the third part of them was darkened,
        and the day shone not for a third part of it, and the night likewise.
Rev. 8:13 And I beheld, and heard an angel flying through the midst of heaven,
        saying with a loud voice, Woe, woe, woe,
        to the inhabiters of the earth by reason of
        the other voices of the trumpet of the three angels,
        which are yet to sound!
ka^na^kh-ē , Dor. -Kha, , (kanassō) Od.6.82; odontōn men k. pele gnashing of teeth, Il.19.365, Hes.Sc.164:
k. aulōn sound of flutes, Pi.P.10.39 (pl.), B.2.12, cf. S.Tr.642 (lyr.); of the lyre, h.Ap.185.
ka^na^kh-eō , a Verb expressing various sounds, kanakhēse de Khalkos
A.r ang, clashed, Od.19.469; kanakhousi pēgai plash, Cratin.186; kanakhōn holophōnos alektōr crowing, ., k. melos to let a song ring loud, A.R.4.907.

khalkos    “sidēros de kai kh. polemōn organaPl.Lg.956a  SUITABLE FOR OFFERINGS IN TEMPLES OR ANATHEMA
organon , to, (ergon, erdō) A.instrument, implement, tool, for making or doing a thing,
3. musical instrument, Simon.31, f.l. in A.Fr.57.1 ; ho men di' organōn ekēlei anthrōpous, of Marsyas, Pl.Smp.215c ; aneu organōn psilois logois ibid., cf. Plt.268b ; “o. polukhordaId.R.399c, al.; “met' ōdēs kai tinōn organōnPhld.Mus.p.98K.; of the pipe, Melanipp.2, Telest.1.2.
Sal. Cat. 25 In the number of those ladies was Sempronia, a woman who had committed many crimes with the spirit of a man. In birth and beauty, in her husband and her children, she was extremely fortunate;
        she was skilled in Greek and Roman literature;
        she could sing, play, and dance, *
        with greater elegance than became a woman of virtue,
and possessed many other accomplishments that tend to excite the passions. But nothing was ever less valued by her than honor or chastity. Whether she was more prodigal of her money or her reputation, it would have been difficult to decide. Her desires were so ardent that she oftener made advances to the other sex than waited for solicitation. She had frequently, before this period, forfeited her word, forsworn debts, been privy to murder, and hurried into the utmost excesses by her extravagance and poverty. But her abilities were by no means despicable; she could compose verses, jest, and join in conversation either modest, tender, or licentious. In a word, she was distinguished by much refinement of wit, and much grace of expression.

* Sing, play, and dance] “Psallere, saltare.” As psallo signifies both to play on a musical instrument,  
  and to sing to it while playing, I have thought it necessary to give both senses in the translation.

However  Psallō.   used in Scripture does NOT include plucking a harp to make music.

Even the Vocal or Instrumental Psallo  II. In partic., in ecclestiacal Latin, to sing the Psalms of David, Hier. Ep. 107, 10; Aug. in Psa. 46; 65; Vulg. 1 Cor. 14, 15

Everyone in Corinth wanted to speak their own sermons and sing their own songs. They wanted to speak in their own tongue or MINOR DIALECT while most in Corinth could understand Koine Greek. Unless there was someone to translate they should keep silent.

1Cor. 14:15 What is it then?
        I will pray WITH the spirit,
        and I will pray WITH the understanding also:
        I will sing WITH the spirit,
        and I will sing WITH the understanding also.

SPEAKING connected to TONGUES includes Playing Musical Instrument.

Christian Lectio: 
lectĭo , ōnis, f. lego.
I. A gathering, collecting.
A. In gen. (post-Aug. and rare): “lectio lapidum,Col. 2, 2, 12: “florum,Arn. 5, 173.—*
B. In partic., a picking out, selecting: “judicum,Cic. Phil. 5, 6, 16. —
II. A reading, perusal; a reading out, reading aloud.
that which is read, reading, text, “juris lectiones,passages of the laws,
Repeating a song over in over is the LADED BURDEN: the KAIROS time was for Jesus to put down the Burden Laders which identifies the songs of the Scribes and Pharisees--hypocrites. Music always INTEND to hurt like the runner's high.

In all CIVIL societes before the Post-Literate Dispensations
lectĭto , āvi, ātum, 1, v. freq. a. 2. lego.
I. To gather or collect eagerly or often (postclass.): “conchulas et calculos in litore lectitasse,Val. Max. 8, 8, 1: “flores,Arn. 5, 183. —
There is no Biblical command, example or remote inference of people SYNAGOGUING or collecting to lear rhetoric, singing, playing instruments or ACTING.

The only ROLE for a synagogue or ekklesia (civil or religious) was the READER of material from a HIGHER authority. Other mean and women are to be sedentary and SILENT for minimal reverence.

Lector , ōris, m. 2. lego, LEXIS is the OPPOSITE of ODE or PSALLO. I. one who reads.

I. Lit. A. In gen., a reader: “cum enim Brutus duos lectores excitasset, et alteri orationem legendam dedisset, etc.,Cic. de Or. 2, 55, 223: “nihil est aptius ad delectationem lectoris, quam fortunae vicissitudines,id. Fam. 5, 12, 4: “se lectori credere,Hor. Ep. 2, 1, 214: “otiosus,Quint. 4, 2, 4: adsiduo ruptae lectore columnae, Juv. 1, 13.—

B. In partic., a slave who read aloud to his master: unum aliquem constituere lectorem,Quint. 2, 5, 6: “lectorem inducere,Plin. Ep. 9, 17, 3; cf. id. ib. 1, 15, 2.—
II. Transf., an officer in the Christian Church:itaque hodie diaconus, qui cras lector,Tert. adv. Haeretic. 41; Sid. Ep. 4, 25.

Click for more random biblical and historical information which always connects musical melody (pruning your vines or pagan-sexual religion)

The Greek or Latin PSALLO never at any time in recorded history had any connection to musical or tuneful melody.  It may be to despise or blaspheme God to say that no one was smart eno10ugh to use any MELODY word. Because the "Psallo" word is violent or vile, Paul said ODE and PSALLO in the heart which is a PLACE.

Melos , musical member, phrase: hence, song, strain, 2. music to which a song is set, tune, Arist.Po.1450a14; opposite. rhuthmos, metron, Pl.Grg. 502c; OPPOSITE rhuthmos, rhēma, Id.Lg.656c;
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos
On the contrary:
Plat. Rep. 398d “have sufficient a understanding of this—that the song1 is composed of three things, the words, the tune, and the rhythm?” “Yes,” said he, “that much.” “And so far as it is words, it surely in no manner differs from words not sung in the requirement of conformity to the patterns and manner that we have prescribed?” “True,” he said. “And again, the music and the rhythm must follow the speech.2” “Of course.” “But we said we did not require dirges and lamentations in words.”

1 The complete song includes words, rhythms, and “harmony, that is, a pitch system of high and low notes. Harmony is also used technically of the peculiar Greek system of scales or modes. Cf. Monro, Modes of Ancient Greek Music.

2 The poets at first composed their own music to fit the words. When, with the further development of music, there arose the practice of distorting the words, as in a mere libretto, it provoked a storm of protest from conservatives in aesthetics and morals.
IF YOU SEARCH FOR MUSICAL MELODY YOU WILL NEVER FIND "PSALLO." Melodikos means to PERSUADE including to mislead, bribe, kinēma caused by melod-etikos movements of pantomimic actors, political movement, uproar, excitement, b. ta tōn kairōn k., of periods in disease. Of the flesh sarx   affections and lusts, fleshly nature. 3. the physical or natural order of things, opp. the spiritual or supernatural, “sophoi kata sarka1 Ep.Cor.1.26; “en Khristō Iēsou kai ouk en sarki pepoithotes

Latin melody cănōrus A. Of men: “canorus orator et volubilis et satis acer,Cic. Brut. 27, 105: “turba, in song and dance, C. Of instruments: mŏvĕo  to move, stir, set in motion; to shake, disturb, remove, to disturb: signum movere loco,to move from the place, d. To disturb, concern, trouble, torment one
Sophocles, Antigone

Chorus [791] You seize the minds of just men and drag them to injustice, to their ruin. You it is who have incited this conflict of men whose flesh and blood are one. [795] But victory belongs to radiant Desire swelling from the eyes of the sweet-bedded bride. Desire sits enthroned in power beside the mighty laws. [800] For in all this divine Aphrodite plays her irresistible game.

Commentary [800] empaizei, 'wreaks her will' in that contest which nikai implies. We find empaizô with a dat. (1) of the object, as Her. 4.134 empaizontas hęmin, 'mocking us': (2) of the sphere, as Ar. Th. 975 choroisin empaizei, 'sports in dances.' The en of empaizei here might also be explained as (a) in the imeros, or the blephara, i.e. by their agency: or (b) 'on her victim.' But the interpretation first given appears simpler. (Cp. Vergil's absol. use of illudere, G. 1. 181, Tum variae illudant pestes.)
Heb. 12:22 But ye are come unto mount Sion, and unto the city of the living God,
        the heavenly Jerusalem, and to an innumerable company of angels,
Heb. 12:23 To the general assembly and church of the firstborn [Church of Christ],
        which are written in heaven, and to God the Judge of all,
        and to the spirits of just men made perfect,
Heb. 12:24 And to Jesus the mediator of the new covenant,
         and to the blood of sprinkling, that speaketh better things than that of Abel.
Heb. 10:22 Let us draw near with a true heart in full assurance of faith,
    having our hearts sprinkled from an evil conscience,  [gives us A holy spirit]
    and our bodies washed with pure water.
Heb. 12:25 See that ye refuse not him that speaketh.
        For if they escaped not who refused him that spake on earth,
        much more shall not we escape,
        if we turn away from him that speaketh from heaven

Whose voice then SHOOK the earth: but now he hath promised, saying,
        Yet ONCE MORE
I shake not the earth only, but also heaven. Heb 12:26

sal-euō , fut.  A.saleusōLXX Wi.4.19: aor. “esaleusaIsoc.8.95, AP11.83:— Pass., fut. “saleuthēsomaiLXX Si.16.18, Ev.Luc.21.26: aor. “esaleuthēnLXX 1 Ma.9.13, Act.Ap.4.31, 2 Ep.Thess.2.2, v.l. in Isoc. l.c.: pf. sesaleumai (v. infr.): (salos):—cause to rock, make to vibrate or oscillate, c. acc.

sal-euō , cause to rock, make to vibrate or oscillate, of the sea
s. tous okhlous stir them up, Act.Ap.17.13,

Ecclesiasticus 28:12. If you blow on a spark, it will glow; if you spit on it, it will be put out; and both come out of your mouth.
Ecclesiasticus 28:13. Curse the whisperer and deceiver, for he has destroyed many who were at peace.
Ecclesiasticus 28:14. Slander has shaken many, and scattered them from nation to nation, and destroyed strong cities, and overturned the houses of great men.
suf-flo (subflo ), to blow forth from below; to blow up, puff out, inflate. A.Lit.: “age, tibicen, refer ad labeas tibias, Suffla celeriter tibi buccas, quasi proserpens bestia,
tībĭa , ae, f., I. Transf., a pipe, flute (orig. made of bone; “syn. fistula): age tibicen, refer ad labias tibias,Plaut. Stich. 5, 4, 41: “si tibiae inflatae non referant sonum,” “cantus tibiarum,id. 1, 11, 7: “tibia digitis pulsata canentum,Lucr. 4, 585: “modulate canentes tibiae, tibia digitis pulsata canentum,Lucr. 4, 585: “modulate canentes tibiae,
ubi curva choros indixit tibia Bacchi,Verg. A. 11, 737:
ignis , f the flame of love, love:
quae simul aethereos animo conceperat ignes, ore dabat pleno carmina vera dei,Ov. F. 1, 473:
Ecclesiasticus 18:15. Slander has driven away courageous women, and deprived them of the fruit of their toil.

Acts 17:13 But when the Jews of Thessalonica had knowledge that the word of God was preached of Paul at Berea, they came thither also, and stirred up the people.
sal-euō , bromi-os , a, on, (bromos) A. sounding, “phormigxPi.N.9.8; noisy, boisterous, whence,
ek Bromiou guia saleuomenon
Whose voice then SHOOK the earth: but now he hath promised, saying,
        Yet ONCE MORE
I shake not the earth only, but also heaven. Heb 12:26

Hebrews 12.26 cuius vox movit terram tunc modo autem repromittit dicens adhuc semel ego movebo non solum terram sed et caelum
Mŏvĕo , to represent a by dancing (gesticulating), id. Ep. 2, 2, 125: “et fila sonantia movit,struck, Ov. M. 10, 89: citharam cum voce,id. ib. 5, 112:tympana, id. H. 4, 48; to disturb: “novis Helicona cantibus,
a. To excite, occasion, cause, promote, produce; to begin, commence, undertake: exercitatione sudor movetur,”  “nominis controversiam,
movere ac moliri aliquid,to undertake any thing that excites disturbance, Liv. 23, 39: “ne quid moveretur,id. 35, 13.—
Exercĭtātĭo , I. A moving, agitating, setting in motion:
Lūdo , I. Lit., to play, play at a game of some kind B. To play, sport, frisk, frolic:
Especially to play on an instrument of music, to make or compose music or song: ludere quae vellem calamo permisit agresti,Verg. E. 1, 10
quod tenerae cantent, lusit tua musa, puellae,id. Am. 3, 1, 27: “coloni Versibus incomptis ludunt,Verg. G. 2, 386: “carmina pastorum,
B. To sport, dally, wanton (cf. "amorous play, to imitate work, make believe work, G. To delude, deceive:

lūdus a). In gen.: “hoc praetore ludos Apollini faciente,Cic. Brut. 20, 78: 2. Stage-plays [Mark of Abaddon, Apollyon]
And this word, Yet once more, signifieth the REMOVING
       of those things that are shaken, 
       as of things that are made, 
       that those things which cannot be shaken
[a trumpet-like word]

        may remain. Heb 12:27

făcĭo, “poëma,to compose, id. Pis. 29, 70: “carmina,Juv. 7, 28:versus, id. 7, 38: sermonem,Cic. Fam. 9, 8, 1; cf.litteram,id. Ac. 2, 2, 6: ludos, to celebrate, exhibit = edere, id. Rep. 2, 20; id. Att. 15, 10; “also i. q. ludificari,Plaut. Capt. 3, 4, 4
commercium sermonis, discordiam,to cause,
7. In mercant. lang., to practise, exercise, follow any trade or profession:
8. In religious language, like the Gr. rhezein, to perform or celebrate a religious rite; to offer sacrifice, make an offering, to sacrifice:

poieō   A. make, produce, first of something material, as manufactures, works of art 
2. create, bring into existence. of war and peace, polemon p. cause or give rise to a war
4. after Hom., of Poets, compose, write, p. dithurambon, epea, Hdt.1.23, 4.14; “p. theogoniēn HellēsiId.2.53; p. Phaidran, Saturous, Ar.Th.153, 157; p. kōmōdian, tragōdian, etc., Pl.Smp.223d; “palinōdianIsoc.10.64, Pl.Phdr.243b, etc.; “poiēmataId.Phd.60d: b. represent in poetry,

Wherefore we RECEIVING a KINGDOM which cannot be moved, let us have GRACE,

761.  asaleutos, as-al´-yoo-tos; from 1 (as a negative particle) and a derivative of 4531;
unshaken, i.e. (by implication) immovable (figuratively):  which cannot be moved, unmovable. 

WHEREBY, we may SERVE God acceptably with REVERENCE and godly fear: Heb 12:28
        For our God is a consuming fire. Heb 12:29

SERVICE is: 3000.   latreuo, lat-ryoo´-o; from latris (a hired menial); to minister (to God), i.e. render religious homage:  serve, do the service, worship(-per).

G2124 eulabeia yoo-lab'-i-ah From G2126 ; properly caution, that is, (religiously) reverence (piety); by implication dread (concretely): fear (-ed

G2126 eulabďs yoo-lab-ace' From G2095 and G2983 ; taking well (carefully), that is, circumspect (religiously, pious):-- devout.


We sent them to youth rallies and Church of Christ events
       with some of the finest Christian bands in the world.
        We discipled our children to leave our Movement!

Carroll D. Osburn the Purpose-Driven Agenda: On pages 14-15: "With so many questions flying around and so much uncertainty being expressed in various quarters, what an opportunity for the various faculties of our Christian colleges and universities to help shape the future! These are the best of times to be involved in Christian education!

If we are to have a truly significant impact upon the national and international scene,faculties of religion must play leading prophetic roles in channeling and facilitating whatever changes loom ahead.

Carroll D. Osburn  seems to confess that he and friends are educating change agents. Furthermore, he identifies the CHANGE scheme by speaking of
women reclaiming the IDEAL by little acts of subversion.

God promises to send strong delusions so that false teachers believe their own lie to be damned: there was no redemption for those who led the musical idolatry at Mount sinai.  Lying Wonders are defined as the wise or SOPHISTS from whom God hides: speakers for hire, singers, instrument players and actors.  One example is a produce who holds a debate with three empty chairs about the Law of Silence. He thinks that God is silent because of strong delusions and boasting of MAKING WAR against those who fed him.


The Warrior Levites are their PATTERN: However, Jacobe Cursed the Levi tribe and God Abandoned them to worship the starry host and MURDERN any godly citizen who can near the sacrificial system which was so evil that God quarantined it behind closed city gates.

The Ghebers of Hebron 2 Hoaea, xii. 4 derives the name Inracl from Sarah to contend, to fight, and El = God of Fire. — Gen. xxxii. '28. Asarians, Asriel, Israel, a name of the War god {Exodus, xiii. 21, 22, xiv. 25), Saturn and the Sun. The Fire-god Azar was the God of war, and M'irs was the Sun. — Macrob. I. xvii. OS

But these fire-worshippers carried with them the arks of Moloch and Khiun (Life-god), their Adon, and they had, like the other peoples of the Delta, their Mysteries, which the priests instituted. They took with them from Phoenicia, probably, a certain knowledge of fixed vocal signs; and it would not be safe to deny to Syria the possession of some sort of (Syrian) hieroglyphs.

We find the cities of the priests with the brothers (fratres) in their orders, in 2 Chronicles, xxxi. 15. A deity, regarded as the pure, holy fire, cannot be approached by the ordinary man; a priest-caste is requisite, to which the preservation of the sacred fire-place is entrusted, and which by mortifyings (of the flesh) and torments self-inflicted must make itself worthy of the access to the deity and its revelation. We find among the Old Canaanites no proper priesthood, but everywhere in Palestine, according to the Scriptural accounts, where the Chaldean fire-god Moloch was adored.'

Dionysus was worshipped among the Old Kanaanites and Arabians—" where the Bacchic fire of the God leaps forth." This Fire is that of Bal Melkarth or Moloch. The worship of this Tyrian Fire-god Herakles (Archal) was carried to Tarz

1 Chron 25:1 MOREOVER David and the Commanders of the Army separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals: and the number of the workmen according to their service was:

Plat. Laws 700b
one class of song was that of prayers to the gods, which bore the name of “hymns

1 i.e., solemn chants sung to the “cithara” or lyre. “Dithyrambs” were choral odes to Dionysus; “paeans” were mostly hymns of praise to Apollo. [Abaddon, Apollyon: the name of the SERVICE of the Levites or soothsayers] Plat. Laws 936c There shall be no beggar in our State; and if anyone attempts to beg, and to collect a livelihood by ceaseless [making Poieo meter, hymns] prayers, the market-stewards shall expel him from the market, and the Board of city-stewards from the city, and from any other district he shall be driven across the border by the country-stewards, to the end that the land may be wholly purged of such a creature. If a slave, male or female, do any injury to another man's goods,

Because God abandoned the Levi tribe to worship the starry host, prophesying with sond was called soothsaying interchangeably with SORCERY.  A student of history will note that the translators of the Septuaging or LXX version used the PSAO based words because what John T. Willis actively promotes as spiritual worship is a making war or making love: all of the NACC's historic references identify an older male plucking the harp skillfully to group a young male whose harirs had been "psalloed." Alexander the Great was one such Proof Text.
Psalmos also appears in the LXX as equivalent to the Hebrew word neginah. This Hebrew term is used to describe a wide variety of songs. Neginah is translated by psalmos in Lam 3:14 (song), in Lam 5:14 (music) and in Ps 69:12 (song). It is striking to observe that in the LXX translation of Lam 3:14 and Ps 69:12, psalmos, or its verbal form, is used for songs that are not only uninspired but are in fact the product of the wicked, even drunkards, who mocked God and His word. The Hebrew term neginah is used elsewhere in the Hebrew Scriptures of: the songs of the wicked, Job 30:9 (song); the inspired praise of God, Psalm 61 title (Neginah-a song performed on a stringed instrument); and the uninspired praise of the Lord composed by King Hezekiah, Is 38:20 (my songs). Ivan Foster

John T. Willis says that the words translated "melody" prove that Paul in Ephesians 5 was commanding people to sing AND play upon a heart. Willis says that the text means to "make melody WITH the heart."  From reading 101a we note that Paul did not command either singing or making melody WITH A HARP.  Both in prophecy and fulfillment Messiah would be musically mocked because music from mystery means "to make the lambs dumb before the slaughter." And Jesus opened not His mouth and that is the meaning of theology.

Matthew 27:29 And when they had platted a crown of thorns, they put it upon his head,
        and a reed in his right hand: and they bowed the knee before him,
        and mocked him, saying, Hail, King of the Jews!
Matthew 27:28 And they stripped him, and put on him a scarlet robe.
Matthew 27:31 And after that they had mocked him, they took the robe off from him,
        and put his own raiment on him, and led him away to crucify him.

, fut. to be deluded  II. sport in or on, “hōs nebros khloerais e. leimakos hēdonaisE.Ba. 866 (lyr.); tois khoroisin e. to sport in the dance, Ar.Th.975; “ gumnasiōLuc.Lex.5.
-Prospaizô2. abs., sport, jest3. laugh at, make fun or sport ofsing to the gods, sing in their praise or honour, 2. banter, tous rhętoras

-Aristoph. Thes.[947] Let us now devote ourselves to the sports which the women are accustomed to celebrate here, when time has again brought round the mighty Mysteries of the great goddesses, the sacred days which Pauson himself honours by fasting and would wish feast to succeed feast, that he might keep them all holy. Spring forward with a light step, whirling in mazy circles; let your hands interlace, let the eager and rapid dancers sway to the music and glance on every side as they move. -

Isaiah 50:6 I gave my back to the smiters, and my cheeks to them that plucked off the hair: I hid not my face from shame and spitting

Isaiah 50:[6] corpus meum dedi percutientibus et genas meas vellentibus faciem meam non averti ab increpantibus et conspuentibus

per-cŭtĭo    To strike through and through, to thrust or pierce through (syn.: percello, transfigo).   To strike, beat, hit, smite, shoot, stung, bitten, b. To strike, play a musical instrument (poet.): “lyram,Ov. Am. 3, 12, 40; Val. Fl. 5, 100.—
3. To cheat, deceive, impose upon one
vello d. To be plucked or pulled, i. e. to have the hair pulled out by the roots: of men 2. Trop., effeminate: “mens,Mart. 2, 36, 6.—
1 A plucked play-actor: The actors, having to perform the parts of women and beardless youths, were obliged to remove superfluous hair from the face, which was effected "vellendo," "by plucking it out," whence the term "volsus."
tillō  pluck or pull out hair, as a description of an idle fellow, “tillōn heautonAr.Pax 546, tephra tilthēnai, as a punishment of adulterers, 4. t. melē pluck the harp-strings, play harp-tunes,
Melos , musical member, phrase: hence, song, strain, 2. music to which a song is set, tune, Arist.Po.1450a14; opposite. rhuthmos, metron, Pl.Grg. 502c; opp. rhuthmos, rhēma, Id.Lg.656c;
3. melody of an instrument, “phormigx d' au phtheggoith' hieron m. ēde kai aulos

Speaking is an audible method. The resource is Psalms, hymns and spiritual songs.  The only purpose is to TEACH the Word.  In Romans 15 the command is to "use one mind and one mouth to speak that which is written FOR OUR LEARNING.
Both ODE and PSALLO are in (En, Eis) the HEART which is a PLACE.

ōdē , , contr. for aoidē,
ōdē. kitharōdikēLg.722d; “kitharizein pros tēn ōdē
   lupas polukhordois ō. paueinId.Med.197
2. = epōdos, magic song, spell, Longus 2.7.

It is to say that God was stupid in not being able to command "worship" consisting of playing the harp AND singing and ODE.

Eur. Med. 197 [190] You would be right to call men of old foolish, not at all wise: for while they invented songs for festivities, banquets, and dinners and added pleasant sounds to human life, [195] no one discovered how to put an end to mortals' bitter griefs with music and song sung to the lyre. It is because of these griefs that deaths and terrible disasters overthrow houses. It would have been a gain for mortals [200] to cure these ills by song. Where there are feasts of plenty, why do they raise the loud song to no purpose? The abundance of the feast at hand provides mortals with its own pleasure.Exit Nurse into the house.

There is nothing metrical in the John T. Willis sense in the entire Bible. The command for the elders is to teach that which has been taught. Therefore, there is nothing musical in a tuneful sense available let a TEAM sing to you while others violate the psallo word by using a guitar pick, playing a flute or beating on anything.  Melody as "tunefulness" belongs to the 19th century and melody even now means a simple series of single notes.  Melody is not harrmony and is not related to it.

Now, if you want to psallo a harp then you have to define the harp: otherwise someone may reach out to the lady in the pew in front of her and HANK out a hank of hair.  You must define three words to sing and play a harp:
Is. 23:13 Behold the land of the Chaldeans; this people was not,
        till the Assyrian founded it for them that dwell in the wilderness:
        they set up the towers thereof, they raised up the palaces thereof; and he brought it to ruin.
Is. 23:14 Howl, ye ships of Tarshish: for your strength is laid waste.

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.

How do you sing as a harlot:

Is. 23:16 Take an [1] harp, go about the city,
        thou harlot that hast been forgotten;
        make sweet [2] melody,
        [3]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.

Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [1]melody of thy [1] viols.

John T. Willis has taught a couple of generations under the guise of "Doctor of the Law." Jesus said that doctors of the law take away the key to knowledge. One of the easiest ways it to quote a long line of "scholars" and simply make claims which ignore the context or directly contradict the context. If you hold their career path of "seeing godliness as a means of financial gain" captive it is not surprising that they ditto the false teaching. That repudiates the entire Bible and recorded history which repudiates any role for "music" in The School of Christ with the inclusive-role defined by Christ in the wilderness.

SOP has the same root meaning as PSALLO.

Acts 15:21 For Moses of old time hath in every city
        them that PREACH him,
        being READ in the synagogues every sabbath [rest] day.

Doctors of the law do not get a God-given role of passing judgment on the epistles: the inclusive-exclusive command is to READ them. No mortal has anything to add to or subtract.  Paul did not corrupt the Word or "sell learning as wholesale" which was defined as prostitution.

Col. 4:16 And when this epistle is READ among you,
        cause that it be
READ also in the church of the Laodiceans;
        and that ye likewise
READ the epistle from Laodicea.

Rev. 1:3   Blessed is he that readeth,
        and they that hear the words of this prophecy,
        and keep those things which are written therein:
        for the time is at hand.

By just making the raw assertions John T. Willis leads many into apostasy because in the words of Paul to the Corinthians "you, like everyone love to be fooled.

John T. Willis: Psalm 21:13: "We will sing and make melody to your power."

When the PSALLO word was first twisted in 1878 the clear intention made audible in the hostile attacks against Churches of Christ who refused to UNION with the Disciples of Christ.  Psallo, like SOP, was used by the translators to define the making war and making perverted love.  It is an Apollo, Abaddon or Apollyon Word: so the word means to TWANG a bowstring to attach one's literal heart.  He carried his lyre to shoot LOVE ARROWS into his male or female friends.  He has been unleashed as the king over the locusts or MUSES: He is the LEADER of musical worship teams.

If God turned the Israelites over to worship the starry host and He gave them kings in His anger to carry out His death and captivity sentence, what "gods" do you suppose that the Jews worshipped.  Amos and Acts 8 gives us some of the names of their Lord who was letting the bloody-hand warriors stomp the enemy.  In the words of the Purpose Driven Cult the instrumental plan is to "Infiltrate and Divert."

Ps 21:12  Therefore shalt thou make them turn their back,
         when thou shalt make ready thine arrows
        upon thy strings against the face of them.
Ps 21:13   Be thou exalted, LORD, in thine own strength:
         so will we sing and praise thy power.

H2167 zâmar zaw-mar' A primitive root (perhaps identical with H2168 through the idea of striking with the fingers); properly to touch the strings or parts of a musical instrument, that is, play upon it; to make music, accompanied by the voice; hence to celebrate in song and music:—give praise, sing forth praises, psalms.

Psallo PROHIBITS anything but smiting a string with the fingers and NEVER with a Plectrum.  John T. Willis would violate that and add wind and percussion instruments.

H2168 zâmar  zaw-mar' A primitive root (compare H2167 , H5568 , H6785 ); to trim (a vine):—prune.

How to set Ambushment against God's People now being repeated after 100 years.

2 Chron 20:19 And the Levites, of the children of the Kohathites, and of the children of the Korhites,
        stood up to praise the Lord God of Israel with a loud voice on high.

h1984 haw-lal' A primitive root; to be clear (originally of sound, but usually of color); to shine; hence to make a show; to boast; and thus to be (clamorously) foolish; to rave; causatively to celebrate; also to stultify:—(make) boast (self), celebrate, be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.
H1966 hęylęl hay-lale' From H1984 (in the sense of brightness); the morning star:—lucifer.

2 Chron 20:20 And they rose early in the morning, and went forth into the wilderness of Tekoa: and as they went forth, Jehoshaphat stood and said, Hear me, O Judah, and ye inhabitants of Jerusalem; Believe in the Lord your God, so shall ye be established; believe his prophets, so shall ye prosper.

2 Chron 20:21 And when he had consulted with the people, he appointed singers unto the Lord, and that should praise the beauty of holiness, as they went out before the army, and to say, Praise the Lord; for his mercy endureth for ever.

Rinnah (h7440) rin-naw'; from 7442; prop. a creaking (or shrill sound), i. e. shout (of joy or grief): - cry, gladness, joy, proclamation, rejoicing, shouting, sing (-ing), triumph.

And when they began to sing and to praise, the Lord set AMBUSHMENTS against the children of Ammon, Moab, and mount Seir, which were come against Judah; and they were smitten. 2 Chron 20: 22

Ranah (h7439) raw-naw'; a prim. root; to whiz: - rattle.
mocketh at fear, and is not affrighted; neither turneth he back from the sword. Job 39:22The quiver rattleth against him, the glittering spear and the shield. Job 39:23

[The Rule of the Trumpets: the trumpets] of alarm for all their service for the [ . . . ] for their commissioned men, 17[by tens of thousands and thousands and hundreds and fifties] and tens. Upon the t[rumpets . . . ]

[ . . . ] )8[ . . . ] 19[ . . . which ] 20 [,, . they shall write . . . the trumpets of Col. 3 the battle formations, and the trumpets for assembling them when the gates of the war are opened so that the infantry might advance, the trumpets for the signal of the slain, the trumpets of 2 the ambush, the trumpets of pursuit when the enemy is defeated, and the trumpets of reassembly when the battle returns.


We sent them to youth rallies and Church of Christ events
       with some of the finest Christian bands in the world.
        We discipled our children to leave our Movement!

2 Chron 20:23 For the children of Ammon and Moab stood up against the inhabitants of mount Seir, utterly to slay and destroy them: and when they had made an end of the inhabitants of Seir, every one helped to destroy another

This word does not MEAN to make melody with an instrument otherwise the instrument would be named.
Psalms 47:7  For God is the King of all the earth.
        Sing praises with understanding.

When an instrument is rarely included it is NAMED.
Ps 33:2
Ps 71:22

Psalm 27:6: "I will sing and make melody to the Lord."

Paul commanded that we SPEAK that which is written: Speak is opposite to singing, playing, acting or dancing.
The ODE and PSALLO are in (En, Eis) the Heart which is a place opposite to in the FLESH.
Lexis is opposite to ODE and ODE is opposite to Lexis.

If I make melody IN the heart to the Lord that means that I do not have to listen to Clergy Praise Teams speaking to the paying audience.

The early books and debates a hundred years ago and now was/is a deliberate effort to TAUNT and mock their enemies who would not bow when the WARRIORS began their Worship Wars.

The Instrumental Music Worship Wars is clearly documented as gloating over the defeat of their enemies the old Bible believing people who never violated the law against "vocal or instrumental rejoicing" when they cam to hear the Word READ on the REST Day.

Psalms 27:6 And now shall mine head be
         lifted up above mine enemies round about me:
         Therefore will I offer in his tabernacle sacrifices of joy;
         I will sing, yea, I will sing praises unto the LORD.  [KJV, ASV, NET, WEB]
Psalms 27:7 Hear, O LORD, when I cry with my voice:
         have mercy also upon me, and answer me.

These never apply to a congregation such as a synagogue or ekklesia.

Not even a Levite could go inside the Tabernacle: there was no instrumetal noise connected with the original tabernacle.

John T. Willis: Psalm 33:2-3: "Praise the Lord with the lyre;
        make melody [h2167] to him WITH ith the harp [H3658] of ten strings.
        Sing to him a new song,
        play skillfully on the strings, with loud shouts."

h2167 just means SING or praise unless you specify a musical instrument  [H3658].  The Alarm or Triumph over was outlawed by Christ for the Church in the wilderness: that was vocal or instrumental rejoicing because the Purpose Driven Church was to Rest, Read and Rehearse the Word of God.

If you make melody with a harp then you make melody but melody DOES NOT MEAN play the harp

KJV: Psalms 33:2 Praise the LORD WITH harp: sing unto him WITH the psaltery and an [WITH] instrument of ten strings.
Psalms 33:3 Sing unto him a new song; play skilfully with a loud noise.

Some scholars claim that the singing of the Jews--often in trouble--was very loud or screaming. It was also an effeminate falsetto.  You cannot teach and admonish using the defunct sacrificial system.

Praise with the lyre
H8416 tehillâh teh-hil-law' From H1984 ; laudation; specifically (concretely) a hymn:—praise.

Implications: H1966 hęylęl hay-lale' From H1984 (in the sense of brightness); the morning star:—lucifer.

H1984 hâlal haw-lal' A primitive root; to be clear (originally of sound, but usually of color); to shine; hence to make a show; to boast; and thus to be (clamorously) foolish; to rave; causatively to celebrate; also to stultify:—(make) boast (self), celebrate, commend, (deal, make), fool (-ish, -ly), glory, give [light], be (make, feign self) mad (against), give in marriage, [sing, be worthy of] praise, rage, renowned, shine.

Praise with the harp:
H3034 yâdâh yaw-daw' A primitive root; used only as denominative from H3027 ; literally to use (that is, hold out) the hand; physically to throw (a stone, an arrow) at or away; especially to revere or worship (with extended hands); intensively to bemoan (by wringing the hands):—cast (out), (make) confess (-ion), praise, shoot, (give) thank (-ful, -s, -sgiving).

H5059 nâgan naw-gan' A primitive root; prop to thrum, that is, beat a tune with the fingers; especially to play on a stringed instrument; hence (generally) to make music:—player on instruments, sing to the stringed instruments, melody, ministrel, play (-er. -ing).
Implications: H5060 nâga naw-gah' A primitive root; properly to touch, that is, lay the hand upon (for any purpose; euphemistically, to lie with a woman); by implication to reach (figuratively to arrive, acquire); violently, to strikepunish, defeat, destroy, etc.):—beat, (X be able to) bring (down), cast, come (nigh), draw near (nigh), get up, happen, join, near, plague, reach (up), smite, strike, touch.
The Lyre:
H5035 nebel nębel neh'-bel, nay'-bel From H5034 ; a skin bag for liquids (from collapsing when empty); hence, a vase (as similar in shape when full); also a lyre (as having a body of like form):—bottle, pitcher, psaltery, vessel, viol.
Implications: H5034 nâbęl naw-bale' A primitive root; to wilt; generally to fall away, fail, faint; figuratively to be foolish despise, disgrace:—disgrace, dishonour, lightly esteem, fade (away, -ing), fall (down, -ling, off), do foolishly, come to nought, X surely, make vile, wither.or (morally) wicked;
Loud Shouts Loud Noise
H8643 terű‛âh ter-oo-aw' From H7321 ; clamor, that is, acclamation of joy or a battle cry; especially clangor of trumpets, as an alarum:—alarm, blow (-ing) (of, the) (trumpets), joy, jubile, loud noise, rejoicing, shout (-ing), (high, joyful) sound (-ing).
Implications: H7321 rűa‛ roo-ah' A primitive root; to mar (especially by breaking); figuratively to split the ears (with sound), that is, shout (for alarm or joy):—blow an alarm, cry (alarm, aloud, out), destroy, make a joyful noise, smart, shout (for joy), sound an alarm, triumph.
This was outlawed for the Qahal, synagogue or Church of Christ in the wilderness: it was never violated in any synagogue until the year 1815
Neither the Law of Moses or the Prophets by Christ commanded instrumental noise: in fact when the Qahal, syngogue or church in the Wilderness was assembled in a holy convocation h7321 is outlawed.  Judas will not TRIUMPH OVER Jesus is the prophesied MARK.
Numbers 10:6 When ye blow an alarm the second time,then the camps that lie on the south side shall take their journey:
 they shall blow an alarm for their journeys.
Numbers 10:7 But when the congregation is to be gathered together,
        ye shall blow,
        but ye shall not sound an alarm.
Numbers 10:8 And the sons of Aaron, the priests, shall blow with the trumpets; and they shall be to you for an ordinance for ever throughout your generations.
Numbers 10:9 And if ye go to war in your land against the enemy that oppresseth you, then ye shall blow an alarm with the trumpets; and ye shall be remembered before the LORD your God, and ye shall be saved from your enemies.

The Psaltery
"The name of psaltery entered Christian literature in the 3rd century B.C. translation of the Old Testament called the Septuagint where, in the Psalms, nebel was translated psalterion. Thus, Nebuchadnezzar's idolatrous ensemble included the Aramic psantria. Notice, also, that the book of Psalms has also become known as the Psalter (or psalterium), from the hymns sung with this harp.

Psalm 57:7: "I will sing and make melody." But NEVER as a worship leader over congregational singing!

Psalm 57:6 They have prepared a net for my steps; my soul is bowed down:
        they have digged a pit before me,
        into the midst whereof they are fallen themselves. Selah.
Psalms 57:7 My heart is fixed, O God, my heart is fixed:
         I will sing and give praise.

H2167 zâmar zaw-mar' A primitive root (perhaps identical with H2168 through the idea of striking with the fingers); properly to touch the strings or parts of a musical instrument, that is, play upon it; to make music, accompanied by the voice; hence to celebrate in song and music:—give praise, sing forth praises, psalms.

H2168 zâmar zaw-mar' A primitive root (compare H2167 , H5568 , H6785 ); to trim (a vine):—prune.

laurel B. (Sc. corona.) A laurel crown or garland, laurel branch, as the ornament of Apollo, of poets, of ancestral images, of generals enjoying a triumph, and of letters containing news of a victory aisakos , ho, A.branch of myrtle or laurel, handed by one to another at table as a challenge to sing, Plu.2.615b, Hsch.

Isa 18:2 That sendeth ambassadors by the sea, even in vessels of bulrushes upon the waters, saying, Go, ye swift messengers,
......... to a nation scattered and peeled,
......... to a people terrible from their beginning hitherto;
......... a nation meted out and trodden down,
......... whose land the rivers have spoiled!

Isa 18:3 All ye inhabitants of the world, and dwellers on the earth,
..........see ye, when he lifteth up an ensign on the mountains;
..........and when he bloweth a trumpet, hear ye.

H8628 Taqa taw-kah' A primitive root; to clatter, that is, slap (the hands together), clang (an instrument); by analogy to drive (a nail or tent pin, a dart, etc.); by implication to become bondsman (by handclasping):&emdash;blow ([a trumpet]), cast, clap, fasten, pitch [tent], smite, sound, strike, X suretiship, thrust.

H7782 shôphar From H8231 in the original sense of incising; a cornet (as giving a clear sound) or curved horn: cornet,

The same LAW prevented any holes so that ALL of them blew a single note. NO music.

Isa 18:4 For so the LORD said unto me, I will take my rest, and I will consider in my dwelling place like a clear heat upon herbs, and like a cloud of dew in the heat of harvest.

Isa 18:5 For afore the harvest, when the bud is perfect,
.......... and the sour grape is ripening in the flower,
.......... he shall both cut off the sprigs with pruning hooks,
.......... and take away and cut down the branches.

H5203 nataash naw-tash' A primitive root; properly to pound, that is, smite; by implication (as if beating out, and thus expanding) to disperse; also, to thrust off, down, out or upon (including reject, let alone, permit, remit, etc.): cast off, drawn, let fall, forsake, join [battle], leave (off), lie still, loose, spread (self) abroad, stretch out, suffer.

Mizmowr (h4210) miz-more'; from 2167; prop. instrumental music; by impl. a poem set to notes: - psalm.
H4211 mazmerah maz-may-raw' From H2168 ; a pruning knife: pruning-hook.

Psalms 57:8 Awake up, my glory; awake, psaltery and harp: I myself will awake early. 

Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it. Habakkuk 2:19

But the Lord is in his holy temple: let all the earth keep silence before him Habakkuk 2:20

A Levite who went INTO the Holy Place with or without his harp was to be executed. If that is the sentence imposed even in all pagan temples, how shall they escape who thing they can play a harp INSIDE of the human heart?

All pagans believed that a musical instrument WAS a god or was the HOME of a god: that is why Africans baptize their drums and the Catholics baptize their organs and bells.

David wanted to AWAKEN his lyre so that he could AWAKEN the dawn.  Fits with the kings being abandoned to worship the starry host (re the Star of David) OR "poems tend to be poetic."  Nonetheless, the uneducated fall sucker for poetic speech (says Jesus of speaking parables):

"We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers," sang every morning this verse from Ps 44: 'Awake, Lord, awake! Do not abandon us for ever." The Talmud tells us that JohynHyrcanus suppressed the practice because it recalled too readily a pagan custom.

A similar practice is attested in connection with the cult of Herakles-Melkart. According to Menander, as he is quoted by Josephus, the king Hiram, who was a contemporary of Solomon, rebuilt the temples of Tyre and, 'he was the first to celebrate the awakening of Heracles in the month of Peritius." (de Vaux, p. 247)

Herakles is the Lucifer type at Tyre and the singing and harp playing prostitute in the garden of Eden. The sexual and homosexual worship in Jerusalem is said to be foor Herakles.

In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm"lm which we can translate as 'arouser of the god." (de Vaux, p. 247).

Since they had been abandoned to worship the starry host:


But by the star-bespangled throne of Jove,
And by the goddess high above my rocks
Enshrined, by the moist banks that bend around
The hallow'd lake by Triton form'd, no longer
Will I conceal this bed, but ease my breast,
The oppressive load discharged. Mine eyes drop tears,
My soul is
rent, to wretchedness ensnared
By men, by gods, whom I will now disclose,
betrayers of the beds they forced.
        O thou, that
wakest on thy seven-string'd lyre
        Sweet notes, that from the rustic lifeless horn
        Enchant the ear with heavenly melody,

John T. Willis: Psalm 68:4: "Sing to God, make melody to him who rides upon the clouds."

Psalm 68:32: "Sing to God, O kingdoms of the earth;
        make melody to the Lord."

Again, Zamar can be USED of an instrument but it does not MEAN make melody with an instrument. The translators did not think that an instrument was even implied. 

Psalm 104:33: "I will sing to the Lord as long as I live;
I will make melody to my God, while I have being."
Psalm 105:2: "Sing to him, make melody to him."

Many of the Psalms are NARRATED to tell the story of GOD in order to EDUCATE or edify. Therefore, when education is involved we just cannot tolerate some lyre plucker

Ps 105:1  O give thanks unto the LORD; call upon his name:
                make known HIS deeds among the people.

Ps 105:2  Sing unto him, sing psalms unto him:
                talk ye of all his wondrous works.

Făcĭo , fēci, factum,to make in all senses, to do, perform, accomplish, prepare, produce, bring to pass, cause, effect, create, commit, perpetrate, form, fashion,etc. (cf. in gen.: “ago, factito, reddo, operor, tracto): verbum facere omnem omnino faciendi causam complectitur, donandi, solvendi, judicandi, ambulandi, numerandi,Dig. 50, 16, 218.

I. Act.
A. In gen.
    (a). With acc.: ut faber, cum quid aedificaturus est, “sermonem,Cic. Fam. 9, 8, 1; cf. “litteram,

Ephesians 4:11 He gave some to be apostles; and some, prophets; and some, evangelists;
        and some, shepherdsa and teachers;
Ephesians 4:12 for the perfecting of the saints, to the work of serving, to the building up of the body of Christ;
Ephesians 4:13 until we all attain to the unity of the faith,
        and of the knowledge of the Son of God, to a full grown man,
        to the measure of the stature of the fullness of Christ;

He didn't include anyone to invent sermons, compose songs, sing songs or play instruments

Oikodom-eō , fut. -ēsō : aor. ōkodomēsa (not oik- in Att.) 
aedĭfĭcātĭo , ōnis, f. aedifico.
III.  Fig., building up, instructing, edification.
(a).  Absol.: “loquitur ad aedificationem,Vulg. 1 Cor. 14, 3; 14, 26.—

Psa. 108:0   A Song or Psalm of David.
Psa. 108:1   O God, my heart is fixed;
        I will sing and give praise [melody?}, even with my glory.

Psalm 108:1BBE O God, my heart is fixed; I will make songs and melody, even WITH my glory. 

God had abandoned all of Israel to worship the starry host: therefore, John T. Willis gets his patterns from a nation without redemption:

David wanted to AWAKEN his lyre so that he could AWAKEN the dawn.  Fits with the kings being abandoned to worship the starry host (re the Star of David) OR "poems tend to be poetic."  Nonetheless, the uneducated fall sucker for poetic speech (says Jesus of speaking parables):
We even have a mention at a later date of a similar custom in connection with the cult in Jerusalem, where certain Levites, called me'oreim, 'arousers," sang every morning this verse from Ps 44: 'Awake, Lord, awake! Do not abandon us for ever." The Talmud tells us that Johy Hyrcanus suppressed the practice because it recalled too readily a pagan custom.

A similar practice is attested in connection with the cult of Herakles-Melkart. According to Menander, as he is quoted by Josephus, the king Hiram, who was a contemporary of Solomon, rebuilt the temples of Tyre and, 'he was the first to celebrate the awakening of Heracles in the month of Peritius." (de Vaux, p. 247)

In an inscription from Cyprus, in one from Rhodes and in several from around the district of Carthage, there are references to important personages who bear the title Mqm"lm which we can translate as 'arouser of the god." (de Vaux, p. 247).

O thou, that wakest on thy seven-string'd lyre
Sweet notes, that from the rustic lifeless horn
Enchant the ear with heavenly melody,
Son of Latona, thee before this light
Will I reprove. Thou camest to me, with gold
Thy locks all glittering, as the vermeil flowers
And now my son and thine, ill-fated babe,
Is rent by ravenous vultures; thou, meanwhile,
Art to thy lyre attuning strains of joy.
Even so David's going into the holy place when starving was the exception to the rule. The musical discorders refuse to go out and even sing to the nations as Jesus commanded.

Psa. 108:3 I will praise thee, O LORD, among the people:
        and I will sing praises unto thee among the nations. 

Psalm 144:9: "I will sing a new song to you, O God; and
        upon a ten-stringed harp I will make melody to you."
Psalm 147:7: "Sing to the Lord with thanksgiving;
        make melody to our God on the lyre."

There is no exception: the only way an instrument can be assumed is if it is named.

Psalm 149:1b, 3b: "Sing to the Lord a new song; . . .
        making melody to him with tambourine and lyre."

Remember "prepositional phrases?"

Psalm 149 like the instruments in Halal 150 (not a psalm) has some ugly associations: the Worship of the starry host was common in many areas and Halal is the root from which Lucifer comes. Click to see Psalm 149

Some Greek words all point to making war

Ala^lai or alalalai a^l, exclam. of joy, in formula
A. alalai paiōnAr.Av.1763, Lys.1291. alalaxios , god of the war-cry, epith. of Ares, Corn.ND21; of Zeus, Call.Aet.3.1.60.

Ala^l-azō , fut. -axomai v.l. in E.Ba.593,
A. -axōLXX Ez. 27.30: aor. “ēlalaxaE.HF981, X. (v. infr.), poet. “alalaxaPi.O.7.37:—Med., S.Fr.534, Arr.An.5.10.3: (formed from the cryalalai): —raise the war-cry, Enualiō ēlalaxan (as v.l. for ēlelixan) X.An.5.2.14, cf.6.5.27; Med., Arr.l.c.: c.acc. cogn., nikēn alalazein shout the shout of victory, S.Ant.133.
2. generally, cry, shout aloud, Pi.l.c., E.El.855; esp. in orgiastic rites, A.Fr.57; of Bacchus and Bacchae, E.Ba.593 (in Med.), 1133, etc.; “ōloluxan hai gunaikes, ēlalaxan de hoi andresHld.3.5.
3. rarely of a cry of pain or grief, “ēlalaze dusthnhēskōn phonhōE.El.843, LXX Je.4.8, al., Ev.Marc. 5.38, Plu.Luc28.
II. rarely also of other sounds than the voice, sound loudly, “psalmos d' alalazeiA.Fr.57; “kumbalon alalazon1 Ep.Cor.13.1
Alalē [a^la^], Dor. alala , h(, (alalai)
A. loud cry, “maniai t' alalai t' orinomenōnPi.Fr.208; alalai aiagmatōn (v.l. alalagai) E.Ph.337 :— esp. war-cry, Pi.N.3.60; battle, Id.I.7(6).10: comically, “a. "muron kheite"Phoen.3.3 :—Alala personified, kluth', Alala, polemou thugater, Pi.Fr.78, cf. Plu.2.349c.

John T. Willis: In addition, 23 passages occur in the Hebrew Psalter using the term "make melody:" Psalms 7:17; 9:2, 11; 18:49; 30:4, 12; 47:6-7; 57:9; 59:17; 61:8; 66:2, 4; 71:22-23, 75:9; 98:4-5; 101:1; 108:3; 135:3; 138:1; 146:2.

Not in in translation I am aware of: the translators understood that when an instrument is intended it is always named but even this is in parallelism which shows a symbolic meaning: Poems TEND to be poetic.  And we are told to SPEAK the psalms to teach and admonish.

Psalms 7:13 He hath also prepared for him the instruments of death;
vī^bro  2. Transf., to throw with a vibratory motion, to launch, hurl
1. Of language, to fling, hurl, launch: “truces vibrare iambos,Cat. 36, 5; cf. 2. vibratus, II.—
1. In gen., to shake, quiver, vibrate, tremble: “linguā vibrante (serpentis),2. Of the voice or sounds, to tremble:
arcus  A. For shooting: intendit crinitus Apollo Arcum auratum, Enn. ap. Cic. Ac. 2, 28, 89 (Trag. v. 54 Müll.): “arcus intentus in aliquem,Cic. Sest. 7: “haec cernens arcum intendebat Apollo Desuper,Verg. A. 8, 704; 9, 665; so Vulg. Psa. 10, 3; 36, 14:
he ordaineth his arrows against the persecutors.
ex-ăgĭto , āvi, ātum, 1, v. freq. a.,
I. to drive out of its position or place; to stir up, rouse up, disturb.
2. To stir up, irritate, exciteb. Transf., to stir up, excite the passions themselves: ne et meum maerorem exagitem et te in eundem luctum vocem, Cic. Att. 3, 7, 2; “tristes curas,Luc. 8, 44: “furores immiti corde,Cat. 64, 94
Eph. 6:12 For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places.

-Pallô, poise, sway a missile before it is thrown, sway, brandish, she drove it furiously, tripped on the shield-rim, quiver, leap, esp. in fearII. Pass., swing, dash oneself, Pi.N.5.21; vibrate, of strings, Pl.Phd.94c (psalloito ap. Stob.);  leap, bound, quiver, quake, phrena deimati pallôn S.OT153 (lyr.); dash along, of horses, E.El.477 (lyr.). 
Psalms 7:14 Behold, he travaileth with iniquity, and hath conceived mischief, and brought forth falsehood.
Psalms 7:15 He made a pit, and digged it, and is fallen into the ditch which he made.
Psalms 7:16 His mischief shall return upon his own head, and his violent dealing shall come down upon his own pate.
Psalms 7:17 (18) I will praise the LORD according to his righteousness:
        and will sing praise to the name of the LORD most high.

Click to understand that many psalms are for NARRATING the Word of GOD in order to TEACH others.  They are never used as a legalistic "Law of singing."

Psalms 9:1 I will praise thee, O LORD, with my whole heart;
         meaning: I will shew forth all thy marvellous works.
Psalms 9:11 Sing praises to the LORD, which dwelleth in Zion:
        meaning: declare among the people his doings.

Psalms 18:49 Therefore will I give thanks unto thee, O LORD, among the heathen,
        and sing praises unto thy name.

In Revelation 15 the method was to use "one mind and one mouth to glorify God with that which is written for our learning."
See Rick Atchley and Chris Seidman on Psalm 75
Psa. 75:6 For promotion cometh neither from the east, nor from the west, nor from the south.
[6] For neither from the east, nor from the west, Nor yet from the south, comes exaltation.
TURBO. I. fut. perf. turbassit, for turbaverit, Cic. Leg. 3, 4; al. turbassitur) [turba], to disturb, agitate, confuse, disorder; to throw into disorder or confusion (freq. and class.; syn.: confundo, misceo, agito).

1. Milit. t. t., to throw into disorder, break the line of battle, disorganize:
A. Lit.: “turbatius mare ingressus,more stormy, Suet. Calig. 23: “turbatius caelum,id. Tib. 69.—
THE RAPTURE: confusedly, disorderly: “aguntur omnia raptim atque turbate,
turbatus religione simul ac periculo,Suet. Ner. 19

Dīvĭtĭae , I. Lit., Plaut. Bacch. 2, 3, 99; id. Capt. 2, 2, 31; Cic. Lael. 6 (twice); id. Rep. 1, 34; 3, 14; Hor. C. 2, 3, 20; id. S. 2, 2, 101; id. Ep. 1, 4, 7 et saep.—Prov.: superare Crassum divitiis, to be richer than Crassus, i. e. to be very rich, very fortunate, Cic. Att. 1, 4 fin.
B. Transf.: “templum inclutum divitiis,” i. e. for its rich and costly presents, Liv. 26, 11; cf.: “demite divitias,” i. e. rich, costly ornaments, Ov. F. 4, 136: “Palmyra urbs nobilis situ, divitiis soli, etc.,richness, fertility, Plin. 5, 25, 21, § 88; cf. Ov. F. 1, 690.—
Psa. 75:7 But God is the judge: he putteth down one, and setteth up another.

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:
Psa. 75:9 But I will declare for ever; I will sing praises [zamar] to the God of Jacob.

John T. Willis: A careful, attentive student of the Bible arrives at several significant conclusions:
1. "Sing and make melody" was a very common practice throughout the history of God's people. These two practices are inseparable as one.

That's false: sing and make melody is done with the voice or the "instrument of God' unless a musical instrument is named.  If you tell someone to PLUCK with your fingers there is no musical content.  If up PLUCK a string of a musical instrument then the "melody word" does not MEAN but is used of musical melody.  However, there is no tunefulness or musical meter in the whole Bible. The singing among the orientials even today is a form of SPEAKING or cantillation.  As noted in many of the psalms people were calling upon "a" god to help them destroy people so they could steal their property.  Even simple people understood that "evil people set their lies to melodies to deceive the simple minded."

"But we have already spoken of spectacles: there remains one thing which is to be overcome by us,
        that we be not captivated by those things which penetrate to the innermost perception. (emotions only)

        For all those things which are
unconnected with words, (just speaking in tongues)
        that is,
pleasant sounds of the air and of strings,
        may be easily disregarded, because they do not adhere to us, and cannot be written...

1Corinthians 14:8 For if the trumpet give an uncertain sound, who shall prepare himself to the battle?
1Corinthians 14:9 So likewise ye, except ye utter by the tongue words easy to be understood,
        how shall it be known what is spoken? for ye shall speak into the air.
Is God, therefore, the contriver both of the mind, and of the voice, and of the tongues, unable to speak eloquently?
        Yea, rather, with the greatest foresight,
        He wished those things which are divine to be
without adornment,
all might understand the things which He Himself spoke to all." 

Therefore God made all things to
supply a contest between two things.
Those enticements of pleasures, then, are the instruments
        of that
whose only business it is to subdue virtue,
        and to
shut out justice from men.
        With these
soothing influences and enjoyments it captivates their souls;
        for it knows that pleasure is the contriver of death. (Lactantius, The Divine Institutes, Ante-Nicene Fathers, VII, p. 188

Aristotle: Melody Deceives: "Poets also make use of this in inventing words, as a melody "without strings" or "without the lyre"; for they employ epithets from negations, a course which is approved in proportional metaphors..

The form of diction should be neither metrical nor without rhythm.
 If it is metrical, it lacks persuasiveness, for it appears artificial, and at the same time it distracts the hearer's attention, since it sets him on the watch for the recurrence of such and such a cadence..

According to Philo, the gods of the pagans exploit this weakness of men. For the sake of a better effect, and with the intention of more easily cheating their devotes, that they have set their lies to melodies, rhythms and meters.." Click for more.

"Philodemos considered it paradoxical that music should be regarded as veneration of the gods while musicians were paid for performing this so-called veneration. Again, Philodemus held as self-deceptive the view that music mediated religious ecstasy. He saw the entire condition induced by the noise of cymbals and tambourines as a disturbance of the spirit. (Paul called it mad or insane) He found it significant that, on the whole, only women and effeminate men fell into this folly."

Aristot. Nic. Eth. 1175b.1

But things that are akin to things of different kinds must themselves differ in kind.
        [3] A still clearer proof may be drawn
        from the hindrance that activities
        receive from the pleasure derived from other activities.

For instance, persons fond of the flute
        cannot give their attention
to a philosophical discussion [The LOGOS or Regulative Principle]
        when they overhear someone playing the flute,
        because they enjoy music more than the activity in which they are engaged;
                therefore the pleasure afforded by the music of the flute
                impairs the activity of study.

The Church of Christ (the Rock) was defined in the wilderness: it excluded vocal or instrumental rejoicing and commanded REST, READING AND REHEARSING the Word (only).  If you cannot tell the difference between the synagogue as a School of the Word for the godly and the Civil-Military-Clergy which God abandoned to worship the starry host then it is true that "doctors of the law take away the key to knowledge."
Most of the proof texts do not understand MAKE MELODY as par of SING. Sing in the ancient world used "the normal inflections of the human voice."  Paul commanded that we SPEAK "that which is writtenfor our learning using one mind and mone mouth. The word SPEAK is defined specificially as the opposite of poetry or music.

All religious music was an effort to appease angry gods or even threaten them.
Not true.  A typical synagogue song might be two notes:    lo lo lo hi
lo lo lo hi lo lo lo hi lo lo lo hi

Paian II. paian , Ep. paiēōn , Att., Ion. paiōn , paean, i.e. choral song, addressed to Apollo or Artemis, Erin
III. in Prosody, paeon, a foot consisting of 3 short and 1 long syll., _^^^, ^_^^, ^^_^, or ^^^_,

Erinus  II.  in less personal sense, guilt, punishment invoked upon the guilty, freq. c. gen., mētros Erinues curses from one's mother

III. epith. of Demeter in Arcadia, Antim.28, Call. Fr.207, Paus.8.25.6.
IV.  = Aphroditēs eidōlon, Hsch. (Derived from Arc. erinuein, = thumō khrēsthai, by Paus. l.c.)

Singing is done with such a melody without an instrument: the goal was always to teach.  A SOLO singer would accompany himself and make melody with a LYRE. 

There is no command, example or remote inference that the Jews ever participated in congregational singing with instrumental accompaniment.

The Levites were the exclusive singers under the worship of the starry host: they were under the king and commanders of the army. They made ware and not worsyip.

Psallo means to "pluck with your finers and never with a plectrum." You cannot psallo a flute, piano, organ or cymbal.

Zamar cannot be applied to wind or percussion instruments.

Neither means "play an instrument." If you pluck a harp string you make a SOUND but not music. You must include a melody and then MUSIC includes both singing and plucking.  Neither in the Bible would be melody as tunefulness.

A casual student will understand that David was not a Levite and could never conduct worship services.   Sing is often used without the melody OF an instrument. Instruments play a simple one or two note melody WITHOUT singing. It is called cantillation which is Paul's word SPEAK which is the opposite of rhetoric, poetry or music.

No: they are not inseparable because the Bible gives many examples of both.

A casual student will notice that this was never commanded for the religious people who attended synagogue.

"Indeed not before David's time do professional musicians appear in the Bible. From where did they come?

Considering the apparent connection of professional musicians with the institution of Monarchy,
we must bear in mind that in the neighboring countries, Egypt and Assyria, the professional musician was an old and familiar figure. It seems that the midrash alludes to an ancient tradition when it relates that King Solomon's Egyptian wife, daughter of the Pharaoh, carried in her dowry a thousand foreign instruments.

Yet an instrument is of no use without a musician able to play it. Hence, we may assume that the systematic import and subsequent training of professional musicians took place in the era of David and Solomon." (Interpreters Dictionary of the Bible, p. 457).

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.

The word "melody" is not in the text

In the prophets Christ says that God did NOT command sacrifices or burnt offerings.

Amos 5:21  I hate, I despise your feast days, and I will not smell in your solemn assemblies.
Amos 5:22 Though ye offer me burnt offerings and your meat offerings,
        I will not accept them: neither will I regard the peace offerings of your fat beasts.
Amos 5:23 Take thou away from me the noise of thy songs;
        for I will not hear the melody of thy viols.

You see, melody with an instrument ALWAYS names the instrument: melody here is the same as "plucking with your fingers and never with a plectrum."  Neither Zamar or Psallo permits anyting but plucking something such as a string and NEVER with a plectrum. Therefore, there is no case of these words being used of keyboards, flutes, cymbals or anyting but a string.

Amos 5:24 But (instead) let judgment run down as waters, and righteousness as a mighty stream.
Amos 5:25 Have ye offered unto me sacrifices and offerings in the wilderness forty years, O house of Israel?
Amos 5:26 But ye have borne the tabernacle of your Moloch and Chiun your images,
         the star of your god, which ye made to yourselves.
Amos 5:27 Therefore will I cause you to go into captivity beyond Damascus,
        saith the LORD, whose name is The God of hosts.

Making the heart strings sing is very common in the Greek text and even in the Bible.  We can sing IN OUR HEART without sound.

Melody means a series of single tones.  The words define vocal harmony and instrumental harmony separately. Furthermore the words for harmony, sumphonia, means sounding together which is what Paul commanded in Romans 15.

Sirach 46;
. For he wiped out his enemies on every side,
           and annihilated his adversaries the Philistines;
           he crushed their power even to this day.

8. In all that he did he gave thanks to the Holy One, the Most High, with ascriptions of glory;
           he sang praise with all his heart, and he loved his Maker.

9. He placed singers before the altar,
           to make sweet melody with their voices.

10. He gave beauty to the feasts, and arranged their times throughout the year, while they praised God's holy name, and the sanctuary resounded from early morning.

John T. Willis: 3. Singing and making melody is acceptable to God ONLY when worshippers perform GENUINELY FROM THE HEART and IN HARMONY WITH RIGHT LIVING ACCORDING TO GOD'S WILL. Amos 5:23 clearly makes this point.

Willis says that you can sing (with your voice) AND make melody (with an instrument) IF it is FROM the heart and you are holy enough.  In fact, since he says that melody demands an instrument, you are COMMANDED to use instrumental music.

No: the way in which they acted out their worship was wrong: Amos and Acts 7 gives us the names of the STARRY HOST which was always worshipped in the monarchy.  Israel was taking David's warrior music and taking it into the temple.  This is radically condemned.

Amos 5:23 Take thou away from me the noise of thy [1] songs; for I will not hear the [2] melody of thy [3] viols.

Psallo in the Greek MEANS to pluck with your finers and never with a plectrum.  If you pluck a bow string to make it twang to send forth a singing arrow into the litteral heart you obviously are not worshipping God.  If you  pluck a lyre to seduce a young male whose hairs have been plucked, you have the meaning in the PROOF texts.  If you pluck a string you make a sound; a sound does not music make unless you define a melody. In the cantillation of the Psalms the melody might consist of two notes for accent. You cannot sing any of the Bible tunefully.  If an instrument is intended it is always named.

4. Ephesians 5:19 makes this same point. Singing to the Lord must be "in your hearts," not merely external words. Making melody to the Lord must be "in your hearts," not merely external instrumental tones. Paul uses the expression "sing and make melody" from the Hebrew Bible, and assumes vocal singing and instrumental music in the New Testament church.

The direct command is to SPEAK. The named Resources are "that which is written for our learning." The learning process EXCLUDES music during bible class.  SPEAK in the Greek is defined as the OPPOSITE of poetry or music.

SEE LOGOS VERSUS MYTHOS. The Church of Christ is based on Logos only.

Logos, verbal noun of lego
        Opposite kata pathos

music, poetry or rhetoric
        Opposite human reasoning
        Opposite Epagoge bringint in to one's aid, introduction
                Alurement, enticement, incantation, spell

-Logos verbal noun of legō  Opposite. muthos, as history to legend, prose, Opposite. poięsis, Id.R.390a; Opposite to emmetros Opposite. poiętikę, D.H.Comp.6; Opposite. poięmata, ib.15; koina kai poięmatôn kai logôn  Only the words of lyric or dramatic poetry.
the Word or Wisdom of God, personified as his agent in creation and world-government,

Sophia , Ion. -, h(, prop. A. cleverness or skill in handicraft and art in music and singing, tekhnē kai s. h.Merc.483, cf. 511; in poetry, Sol.13.52, Pi.O.1.117, Ar.Ra.882, X.An.1.2.8, etc.; in driving, Pl. Thg.123c; in medicine or surgery, Pi.P.3.54; in divination, S.OT 502 (lyr.); “

Homer to Hermes:
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 (Rev 18:22)
        who love dances and the bright path of song
        the full-toned chant and ravishing thrill of flutes

Peter's Commission

Ephesian's Commission

Searching what, or what manner of time the Spirit of Christ which was in them did signify, when it testified beforehand the sufferings of Christ, and the glory that should follow. 1 Pe 1:11
It is the spirit that quickeneth; the flesh profiteth nothing: the words that I speak unto you, they are spirit, and they are life. John 6:63

We have also a more sure word of prophecy; whereunto ye do well that ye take heed,

Only let your conversation be as it becometh the gospel of Christ: that whether I come and see you, or else be absent, I may hear of your affairs, that ye stand fast in one spirit, with one mind striving together for the faith of the gospel; Ph.1:27
And be
renewed in the spirit of your mind; Ep.4:23
For whatsoever things were written aforetime were written for our learning, that we through patience and Rom 15:4 comfort of the scriptures might have hope.
That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ Rom 15:6
From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love. Eph 4:16

Paul directly commanded edification with SPEAKING in th ekklesia. He told the Corinthians who sang out of their OWN spirits to sing in their spirits and their minds.

Aedificatio = Figurative, building up, instructing, edification. loquitur ad Aedificationem Ecclesiae, talk, whisper, say (in the language of common life, in the tone of conversation

Ecclesiae is Ecclesia ekklęsia, an assembly of the (Greek) people.

They heard evidence and made decisions. If a flute player tried to PERFORM they would cast HER out as an ignorant pervert. Plato in PROTAGORAS. The male who attempted it would normally be beyond the pale.


as unto a light that shineth in a dark place,
for it is light that makes everything visible. This is why it is said:
until the day dawn, and the day star arise in your hearts: 2 Peter 1:19
"Wake up, O sleeper, rise from the dead, and Christ will shine on you." Eph 5:14
Knowing this first, that no prophecy of the scripture is of any private interpretation. 2 Pet 1:20 [Further expounding]
Be very careful, then, how you live--not as unwise but as wise, Eph 5:15
These were sophists who composed and sold their speeches. The Greek exegetice relates to musica, cantus, magica, hermeneuo, etc. They all attempt to AID God.
Wherefore be ye not unwise, but
For the prophecy came not in old time by the will of man:
understanding what the will of the Lord is. Eph 5:17
but holy men of God spake as they were moved by the Holy Ghost. 2 Pet 1:21

And I fell at his feet to worship him. And he said unto me, See thou do it not: I am thy fellowservant, and of thy brethren that have the testimony of Jesus: worship God: for the testimony of Jesus is the spirit of prophecy. Rev 19:10

be filled with the Spirit Eph 5:18

Romans 15 "that which is written."
Ephesians 5: the
Colossians 3: the
Word of Christ
John 6:63: Christ's words ARE spirit

BUT there were false prophets also among the people, even as there shall be false teachers among you, who privily shall bring in damnable heresies, even denying the Lord that bought them, and bring upon themselves swift destruction. 2 Pet 2:1

There are NO more prophets but false teachers.

Speaking to yourselves

Speaking to one another is the only guard against false prophets. Elders must teach that WHICH HAS been taught: they have NO authority to hire a hireling to teach or sing that which THEY have written out of their OWN spirit (1 Cor. 14)

If any man speak,

let him speak as the oracles (God's Words) of God; if any man minister, let him do it as of the ability which God giveth:

(Speaking) in psalms and hymns and spiritual songs,

Psalms, hymns, Spiritual songs and maschils or "parables" are all types of the BOOK of Psalms.

that God in all things may be glorified

That ye may with one mind and one mouth glorify God, even the Father of our Lord Jesus Christ. Ro.15:6

singing and making melody in your heart
through Jesus Christ,
to the Lord; Eph 5:19
to whom be praise and dominion for ever and ever. Amen. 1 Pet 4:11
Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ; Eph 5:20

Paul commanded that we SPEAK that which is written for our learning: Speak specificially means the OPPOSITE of poetry or music. That is because music is most often identified as enchanting or sorcery.  It is an insult  THE Holy Spirit, post-resurrection Jesus Christ by thinking that He was not bright enough to have included instruments.  He and Paul understood that ALWAYS when you into to include PLAY or make melody AND upon a musical instrument that instrument is always named.

PLAYING and AN INSTRUMENT always uses a compound word such as:

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

2. make a place sound with flute-playing, Thphr.Fr.87:— Pass., resound with flute-playing, “nēsos katēuleitoPlu.Ant.56.

II. in Pass., [ton monokhordon kanona parekhein tais aisthēsesi . . katauloumenon subdued by a flute accompaniment,   to be piped down, ridiculed,gelōmenoi kai -oumenoi”  

III. c. acc. rei, play on the flute, “ta mētrōa  , to have played to one as an accompaniment on the flute, -“oumenoi pros tōn hepomenōn ta mētrōa melē

Eph. 5:18 And be not drunk  [methuōn] with wine, wherein is excess;
        but be filled with the Spirit; (The Word of Christ Col 3:16; John 6:63)
Eph. 5:19 Speaking to yourselves
                    \ in psalms and hymns and spiritual songs,
                             \ singing and making melody in your heart to the Lord;
Eph. 5:20 Giving thanks [praying] always for all things unto God and the Father
         in the name of our Lord Jesus Christ;
Hymns are prayers: you cannot be worshiping God if you are getting eraptured over the boy and girl singers always a mark of gender confusion by the leaders.

Epi-psallō ,
A. play the lyre, S.Fr.60, Poll.4.58(Pass.); “melesi kai rhuthmois” 
tous humnousLXX 2 Ma.1.30:—30 - Then the priests sang the hymns.
Psallo means to pluck and make a sound: it does not include either melody or rhythm.

Katapsallō ,
A. play stringed instruments to, [“sumposion kataulein kai k.” Pass., have music played to one, enjoy music, ib.785e; of places, resound with music, Id.Ant.56.
2. Pass., to be buried to the sound of music, Procop.Pers.2.23.
3. metaph., katapsalletai . . ho dēmiourgos is drummed out, Porph.

Hab. 2:19 Woe unto him that saith to the wood, Awake; to the dumb stone, Arise, it shall teach! Behold, it is laid over with gold and silver, and there is no breath at all in the midst of it.
Hab. 2:20 But the LORD is in his holy temple: let all the earth keep silence before him.

It is not possible to understand the meaning of a DISCIPLE and promote teaching them singy-clappy's songs with instruments.

You cannot be a disciple and ignore Jesus command that we teach WHAT HE COMMANDED to be taught.

You cannot be a Christian without knowing that a Christian is a disciple who is baptized and then taught what Christ commanded. Peter made that the PROPHETS (by Christ) and the prophecies made more perfect by Jesus left as a "memory" not subject to private interpretation or further expounding.

Share YOUR thoughts and ideas with others. Let me hear from YOU.

John Willis

Sorry, I could not post on John's forum: too, it takes lots of CONTEXT to prove that assumptions are radically wrong.

4.29.11  8.15.11 152  4.03.13 479  10.07.13 534  7.20.14  722. 10.24.18 921. 11.22.19. 1073

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