Archive for December 2011
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The Christian Inheritance
The issue of inheritance crossed my mind lately as a Christian. The droning of its attention was attendant on what, not long ago, a Christian brother shared with me. “I had lost all hope in every area of life, through and through,” he told me. “To commit suicide was even not a promising choice as one is expected to know what one’s driving force is,” he concluded.
The story has it that every one of his attempts to secure what to be doing ended up in quizzical quagmire. He spoke to people who would appear to be sympathetic who would all too soon renege on their promises upon the young man’s appearance at places he was on appointment. “These people don’t ever seem to know that it is always worse than difficult for me to source for transport fares to come to their offices,” he once grumbled aloud with tears rolling down his eyes.
Reluctantly, one afternoon, he reached for his Bible. He closed his eyes and requested God to lead him to a passage that would expressly address his predicament. “Blind opening” you may wish to call it. “Behold I opened to Psalm 47 and began to read from the first verse and by the time I got to the fourth verse I was done” he enthused.
“O clap your hands, all ye people; shout unto God with the voice of triumph. For the LORD most high is terrible; he is a great King over all the earth. He shall subdue the people under us, and the nations under our feet. He shall choose our inheritance for us, the Excellency of Jacob whom he loved. Selah.”
What can hook your attention and kick you into meditation is: “He shall choose our inheritance for us.” That’s pretty interesting. God’s promise in this passage is very clear. When He chooses our inheritance who is the satanic attorney that can challenge Him? None! Instantaneously I directed his eyes to the sentence before that: “He shall subdue the people under us, and the nations under our feet.” What a powerful promise for the Christians! My brethren, claim it.
God shows up and subdues all that would appear to be insurmountable just when man concludes that his problem is terminal and hopeless. He watches on and waits for you to recognize and acknowledge that you need Him. When you do so in all sincerity of your heart He steps in, in His majesty, wisdom and might He takes perfect control of the raging situation.
You may recall Job’s ordeal. Because he had unshakeable faith in God he received double the wealth and affluence he had before his unpleasant experience. It is only God that can act and react with such precision and accuracy. Christians, remember this always that your inheritance is in God, the one that is called the Rose of Sharon.
Arpeggios and Arpeggiated Chords on Guitar
Many guitar players who have learned all of the basic guitar chords turn to learning arpeggios next. Arpeggio is Italian for “broken chord,” and when an arpeggio is played, notes within a chord are used to create a melody or progression of notes.
On every instrument, chords are combinations of notes played simultaneously. A chord will always have the note within it for which it is named by. For example, a C major chord will always have a C note and a B major chord will always have a B note.
When a chord is played on the guitar, all of the notes within that chord are played. Whenever you play those notes individually, you are using an arpeggio. It is important to understand that arpeggios do not consist of notes within a scale but a chord which is within a scale.
Sometime chords are played in such a way that individual notes are played but extremely close to each other. This is sometimes referred to as an “arpeggiated chord.”
Arpeggiated chords and regular arpeggios can be played in any combination. This is what makes them so much more flexible than regular chords. Normally, a chord on the guitar is either strummed up or down. With an arpeggio, the chord is broken and can therefore be re-assembled in whatever manner it pleases the player.
The notes for a guitar arpeggio that has 6 notes (one for each string) can begins with a middle string (for example the G string), move up to the top string (the low sounding E string) or the bottom string (the high sounding E string). The chords are broken. They can begin and end anywhere. Because of this, the possibilities for creating melodies are endless. In essence, one could create entire songs and melodies just from arpeggios. Much of classical music is composed in that way.