One afternoon many years ago we stopped at an Olive Garden restaurant for a late lunch.  It was about 2:30, and it would be our only meal of the day. The place was nearly empty, so we were seated at a nice table and an eager young waitress, her order pad and pen held at the ready, came to serve us.
            “We’ll start with bruschetta,” I said. 
            “Huh?  Oh!  You mean brush-etta.”
            No, I thought.  I meant what I said, “Brrroo-skeht-ta.”
            Now, you must understand that I had been teaching Italian aria and art song for a couple dozen years at that time.  My students regularly stood before judges who marked them down on mispronounced Italian, so I had studied everything I could, constantly referencing an Italian pronunciation guide, and checking with other teachers who had sung opera.  I knew exactly how to pronounce “bruschetta.”
            I had learned some lessons the hard way.  I remember one especially embarrassing and painful occasion at state contest.  I don’t recall the exact word, but somewhere in it was the letter sequence “g-i-a.”  I had the student pronounce that as two syllables:  “jee-ah.” 
            “That’s not quite right,” the judge said, as nicely as she could.  The i turns the g into a j.  After that, it has done its work, and is not pronounced.  The syllable is simply “jah,” not “jee-ah.”
            Since we’re into Italian food at this point, let me illustrate it this way:  parmagiana reggiano cheese is pronounced “par-ma-jah-nah reh-jah-no,” NOT “par-ma-jee-ah-nah reh-jee-ah-no,” and that chef named “Giada” is “Jah-da,”  NOT “Jee-ah-dah.”  Pay attention sometime when she says her name herself. 
            Now here is my point:  who should I listen to about how to pronounce Italian—a college student moonlighting at a chain restaurant or the voice judge, a woman who has sung on the operatic stage many years longer than that waitress has been alive, singing Italian for hours at a time, and who can even translate it?
            How do you choose whom to listen to?  Who gets your vote for the one to take advice from?  Is it someone your own age who has as little experience as you do?  Is it perhaps someone older, but whose only qualification in your mind is that s/he is “fun” and “cool,” and a whole lot more so than the other old fuddy-duddies?  Is it someone who gives you the answers you want, who makes everything easy, even things that are not and should not be easy? Is it someone who makes you laugh?  Is it someone who speaks in “bumper sticker?”  Or is it someone who has experienced the ups and downs of life and come through it sane and faithful, someone who may not be able to keep an audience’s attention but can tell you from a heart of concern exactly what you need to hear—whether or not it’s what you want to hear?  Most important of all—is it someone who knows the Word of God inside out and has stuck with it even when it made his own life difficult, who tells you what God says, not what he thinks or feels?
            Mispronouncing Italian is no big deal in most of our lives, but mispronouncing the Word of God can cost you your soul.
 
Listen to advice and accept instruction that you may be wise in your latter end, Prov 19:20.
 
Dene Ward

One of the most challenging aspects of studio teaching is switching horses midstream.  Every forty-five minutes I not only had to rev up the excitement when greeting a new student, I had to change my perspective.
            I had one voice student who could scarcely carry a tune.   We spent a good deal of the lesson practicing matching pitches.  The next student was singing Italian art song and learning to trill.  One I applauded for simply getting through the song in key, the other I reprimanded for breathing in the middle of a word.  A five year old piano student would walk in with her eight bar tune, followed by a senior in high school working on a concerto.  One I praised for playing the right rhythm while only missing two notes.  The other I castigated for poor phrase shaping and improper execution of an appoggiatura.  It would have been unfair to expect a five year old to understand an appoggiatura when he didn’t even know key signatures yet.  It would have been cruel to try to teach a voice student with a challenged ear to trill.
            So I should not have been surprised at what I found in this study of faith that has consumed the past year of my life, but I was.  I wonder if it will surprise you too.  Every time Jesus said, “O ye of little faith,” he was talking to his disciples.  Sometimes other people heard it too, but if you check every account, he was addressing those who followed him daily—“ye of little faith.”  Yet the only times I could find people praised for their “great faith” they were Gentiles!
            That tells me a lot.  First, faith isn’t just a one-time first principle.  If even those who had enough faith to “leave all and follow” could be told their faith was “little,” then faith is something alive and growing.  Jesus expected it to carry them through their lives and become an asset to them, not a burden that might be “lost.” 
            Perhaps the most important thing we learn is something Jesus said in another context:  To whom much is given, of him much shall be required, Luke 12:48.  Those men had been with Jesus 24/7 for a year or more and he expected them to have matured.  I know a lot of people who like to claim they have “strong faith.”  Be careful when you do that.  God may just test your claim: “and from whom they entrusted much, they will demand the more.” 
            So examine your faith.  Is it growing?  Can you handle more adversity today than you did a decade ago?  God expects quick growth.  The people in the first century committed their lives to Him, knowing they might be thrown to the lions the next week.  I worry that too many of us commit our lives to Him expecting all of our problems to disappear in a week.  It’s supposed to be an instant fix to all earthly woes, instead of what He promised--an instant fix to our sins. 
            What exactly are you expecting of your relationship with God?  Some of us try to hold God hostage with our expectations.  “I have faith that God will…” and then we sit back confidently waiting for him to do our will, instead of waiting on His will. 
            Which would the Lord say to you:  “O ye of little faith,” or “I have not found so great faith, no not in Israel?”
 
But as for you, O man of God, flee these things. Pursue righteousness, godliness, faith, love, steadfastness, gentleness. Fight the good fight of the faith. Take hold of the eternal life to which you were called and about which you made the good confession in the presence of many witnesses. 1 Timothy 6:11-12.                                              
 
Dene Ward
 

I have read those headings in the book of Psalms for years—“To the Choirmaster”--but it has only been recently that it dawned on me that in the Old Testament specially trained Levites led, and usually sang, in the Temple worship.  If Romans 15:4 means what it says about learning from the Old Testament, we have the perfect authority for song leaders in our worship services today.  Song leaders—choirmasters.  The entire church, of course, is the choir now, but even non-musicians need a leader.
            My own father was a song leader in the church for nearly as long as he was a Christian.  All that stopped him was his health—he could no longer get enough breath or stand up long enough or wave his arm high enough to continue those last few years.  He had a clear tenor voice in his youth, not the easiest part to sing.  He knew and had led songs from a dozen hymnals.  Not only did he lead in the church, but he sang at funerals and weddings as well.  He always sang.  I do not remember a time when he was outside working on a sick car or a chugging lawn mower or a broken shelf that he was not singing—hymns, mind you, nothing else.
            We moved a few times in my youth, but even when we stayed in one place for a few years, it was not unheard of for a preacher from another congregation to show up on our doorstep asking him to consider changing his membership because they needed a song leader.  And he usually did.  Leading the song service was his bailiwick and he fulfilled it better than any man I have known before or since.  Why?  Because he viewed it as God meant it to be viewed—service to Him.  When he died my mother buried him with a Bible in one arm and a songbook in the other.
            As a music education major in college, I took classes in choral directing.  Guess what I learned?  Hardly anything new—I had learned it already from my daddy.  What I got was a new appreciation for a man who had set about to be the best he could be for his God.  Let me share a few tips with you.  Some of the details come from my choral directing professor, but the concepts I saw every Sunday of my childhood.

            1) If you call yourself a song leader, then be one--lead!  That means a host of things as you will see below.

            2) Your job as a song leader is not to show off how well you can sing by singing the most difficult songs in the book.  It is not your chance to sing your favorite hymns. Your job in the church is to enable the group to worship God in song, according to their ability.

            3) That means you need to know your group.  If you have an untrained group, few among them who know anything about music, don’t lead songs that a professional choir should be singing.  Don’t specialize in songs that require a roadmap and a compass to figure out what to sing when.  Don’t major in modes and polyrhythm.  If you do use some of these songs, then be realistic.  Untrained ears will never manage the blue notes in “Sing and Be Happy.”  Don’t be arrogant about it, as if all these ignorant people are beneath you.  A lot of them can probably do things you can’t do.
            If you have a predominantly older group, lay off the syncopated music.  They simply don’t get it.  Anyone listening on the side will think they are hiccupping as one manages it here and there, but 90% sing it straight.
            Another thing about older groups—they do not have the breath capacity of younger people.  Don’t sing songs so fast they have no time to catch a breath.  They may all pass out on you, but more than that, they simply won’t be able to worship God, which is what you are supposed to be helping them do, not hindering them.  Good leaders do not insist on what they want to do.  They do what is best for the group they are leading, whether it is what they want to do or not.

            4) Remember—this is not about you.  If you are a bass, resist the temptation to sing only low songs or to pitch them lower.  If you are a tenor, try not to pitch them too high.  Either way, you will completely fail in your mission—enabling the whole group to sing, not just you.  In fact, it is entirely possible to injure voices by having them sing a poorly pitched song.  If you cannot sing a song where it is written, then you probably ought not to be a song leader.

            5) And if you claim to be a leader you must of necessity do three things:  stand where you can be seen, beat a clear pattern, and sing loudly enough to be heard.
            If you use a pattern, people need to see it in order to stay with it.  For those who do not understand the beat, or if you do not beat a pattern, they must be able to see your mouth.  That also means you shouldn’t be asking people to stand very often, particularly if you have a lot of elderly folks.  Yes, they have the option of staying seated, but guess what they see when everyone else is standing?  A row of backs—you will be hidden behind them.  How can they possibly follow you?
            As to the pattern, don’t get too elaborate.  The point where the beat actually occurs (the ictus) must be obvious, and at the bottom of the pattern, not at the top.  If you draw so many curlicues in the air that no one knows where the 1, 2 and 3 are, don’t get upset if they lag behind—it’s your fault.  
            And they do need to hear you.  If you can’t sing loud enough, stand in front of a microphone.  Don’t get “humble” and think it makes you a better servant of God not to be heard.  Leaders of necessity need to be heard—any kind of leader.  If all you do is start the song, you may as well sit in the pew.  (And if you are in the congregation, then monitor your own voice and do not try to out-sing the leader.  There is more than one way to usurp authority!) 

            6) This is worship to God, remember?  That means you should give some thought to your selections.  Would you ever walk into a Bible class, sit on the front row, scribble down a few passages and expect to teach a good lesson?  Your song service should do one of two things—either complement the sermon of the day, or teach its own lesson.  Some preachers like the songs to match their sermons; some don’t.  If he does, call him and find out what the lesson is about.  If the latter, then choose a topic yourself, or maybe a line of thought, and choose songs that teach about that topic or lead the singers in a logical progression of thought that will edify them.  Both of those take preparation.

            I could probably go on.  Just reminiscing about things I heard my daddy say over and over has already made this a bit long, though.  Here is the key--this is about your service to God.  If you remember that, you cannot help but be the best song leader you can be.
           
I will tell of your name to my brothers; in the midst of the congregation I will sing your praise, Heb 2:12.
 
Dene Ward

I was the only teacher in the county who could do it.  I was the only teacher in the county who had ever done it herself.  It’s the reason I charged more than any other teacher in the county:  I alone could prepare a student for a college audition.
            The school of music is not like most other colleges in a university.  You can walk into practically any other with only your high school education and do fine.  You can say, “Turn me into a teacher,” and they can.  You can say, “Prepare me for law school,” and they can.  You can say, “Make me a nurse,” and they can.  But if you are not already a musician of at least some caliber with as many years of private teaching behind you as possible, the school of music will not take you.
            My college audition consisted of two tests, a performance, and an interview.  One test was four pages of written theory that taxed my knowledge to the limit—keys, chords, terminology, the ability to analyze a page of written music and then writing four part harmony, both notated and not—in other words, writing out music that was playing in my head instead of my hands.
            Another was aural theory.  What’s that, you ask?  “Given a steady beat, notate this rhythm,” at which point the examiner tapped out a complex pattern containing every different kind of note he could fit in, plus dots and triplets.  Then followed a melody of which I was only told the first note and had to write the rest from ear alone, including correct rhythm—eight bars worth.  Then followed several chord progressions which I had to identify by ear, half a dozen or so. 
            Then the performance:  a major original piece by a recognized composer.  Mine was the Chopin Polonnaise in C minor, all 7 pages from memory.  But that wasn’t all.  I had to perform “on demand” any of the 13 major scales, four octaves in sixteenth notes at an appropriate tempo with the correct fingering, and all three forms of any of the 13 minor keys the same way, with accompanying cadences, using common tone progression.  Which were “demanded”?  E Flat Major—not too bad—and F Sharp Minor (think, girl, think!).
            And the interview?  Who is your favorite composer and what do you like about his music?  (Translation:  do you know anything besides how to play it?)  Who have you played?  (Are you a one-hit wonder—the pet student of your studio teacher because you were the only one who could learn the first movement of the Pathetique Sonata; otherwise “Fur Elise” was the pinnacle of your student career?)             
            What’s the point of all this?  When James says, “Be not many teachers, my brethren, knowing we shall receive heavier judgment,” (3:1), he wasn’t just blowing smoke through his hat.  When God listed the teaching objectives in His Son’s body, he included the perfecting of the saints, ministering, building up the body, attaining unity, becoming knowledgeable, becoming stable, learning to love, and growing up to the same height as Christ (Eph 4:11-16).  That’s what he expected teachers in the church to accomplish with their students.  If you think those do not apply to you, especially not if you only teach the preschool class, you are sorely mistaken.
            The preparation for my college audition began at my first lesson—when I learned the fundamentals of keeping a steady beat, playing one note with one hand and one note with the other, back and forth, back and forth, while my teacher played an accompaniment that made it sound like real music.  You are doing the same thing when you teach a two year old, “God made me.”  Everything else will lie on that one fundamental principle.
            How are your women’s classes?  Are you really studying the Word of God or just exchanging opinions?  Do you know more today than you did last year?  Have you changed your mind about anything?  And the most telling of all—do you handle life better than you used to?  Has your behavior in certain circumstances completely changed based on the growth of your character, or do you still fight the same old battles against sin, and most of the time, lose?
            All Bible teachers should be preparing their students to pass one final audition.  If you think those old “read a verse and comment classes” were doing that, maybe you should think twice about your ability—and responsibility—as a teacher of the Word of God.  You are not there to fill the time, to check off the fact that this church has today met it’s obligation to “study.” 
            Teaching the Word is an awesome and frightening privilege.  I pray about it before I do it because God will hold me accountable when the time comes for the audition.  If my students don’t pass, then neither do I.
 
Let a man so account of us, as of ministers of Christ, and stewards of the mysteries of God. Here, moreover, it is required in stewards, that a man be found faithful. 1 Corinthians 4:1-2
 
Dene Ward

     When I was a music teacher I maintained membership in three different organizations, each of which had a local group, a state affiliate, and a national affiliate.  I filled out application forms of several pages length, provided my resumes, and paid what at times was a hefty fee to be a member.   Because I was a member of these groups, my students had far more performing opportunities, learning opportunities such as master classes, activities like summer music camp, competitions they could enter, and scholarships they could earn. 
     Was any of these organizations perfect in the way they were run or the people who made up their membership?  Not a one, but I never expected them to be.  They were made up of human beings who by definition are flawed and imperfect.  Sometimes the means they used to determine things seemed not the best, even open to things like favoritism and other bias.  But we all made the best of what we had, focusing on the strengths of each association and using them to serve our students as best we could.  We understood the original purpose behind these organizations and focused on that, not the imperfections.
     We all understand things like that.  Who is not a member of a professional organization that leaves them wanting occasionally?  Yet we all put up with it for the good we know it will do us.  That is why I am a little impatient with people who seem to think they should be able to demand a perfect body of people to place their church membership with or else they shouldn't have to bother.  As an old preacher said so long ago, if you go looking for a perfect church you will never find it; but if you do, once you join it, it won't be perfect any longer.
     Let us hasten to add, Christ's church by design is certainly perfect.  Its very existence and function makes known the manifold wisdom of God, Eph 3:9-11.  The problem is the same one that organizations always have—it is made up of people who are not perfect, who forget its purpose, who decide they know better than God, who think they are the only ones smart enough to do things "right."  Certainly it should be our business to correct any practice we find that is unauthorized, correct—or remove--any unrighteous behavior, and constantly tweak the way things are run so that it comes as close as possible to God's original intention.  But when all is said and done, it is still a group of flawed people, people who still make mistakes, and who still sometimes show themselves to be less than they ought to be.  So what?  Find me a perfect group of people anywhere and then we can talk about it.  More than that, show me that you don't put up with flawed, imperfect people in any other context.  Of course you do—starting with your own family.
     So let's cut out the nonsense.  It isn't that you wish to avoid being part of a local congregation because the people are so imperfect; it's that you just don't want to be accountable to a group God specifically designed to help you grow and improve.  You don't want to have elders prying into your life because God holds them accountable for your soul.  You don't want people to love you so much that they come asking what's wrong when you are trying to so hard to pretend nothing is.  You wouldn't even want to be part of God's perfectly run church of perfect people if you could find it. 
     Think today about how much you put up with everywhere else yet won't put up with even a smidgen of when it comes to God's church.  You know in your heart that, as imperfect as they are, no better group of people exists on the planet than those in the Lord's body.  Stop trying to pretend otherwise and use what He has given you for your soul's, and your family's good.

We ask you, brothers, to respect those who labor among you and are over you in the Lord and admonish you, and to esteem them very highly in love because of their work. Be at peace among yourselves. And we urge you, brothers, admonish the idle, encourage the fainthearted, help the weak, be patient with them all. See that no one repays anyone evil for evil, but always seek to do good to one another and to everyone. Rejoice always, pray without ceasing, give thanks in all circumstances; for this is the will of God in Christ Jesus for you (1Thess 5:12-18).

Dene Ward

Because of my membership in three professional organizations and their local branches, my students were able to participate in several piano and voice competitions a year.  By far their favorite was the Florida Federation’s Junior State Convention and Competition.
            We discovered this event by accident when I overheard two teachers talking about it at our District Festival, a ratings-only non-competitive event.  So I asked, and after being told about this competition for district-rated superiors, was also advised not to bother taking any students.  “There are as many as 70-80 in each category, and the winners are always students of some retired concert artist or college professor.  You’ll never win.”
            My students, despite being from the smallest county in Florida, and a rural one at that, took it as a challenge, and every year after that “going to state” was the goal for them all.  And guess what?  We did win, several times, in several events.  My students had come up with their own little uniforms—white shirt, black pants or skirt, and Looney Tunes tie—and it got to the point that I heard people in the audience say things like, “Uh-oh.  It’s one of the kids with the ties!” when they approached the piano or stood up to sing.  We were not only recognized, but actually feared!
            When you make a superior in a group event, like piano duet or piano trio, all parties must attend State in order for that group to compete.  Imagine my surprise when a parent called me a few weeks before the competition telling me that her daughter, who had made a superior in piano duet, would not be attending State Contest.  I knew the partner would be very disappointed.  Then the mother really burst my tea bag when she said, “It’s not like they have any chance of winning anyway.”
            What?  As a matter of fact, piano duet was one of our best categories.  And the partner had already won a second place the year before with another partner.  If my students had gone to State feeling like they could never win anything, they never would have.  They won because they believed they could, and worked toward that goal. 
            I have heard Christians say some things that sound just like that mother.
            “I don’t know if I’m going to Heaven or not, but I sure hope so.” 
            “I don’t know if I sinned Lord, but forgive me if I did.”
            “We’re only human.  We all sin every day.”
            "Even the best of us sin all the time!"
            Just what kind of God do these people think we serve?  A capricious, malicious God who toys with us like a cat with a mouse, or a loving, faithful God who helps us in every way He can, including giving us clear instructions for life, the means to overcome sin, and promises that are real?
            Do you think Paul went at Christianity with such a defeatist attitude?  Every athlete exercises self-control in all things. They do it to receive a perishable wreath, but we an imperishable. So I do not run aimlessly; I do not box as one beating the air. But I discipline my body and keep it under control, lest after preaching to others I myself should be disqualified, 1 Corinthians 9:25-27.  It sounds to me like he expected to win.
            Do you need a little help getting over that defeatist attitude?  Just look at these passages this morning:
            No temptation has overtaken you that is not common to man. God is faithful, and he will not let you be tempted beyond your ability, but with the temptation he will also provide the way of escape, that you may be able to endure it. 1 Corinthians 10:13
            Blessed be the God and Father of our Lord Jesus Christ! According to his great mercy, he has caused us to be born again to a living hope through the resurrection of Jesus Christ from the dead, to an inheritance that is imperishable, undefiled, and unfading, kept in heaven for you, who by God's power are being guarded through faith for a salvation ready to be revealed in the last time. 1 Peter 1:3-5
            Therefore, brothers, be all the more diligent to make your calling and election sure, for if you practice these qualities you will never fall. For in this way there will be richly provided for you an entrance into the eternal kingdom of our Lord and Savior Jesus Christ. 2 Peter 1:10-11
            In case you didn’t notice, when we have a defeatist attitude, it isn’t so much ourselves we doubt as it is God.  Satan is making inroads in our hearts and calling it “humility.”  It isn’t humility to wonder about my salvation; it’s a lack of faith and trust in a God who has furnished everything I need to know that I am saved. 
            Who are you listening to this morning?
 
Such is the confidence that we have through Christ toward God. Not that we are sufficient in ourselves to claim anything as coming from us, but our sufficiency is from God, 2 Corinthians 3:4-5
 
Dene Ward

Too many times we studio teachers teach only the instrument, piano and voice in my case, and neglect the other things that make one a well-rounded musician—history, theory, ear training.  So for my students I made up history notebooks focusing on one particular composer each year containing articles, worksheets, and listening labs.  When the makeup of the studio suddenly increased to 40% voice students, I decided to make a notebook with them in mind, one on opera.  Besides, even piano students needed to know about opera.
            I began with worksheets on the history of opera and types of operas.  Then we moved on to study the stories of 5 different operas, followed by a listening lab on one of the more famous arias from each opera.  I live in a rural county.  The closest thing to opera any of these students had ever seen or heard was their grandparents’ reminiscences of Minnie Pearl and the Grand Ol’ Opry.  The answers I received on many of the listening labs often made me laugh out loud and taught me a lot about perspective.
            “Nessun dorma” from Turandot:  (All the recordings were in the original language of the opera.)  On the question, “Describe the melody,” a 6 year old wrote, “Sounds Italian to me.”  How could I argue with that?
            Another question attempted to point out the emotion in the singers’ voices by asking, “Where in the music do you think he sings, ‘I will win!  I will win!’?”  Though it was in Italian it was obvious; even the 6 year old got it.  But one 10 year old thoroughly misunderstood the question and wrote, “I don’t know, but he was so loud, he MUST have been outside somewhere.”
            “La donna mobile” from Rigoletto:  “What are the main difficulties of this aria?”  A 9 year old answered, “He’s trying to get a woman, but can’t.”
            We could not have left out Carmen, though presenting this less than moral character to children took a bit of discretion.  We listened to the “Habanera,” which is, in reality, a dance.  “Carmen likes to flirt a lot.  How does the fact that she is singing to a dance make it sound ‘flirty?’”  A 9 year answered, “It shows she’s pretty smart if she can sing a dance!”
            Because the majority of my singers were 14-16 year old girls, I chose Charlotte Church’s recording over Maria Callas’s version of Carmen.  Charlotte was only 15 at the time and I felt they could better relate to her.  However, this brought about the question, “How is her ability to sing this character likely to change as she gets older?”  Talk about perspective, a 9 year old boy wrote, “She’ll soon be married and she’d better not be flirting with other men!!!!”  But a 16 year old girl wrote--now remember Charlotte was only 15 on this recording--“It won’t be long till she is so old she won’t even remember how to flirt any more.” 
            Was this notebook successful?  When I took up the final exams I wondered.  The first question was “Define opera.”  An 11 year old wrote, “A type of music for men and women where you sing real LOUD.”
            But I also had them write, both at the beginning of the study and at the end, what they honestly thought about opera.  One 14 year old was very tactful at the beginning of the year when she wrote, “I think people who can sing it are very talented.”  But at the end of the year she wrote, “If this is opera, I really like it.  And I learned not to ever say I don’t like something when I don’t really know anything about it.”
            I wonder how many people approach the Bible that way?  They believe it to be a book of myths, a storybook, only a suggestion for how to live, anything but the Word of God when they have absolutely no personal knowledge on the subject.  They have never considered the evidence; they have never made comparisons to other ancient writings that are far less convincing.  We have only 643 copies of Homer’s Iliad but over 5700 copies of the scriptures, and no one ever questions the completeness and accuracy of that Greek epic.  We believe George Washington existed and became our first president.  Why?  Because of eyewitness accounts, the same type of accounts available in historical documents about Jesus.  Even people who accept Jesus as the Son of God, question the validity of the New Testament because it was a translation, yet Jesus himself quoted a translation of the Old Testament, one about as far removed from him in time as the New Testament is from us, and all this barely skims the surface of internal and external evidences validating the Bible.
            My students learned a valuable lesson the year we studied opera:  don’t judge until you check it out yourself.  If you are wondering about the Bible, about Jesus, and even about the existence of a Creator, the only logical and fair thing is for you to do that too.
 
For the word of the cross is to them that perish foolishness; but unto us who are saved it is the power of God. For it is written, I will destroy the wisdom of the wise, And the discernment of the discerning will I bring to nought. Where is the wise? where is the scribe? where is the disputer of this world? hath not God made foolish the wisdom of the world? For seeing that in the wisdom of God the world through its wisdom knew not God, it was God's good pleasure through the foolishness of the preaching to save them that believe. 1 Corinthians 1:18-21
 
Dene Ward

I started my music studio when I was 16, teaching students my own teacher had chosen for me from her waiting list.  Every Saturday, 8 little faces showed up at my door for a half hour of piano time each.    
            Unfortunately, they were not the only little faces I saw.  Regularly, their parents would say, “I need to do a little shopping.  They can play outside,” and leave their other children in our front yard, usually far longer than a half hour.  I had been taught to respect my elders and couldn’t even imagine telling them no.  I simply sat there and watched both the small pair of hands at the keyboard and the ever increasing number of children running around the maple tree, jumping up occasionally to open the door and quiet an argument or forestall an accident.  How in the world did they ever expect me to do a good job at piano teaching?
            Once I married and moved into my own home, the free babysitting stopped.  I was an adult now, and it didn’t hurt a bit that my college professor helped us all fashion “studio policy letters” that spelled out what would and would not be tolerated.  “You are a professional with a college degree (soon, anyway) so act like one and they will treat you like one,” we were taught.  No longer was I a free babysitter for the siblings during piano lessons.
            I wonder if our poor preachers and elders need to make a policy letter.  Regularly, the members, who pride themselves on “knowing better” than the denominations about scriptural practices, expect “free babysitting” from the men God has given other duties to perform.  Read Acts 20 with me this morning. 
            Now from Miletus he sent to Ephesus and called the elders of the church to come to him, v 17.  Notice, we are talking about the elders.  In the same context, speaking of and to the same men, Paul says, Take heed unto yourselves, and to all the flock, in which the Holy Spirit has made you bishops (overseers), to feed (shepherd, pastor) the church of the Lord which he purchased with his own blood, v 28.  Did you catch that?  This is one of at least two passages where all the words for elder are used in the same context.  An elder is a pastor is a bishop is an overseer, and there were always more than one in a church.  The preacher is usually not a pastor and certainly not THE pastor of the church.
             I bet you knew that, didn’t you?  But guess what?  He is not THE minister either.  In fact, it’s a mighty sorry church that has only one minister in it.  That word is diakonos and it is used a couple of ways in the New Testament.  The word simply means “servant” but there was also an official position in the church, special “servants” who had specific duties and qualifications as well.  To make the distinction between that role and the other aspect of service, something every Christian is required to do, the translators created a new English word.  They Anglicized diakonos and made the new word “deacon.”  So sometimes that word refers to those specially qualified individuals who took care of the physical needs of the saints and the church as a whole. 
            Yet far more often, that word, and certainly that concept, is used of each individual Christian, as we minister to one another and to the world.  The problem is we don’t want to be ministers (servants).  We want everyone, especially the leaders in the church, to serve us!  How in the world can we expect them to do the job God really gave them when we want free babysitting as well?
            For God is not unrighteous to forget your work and the love which you showed toward his name, in that you ministered unto the saints, and still do minister, Heb 6:9,10.  The writer is not talking to preachers in this verse, and not talking about them in the next.  You know the house of Stephanas, that it is the firstfruits of Achaia, and that they have addicted themselves to the ministry of the saints, 1 Cor 16:15.  Could anyone accuse us of being “addicted” to serving?
            Anyone who serves is a minister.  Some seem to have special abilities and perhaps we could even say they have “a ministry.” And having gifts differing according to the grace that was given to us, whether prophecy, according to the proportion of our faith; or ministry, to our ministry; or he that teaches, to his teaching; or he that exhorts, to his exhorting: he that gives, with liberality; he that rules, with diligence; he that shows mercy, with cheerfulness. Rom 12:6-8.  Some have people in their homes more than others; some teach better than others; some have a special ability to relate to the young people; some seem to know exactly what to say when people are in trouble.  Some of us just do what needs to be done when we see the need.  All of us are supposed to be ministers in one way or another, and we should all reach the point that we don’t need a babysitter any longer. 
            When someone asks you who the minister in your church is, tell them it isn’t one man.  It isn’t even someone else.  It’s supposed to be YOU!
 
But Jesus called them unto him, and said, You know that the rulers of the Gentiles lord it over them, and their great ones exercise authority over them. Not so shall it be among you: but whosoever would become great among you shall be your minister; and whosoever would be first among you shall be your servant: even as the Son of man came not to be ministered unto, but to minister, and to give his life a ransom for many.  Matt 20:25-28.
 
Dene Ward

I never had much trouble sightreading piano music.  You read the note, you find it on the piano, and you play it.  I wasn’t perfect by any means—trying to read music and translate that to a mental keyboard in your mind and then have your hands immediately go to the correct place on the real keyboard in just a matter of milliseconds takes a quick mind and perfect eyesight, neither of which I had even then.  But for the most part I was a good music reader and got the job done, even if I did have to slow the tempo down so I could play in the correct rhythm too. 
            Then I got to college theory classes and was expected to sightsing!  Now that is a completely different issue.  Looking at a page of notes and singing them seemed like an impossible task to me.  It takes a natural ear.  If you don’t have one, you have to train it.  I had to put mine through boot camp the entire first year of theory classes.  Eventually I learned to do it—I could look at a piece of music and sing the notes, without accompaniment of any kind, not even chords to keep you in the right key.  I wasn’t any more perfect at it than I was at the piano, probably less, but I was musician enough to pass my tests, classes, and juries, and to make two college choruses and a women’s sextet.
            Most of the hymns in our books are written in standard major keys, with standard four part harmony.  They are nothing like the music I had to sightsing in college, so I can usually sightsing them without too much trouble.  It’s sort of like being asked to boil an egg when you have been making soufflés for four years--simple.  Most of the congregation, though, do not have the advantage of being trained musicians and they just sing it the way they first heard it, which in many cases was incorrect. That means that very often I stick out like a sore thumb (or a sour note).
            I have tried to sing what everyone else is singing just so I won’t, but I have trained myself so diligently that I can’t.  I’m a musician—I see the note, I sing what I see.  We were singing “When We All Get to Heaven,” the other day, and every time (at least three) I sang it right I created a clash that was hard to go unnoticed.  “Leaning on the Everlasting Arms” creates at least five such clashes.  With “Amazing Grace” the list is nearly as long as the song itself.
            But you know what?  While I don’t want to cause those clashes, my training makes it nearly impossible to sing the songs wrong, and my desire to please God by obeying His commands to sing makes it completely impossible for me to stop singing.
            Isn’t that the way life is supposed to be for a Christian?  You really don’t want to clash with your neighbors.  You really want to “live peaceably with all men.”  But you should have trained yourself so well that you find it nearly impossible to sin.  Sticking out like a sore thumb shouldn’t matter to you.  Yes, it may be difficult, but no one ever promised us “easy.”  We are supposed to be different from unbelievers.  We are supposed to “conform to the image of His Son,” not to the world. It should be a habit by now.
            Sometimes when I sing things correctly, but differently, I get funny looks.  Once, a song leader even went to the microphone when that section came up on the next verse so he could sing the (wrong) note loud and clear.  I guess he heard my different note on the first verse and it bugged him. 
            This coming Sunday morning, if you hear someone sing a different note than you are singing, maybe you should check the notes you are singing.  Then do something much more important.  Use it as a reminder to check your life.  Could anyone tell you apart from your neighbors, or do you blend right in?  Out there in the world, you should be sightsinging a completely different tune.
 
But the wisdom from above is first pure—then peaceable…James 3:17.
Do not be conformed to this world, but be transformed…Rom 12:2.
 
Dene Ward

When I was teaching piano and voice, besides my own annual Spring Program and Awards Ceremony, my students sometimes participated in as many as seven joint recitals a year, programs featuring the students of several teachers at once. 
            Sometimes the students were chosen according to their age—the Young Performer’s Recital was strictly for talented beginners.  It was their chance to shine rather than being lost among a studio’s advanced students.  Sometimes it was all about their music—the Parade of American Music featured students playing or singing the music of American composers.  If his best piece that year was Mozart’s Rondo in D, that particular student was ineligible.
            Sometimes a panel of judges chose the students based on their performances in a recent competition.  The year we had five chosen for the Student Day Honors Recital was a banner year for us.  To have one or two chosen from a group of over two hundred students from a dozen studios was a good showing.  Five was almost unheard of.
            At the receptions after these events, we teachers always enjoyed basking in our students’ successes.  We mined each other for teaching strategies and resources.  The experience exposed us to more crowd-pleasing music we could use with our own students, and our students to teachable moments we could discuss at the next lesson.  They could see for themselves why I insisted on such picky things as not taking your fanny off the seat until your hands left the keys when a student from another studio stood up without doing so, looking as if someone had glued her fingers to the ivory.  They could hear why long fingernails were verboten when it sounded like someone was trying to tap dance to Debussy and Haydn.  It also worked wonders for parental attitudes—suddenly they appreciated things they had before viewed as silly.
            My favorite moments after these recitals came when people approached me with these words:  “I can always tell which ones are yours.”  It wasn’t because they played or sang particularly well—every student at these recitals did that—but not every student performed well.  We spent hours on things like how to approach or leave the piano, how to hold a pose over a final note, what to do in a memory lapse, how a singer should hold the mood until the accompaniment stops, and especially how to bow.  It’s one thing to know your piece; it’s another to be able to present a polished performance of it to an audience.
            Sometimes I imagine God as the teacher watching our performances.  He knows we can do it.  He gave His Son to show us how.  …because Christ also suffered for you, leaving you an example that you might follow in his steps, 1 Pet 2:21.  I don’t think it is out of line to think of the angels saying to Him, “I can always tell which ones are yours.”  Isn’t that the picture we get in Job 1?  Perhaps not literally, but in essence if nothing else. 
            If life is one big recital, we should learn from the performances of others—what to do, what not to do, why some of the picky things we have always heard are important after all.  We should learn from our own mistakes as well—why do I always miss the same note?!  Your daily practice should take of that.
            God is in the audience, along with all those celestial beings we read about.  As a proprietary teacher myself, I can easily imagine that He wants to hear from them, “I can always tell which ones are yours.”
 
By this it is evident who are the children of God, and who are the children of the devil: whoever does not practice righteousness is not of God, nor is the one who does not love his brother. 1 John 3:10
 
Dene Ward