2012
Learning the Way of God More Perfectly
King James Bible 1611 Then and Now
Absolute Music for an Absolute God
Part IIIc/d - Harmony
The Design of Japheth's Purest Music
Outlines of audio sermons:
(of course, there is preaching within the audio that you won't find in the notes/outline)
Harmony
Session One - chords & progressions
Preached 9/21/05

Session Two - "leavenability" of music and Form
Preached 9/28/05

Harmony creates the 'feelings' we get when we hear this element of music.

Your emotions respond to the types of harmony within the music.
(Melody is a spirit thing - Rhythm is a flesh thing)

If you don't understand music, then please strongly consider Ephesians 4:17-20 as well as I Corinthians 14:10,11.  You can't hide yourself or your kids from the power of music forever.

There is a music that fits Philippians 4:8 - and it is because of the clean and pure harmony written to support the entire quality melody line - of the late Baroque and early Classical era.  That is when Japheth's music blessed and praised God at its best, just as God said in Genesis 9:27.

Session One
Chords & Progressions
We saw how/heard a chord (two or more notes played simultaneously) was constructed.
We saw how/heard adding more and more notes to a chord that were not part of the scale brought out the tension and jazz sound - in other words, it took away from the purity of the original chord.
We saw/heard the specific order of the chords in the music - the progression - follows a certain pattern.
We saw/heard how that pattern can be altered and take away from the simplicity and purity of the progressions.
We saw/heard how adding Hammite rhythms to those pure progressions is all that is need to be done in order to make rock music.  What God has, the Devil imitates!

Scale chord titles - Tonic, Supertonic, Mediant, Sub Dominant, Dominant, Submediant, Leading Tone, Tonic.
Chord Construction - Major, Minor, 7ths, Dominant, 6th's, Diminished, Augmented, etc.
Chord Progressions - I IV V; I V I; I IV II V I; I VI ii V I, etc.

We then looked, heard and sang a few of our hymns, taking special notice of the pure chords and simple progressions that our hymns are made of.

Session Two
Leaven and Form
Leaven
See Mark 8:15 for Christ's warning about the leaven of the world!
See I Corinthians 5:6; Galatians 5:9 for the Scriptures warning us about how a little leaven leaveneth the whole lump.

Tonight, we considered how the 'new' chording was added to Japheth's music in the 1930's era and how that sound was brought into the church hymns in the 70's & 80's.  The harmony had to be changed before the rock beat could come in to the churches in the 90's and now today, we have the bluegrass sound in the Bible Believing Churches - which will be discussed next week.

We see the leavening affect that music supports - over the years, little by little, music has been going through a process of leavening that has snuck us into the music that we have in our churches today.

We also consider how God has accounted for the leavening process in America - see Ephesians 5:19 and Colossians 3:16 as we consider the history of Christian music in America has gone in the order of Psalms to Hymns to Spiritual Songs.

In the audio, you will hear a few samples of 1930's harmony and how they have been included in the contemporary style of hymn playing.

Form
Knowing that God is NOT the author of confusion, I Corinthians 14:33; James 3:16; Psalm 71:1; Isaiah 45:16; Jeremiah 3:25 and Jeremiah 7:19, we consider the purity and perfection of the form that was developed and peaked during these years of Japheth's praise and honor toward God.

Opposite of form is freestyle, repetition and abstract in the harmonies and design of the entire compositions.

The organization, design and perfection is most amazing!

Symphony
A grand composition of several movements for a full orchestra.
I - fairly fast
II - slow and solemn
III - Scherzo / Minuet
IV - Various excitement to the end - Coda!

Sonata Form
3 or 4 distinct movements, each with a design of their own but yet all related to the complete composition.
I - Andante / adagio / Largo / Allegro
II - Minuet / Trio / Scherzo
III - Fast Finale

    Exposition - in the tonic key
        principle subject
        bridge
        second subject
        closing

    Development - in the Dominant key from the Exposition
        principle subject expanded
        new key and other keys touched upon as well

    Recapitulation - brings it all back together
        principle subject returns
        bridge returns
        2nd subject returns
        closing - in original key
        Coda - finished!

Concerto
A solo instrumentalist exhibiting virtuoso skill accompanied by an orchestra.
It is in the form of a Sonata

Rondo

Sonata - Rondo

Theme and Variations

Fugue

Chorale

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