Scott's Thoughts

Can people really be tone deaf?

2009-11-14T14:37:00.003-05:00

At the recent Promise of Music Symposium at the Royal Conservatory of Music in Toronto, the question above was posed to Dr. Daniel Levitin, Professor of Psychology and Neuroscience at McGill University (and best-selling author of the book "This is Your Brain on Music"). Dr. Levitin's response was interesting.

This is a paraphrase: Lack of exposure to music in utero or before age 8-10 can shut down the music circuitry in the brain. This, however, is extremely rare. Perhaps, 1 in 500? A person with true tone-deafness would find it difficult to differentiate between different voices, since the same perception measures pitch and tone quality! End of paraphrase.

So, although you may think that you are tone-deaf, you are more likely a member of the large group of people in need of training to develop and fine-tune your sense of pitch. If you get a chance to do so, you won't regret it!

History I Course

2008-04-16T22:13:00.000-04:00

Just a note to let you know that I’m putting together a History I Course (formerly Gr. 3 History) for the summer exam session. This is an online course, open to anyone anywhere with a computer and internet access. An information sheet can be downloaded here. Feel free to pass this information on to anyone you think might be interested.

Online Music Theory Classes

2008-09-29T17:09:00.000-04:00

Ashby Musical Enterprises is pleased to announce the beginning of 3 new online courses for those wishing to prepare for music theory examinations with RCM Examinations (Canada) and the National Music Certificate Program (USA). These classes are held once weekly and have a target exam date of May 8th/9th, 2009. These courses are especially beneficial for those without access to a qualified, local theory teacher.

The following courses are set to begin. Please download the Course Information Package (PDF) by clicking on the course title.

Basic/Intermediate Rudiments (formerly Preliminary/Grade One Rudiments)

- begins October 1^st, 2008

Basic Harmony (formerly Grade Three Harmony)

- began September 23^rd, 2008 (Registration is still open. It’s not too late to join.)

History 1 (formerly Grade Three History)

- begins September 29^th, 2008

Online courses from Ashby Musical Enterprises are taught using Webex™ technology. This online collaboration software enables voice communication and desktop-sharing with opportunity for live interaction and professional presentations. In order to maximize the benefits of this technology, you will need:

• Computer (with enough RAM to run smoothly)

• Microphone/speakers (or headset or webcam)

• High-speed internet connection (DSL or higher)

• Scanner or fax machine for submitting assignments

For more information on these classes, please visit the Online Classes page. Please send this link to anyone who may be interested.

Scholarship Funds Available for Future Organists

2008-04-24T17:10:00.001-04:00

Each spring the Hamilton Centre RCCO makes available two scholarships of $400 to musicians of limited organ background, who are interested in studying the organ in formal lessons. The Robert Evenden Memorial Fund Scholarship and the College Development Fund (CDF) Scholarship are intended to assist pianists, of any age, who have an interest in the organ and would like to start organ lessons. The funds are paid to an RCCO organ teacher who will take on the student for a total of 10 lessons. These scholarships are an important part of the RCCO objectives of fostering a new generation of organists. We have been delighted with a high calibre of successful applicants in the past, and anticipate an ongoing field of talented pianists interested in exploring organ studies. Auditions will be held in early June; many of the applicants use it as an opportunity to try out their RCM exam repertoire. Two contrasting pieces are to be performed on the piano. A prepared hymn will be played, as well as sight-reading of a hymn selected by the jurors. An informal interview follows. There are no age requirements, but many applicants have been high school age. POW! participants are also encouraged to apply. You can help with this worthwhile programme by getting the word out and promoting it to prospective candidates. The deadline for applications is May 31, 2008 Contact John Beaver if you have any questions or if you wish to apply. 905-383-6762 or jbeaverj@sympatico.ca
John Beaver, President, RCCO Hamilton Centre

Dynamic Content

2008-03-21T14:49:00.000-04:00

My main site now has dynamic content! I know, I'm a little slow getting on the bandwagon, but I'm finally hooked up with del.icio.us and will be providing interesting snippets on various topics relating to church music and music education. In the future, I hope to separate these two topics, perhaps even by categories and tags. For now, stay tuned to the home page of www.ashbyme.com for updates. I've started with some reviews of the new Soundforth recording which was released this past Wednesday. I'm looking forward to it.

New Online Course! Basic Rudiments

2007-12-12T21:28:00.001-05:00

Just wanted to let you know about a new course I'm offering beginning in January. The online format may allow students to participate from home that wouldn't otherwise be able to fit it into their schedule. This class is open to all of North America, in case you know of some student stranded in some outpost without a music theory teacher. Feel free to pass this post on to anyone you think may be interested.

Basic Rudiments Class

Covering the requirements prescribed by RCM Examinations and the National Music Certificate Program. Please note that this examination is a co-requisite for the RCM/NMCP Grade 5 practical examination.

This online class, featuring live audio/video interaction, will run from January 16 – May 7^th, 2008 with the expectation of the student registering and completing the RCM/NMCP Basic Rudiments examination on May 10. Students are welcome to participate without the intention to complete the examination, but no credit can be earned toward any certificate program without completing the examination. This class will be taught by Scott Ashby, A.R.C.T., B.Sc., M.Mus. Scott has successfully guided many students through the RCM rudiments requirements. Classes are 1 hour in duration and scheduled for Wednesdays at 8:30pm EST.

Technology Required
Computer
High-speed internet connection
Microphone/speakers(and/or optional webcam)
Access to fax machine or scanner for submitting assignments
Valid email address

Tuition per student

$295 (Canadian dollars) due January 15 payable by major credit card*

*rate is dependent on minimum enrollment of 4 students.

Textbooks Required (may be purchased through Ashby Musical Enterprises or through your local music store)

Keyboard Theory: Basic Rudiments

v by Grace Vandendool

v Published by Frederick Harris Music

v $18.95 + tax

v required beginning January 16

Basic Rudiments Official Examination Papers

v 2005 Edition

v $7.95 + tax

v required beginning April 16

Other Fees

Basic Rudiments Examination Fee

v $86 Canadian payable online to www.rcmexaminations.org prior to
March 4

v $74 U.S. payable online to www.nationalmusiccertificate.org prior to March 4

To register or inquire, please email lessons@ashbyme.com.

At a Solemn Music

2007-12-02T15:57:00.001-05:00

Thanks to Dr. Kevin Bauder for pointing me to this work. Not reading Milton on a daily basis, it took me a few reads, but it's worth it!

At a Solemn Music
John Milton (1608-1674)
Blest pair of Sirens, pledges of Heaven’s joy,

Sphere-born harmonious sisters, Voice and Verse,

Wed your divine sounds, and mixed pow’r employ,

Dead things with inbreathed sense able to pierce;

And to our high-raisèd phantasy present

That undisturbed song of pure concent,

Aye sung before the sapphire-coloured throne

To Him that sits thereon,

With saintly shout, and solemn jubilee,

Where the bright Seraphim in burning row

Their loud uplifted angel-trumpets blow,

And the Cherubic host in thousand choirs

Touch their immortal harps of golden wires,

With those just Spirits that wear victorious palms,

Hymns devout and holy psalms

Singing everlastingly:

Thus we on earth with undiscording voice

May rightly answer that melodious noise;

As once we did, till disproportioned sin

Jarred against nature’s chime, and with harsh din

Broke the fair music that all creatures made

To their great Lord, whose love their motion swayed

In perfect diapason, whilst they stood

In first obedience, and their state of good.

O may we soon again renew that song,

And keep in tune with Heaven, till God ere long

To His celestial concert us unite,

To live with Him, and sing in endless morn of light.

A Test Post

2007-11-17T10:18:00.001-05:00

This is a test post. I'm experimenting with Scribefire, which is a Firefox add-in. It works pretty slick. I can pull up an edit window within Firefox and quickly "fire" off a post to my blog.

Pleasing God in our Worship: A Review

2007-09-17T21:13:00.000-04:00

Godfrey, Robert. Pleasing God in our Worship. Wheaton, IL: Crossway Books, 1999. 48 pages. $5.45.

While preparing for a series of adult Sunday School lessons on the subject of Worship and Music, this small booklet was brought to my attention. As I read it, I noticed a distinct difference between this book and others I have read on the subject. I have many books on my shelf decrying the dangers of rock music in the lives of Christians, calling for attention to be paid to the state of music in today’s churches, etc. While I agree with most of the conclusions that those books state, their presentation sometimes grieves me.

Frequently, books on this subject commit the error of circular reasoning, assuming the conclusion to be true before beginning to reach that conclusion logically. Other times, the tone of the writing comes across more like a rant than a well-defined argument. In my opinion, a rant gains little credibility with those whom we disagree.

Pleasing God in our Worship, however, is different. Tackling music only as a subset of worship, it lays a theological groundwork before making applications. Chapter titles include The Need for True Worship, The Character of Worship, Worship and the Word, Leadership in Worship, Music and Worship, Entertainment, Evangelism and Worship, and Worshiping with the Heart.

I found this approach very refreshing and balanced. If I had to find fault with this booklet, I would be to ask Professor Godfrey to make it longer, address some topics more in-depth and provide more application. However, as short as it is, it certainly provides food for thought.

Ashby Musical Enterprises currently stocks this publication. It is available from www.ashbyme.com.

Job Description of a Music Director

2007-02-17T16:45:00.000-05:00

What exactly is the job of a church music director? In some circles, music directors have come to be called “the music man.” I don’t particularly like that term because it implies that those charged with the duty of church music should keep their noses out of other areas. If that is true, then those other areas have little to do with music. Hence, we find ourselves in a church culture that doesn’t connect musical choices with . . . say, theology!

Below are some suggested duties of the music pastor (one who uses music in his pastoral ministry). These duties may vary according to the abilities of the music director and may be delegated. In churches where the music director is female, some of these duties may need to be carried out by a knowledgeable deacon or layman.

Responsibility for the orders of service (published or unpublished). This should be done in cooperation with the senior pastor.
Scheduling of special music, accompanists, instrumentalists, and song leaders.
Rehearsal of choirs, small groups and soloists where necessary.
Setting of policies, including dress standards, rehearsal attendance, and participation
Teaching congregation a biblical philosophy of music and worship
Constant evaluation of music selection and choices in all ministries of the church (Sunday School classes, mid-week services, outreach programs, etc.)
Developing relationships with those involved in the music program for the purpose of encouraging and shepherding.

This is a partial list. Obviously, as church members, the music director frequently does non-musical items that may not fall under the title of music director. What are your thoughts? I welcome discussion.

Suggested Resolutions

2007-01-02T15:26:00.000-05:00

As you make your New Year’s resolutions, may I ask you to remember your church music program? You can still make your annual determinations to exercise and get organized, but perhaps at the start of a new year it’s a good time to examine what your music program is doing and reevaluate?

In my music program, does my philosophy of music and worship intersect with reality?

Are my musical and textual choices appropriately reflective of God’s character?

What sort of ruts am I in that are hindering the effectiveness of my ministry?

Is my personal relationship with God apparent, so that I am truly living what I’m trying to teach?

What sort of plan am I following to maximize my own and others’ musical ministry?

What sort of goals do I want my program to attain this year (bigger is not necessarily better)?

What sort of changes do I need to make to reach these goals?

After brainstorming through these questions, write down your goals and post them somewhere where you will see them frequently. Better yet, share them in a comment on this forum. They will serve to be an encouragement and to provoke thought among your fellow pastors and music directors. May this year be, by the grace of God, a year of growth, both spiritually and musically.

Happy New Year!

The Gospel of Christmas

2006-12-01T22:32:00.000-05:00

I love the music of Christmas. However, sometimes the familiarity of the Christmas story and the cozy, familiar atmosphere created by Christmas hymns and carols, along with the shopping frenzy, distract believers from truly meditating on the significance of Christmas. Consider the following hymn taken from the 4th century and allow it’s unfamiliarity to engage your thinking about the gospel.

Let all mortal flesh keep silence,
And with fear and trembling stand;
Ponder nothing earthly minded,
For with blessing in His hand,
Christ our God to earth descendeth,
Our full homage to demand.

King of kings, yet born of Mary,
As of old on earth He stood,
Lord of lords, in human vesture,
In the body and the blood;
He will give to all the faithful
His own self for heavenly food.

Rank on rank the host of heaven
Spreads its vanguard on the way,
As the Light of light descendeth
From the realms of endless day,
That the powers of hell may vanish
As the darkness clears away.

At His feet the six winged seraph,
Cherubim with sleepless eye,
Veil their faces to the presence,
As with ceaseless voice they cry:
Alleluia, Alleluia
Alleluia, Lord Most High!

Physical Effects and Spiritual Impulses

2006-10-12T23:39:00.000-04:00

I enjoy reading Charles Spurgeon. Although I don’t always agree with every view that he held, he does have a timelessness about him that is especially true when identifying problems within the church. Consider this passage from his comments on Psalm 47:7: “Sing ye with understanding.”

It is to be feared from the slovenly way in which some make a noise in singing, that they fancy any sound will do. On the other hand, from the great attention paid by some to the mere music, we feel sadly sure that the sense has no effect upon them. Is it not a sin to be tickling men's ears with sounds when we profess to be adoring the Lord? What has a sensuous delight in organs, anthems, etc., to do with devotion? Do not men mistake physical effects for spiritual impulses? Do they not often offer to God strains far more calculated for human amusement than for divine acceptance? An understanding enlightened of the Holy Spirit is then and then only fully capable of offering worthy praise.

Please understand that Spurgeon is not saying that we should not give God our best. He is saying that we shouldn’t mistake the satisfying effect of music for a “blessing.” When someone comments on how much they love a certain song or singer, I sometimes wonder if that song or singer has communicated a message or simply left a hollow psychological/musical imprint on the mind of the listener.

Identifying and explaining the effects of music on an individual is tricky business, even for the individual himself. So I refrain from casting judgment on those who are “blessed” by music. I too have experienced biblical truth in musical settings which stir my heart and mind to worship the One who died for me. I’m thankful for that. Yet, as a musician, Spurgeon reminds me to keep my balance. “Mere music” is incapable of “offering worthy praise.”

Shepherding Responsibilities

2006-09-02T14:53:00.000-04:00

Note: This post was written for the Church Music Newsletter originating from Ashby Musical Enterprises.

I’m a daddy! You’ll have to pardon me for getting so personal in a newsletter that’s supposed to deal with topics pertaining to church music, but perhaps you can forgive me this once? Besides, there is a slight connection to the topic I had planned for this issue.

This past week I have had moments to reflect while holding my precious son (you may see pictures here). I suddenly realized just how big a three-letter word can be! DAD. The word is heavy and full of responsibility. Responsibility to care for and provide physical needs, but more importantly, spiritual needs. I just became the ultimate shepherd.

In the field of church music, it is so easy to get wrapped up in the physical needs of the music program. Searching for and ordering music, practicing, rehearsing, planning service orders, etc, that we can forget our spiritual responsibilities. What are they?

1. Maintaining our personal walk with the Lord. As a Christian leader in any form, we need to guard this relationship first of all, lest we become “castaways.” (I Cor. 9:27)

2. Ensuring that the glory of God is the standard by which we make musical decisions lest He be reflected poorly in our work. “Approve things that are excellent.” (Phil. 1:10)

3. Insofar as we are able, shepherding and encouraging our fellow musicians. As a music director, you have contact with certain people involved in the music ministry more than any other church leader. Take the time to know them and edify them in their spiritual walk. Be sensitive to their spiritual needs. Be careful of your testimony when dealing with those of the opposite sex. But if you can’t help them, encourage them to talk with someone who can. (I Thess. 5:11)

In summary, music is not the most important thing! Music is simply a tool in our worship of God and many times is an opportunity for a music director to minister to those with whom he serves. Don’t neglect your shepherding responsibilities.

Spoken Unto Jehovah

2006-08-03T17:28:00.000-04:00

I was recently reminded of a passage from The Treasury of David, Spurgeon’s commentary on the Psalms. In his comments on Psalm 18, Charles Spurgeon writes:

Being possessed of poetic genius, he served the Lord by composing this Psalm for the use of the Lord's house; and it is no mean work to conduct or to improve that delightful part of divine worship, the singing of the Lord's praises. Would that more musical and poetical ability were consecrated, and that our chief musicians were fit to be trusted with devout and spiritual psalmody. It should be observed that the words of this song were not composed with the view of gratifying the taste of men, but were spoken unto Jehovah. It were well if we had a more single eye to the honour of the Lord in our singing, and in all other hallowed exercises. That praise is little worth which is not directed solely and heartily to the Lord.

I hope this is a challenge to you as it was to me. As music directors, we frequently allow “the taste of men” to influence us far too much.

Hymns as Teachers

2005-11-03T21:25:00.000-05:00

In the July 1993 issue of the Concordia Theological Quarterly, Richard Resch wrote: “Hymns will teach truth to hearts and minds if it is truth that is being sung.” Being a strong Lutheran, he goes on to defend the use of distinctively Lutheran hymnody, pointing out, ironically, that theology was being taught in Lutheran Sunday Schools and even worship services that was anything but Lutheran.

I’m not Lutheran, and you probably aren’t either. But the point is valid across denominational lines and even in independent circles. The teaching value of hymns can be a double-edged sword if we do not realize its potential to carry false doctrine into the hearts and minds of congregations. In the 4th century A.D., the heretical teachings of Arius were spread quickly via songs and rhythmical chants. A non-conformist preacher in 18th-century England also knew of the power of song to convey ideas. On a consistent basis, he wrote hymns which summarized the message of his sermons. His name was Isaac Watts.

These examples show the potential of hymnody, both good and bad. Unfortunately, many pastors leave hymn selection up to music directors, and music directors seldom screen the theology in their hymnals. Let me encourage you to read the texts that are being sung in your church services, Sunday School classes and youth events. Don’t feel obligated to sing songs just because of their popularity if the ideas expressed do not represent biblical theology as taught by your church. Don’t feel that every song in your hymnal needs to be sung. If you have questions about the theology represented, ask your pastor for his opinion. Don’t let music be the Trojan Horse that lets false teaching through the gate of your church!

A Piano Buying Guide

2005-08-11T23:31:00.000-04:00

What type of piano should we buy?

Pianos come in many shapes, sizes, and colours. At first, the selection may seem daunting, but it doesn’t need to. The basic types of pianos are acoustic pianos (grands and uprights), and digital (electronic) pianos. Your first piano will not likely be a grand, nor does it need to be. Grand pianos are in the dreams of all music lovers (myself included), but they cost a lot of money and take up a lot of space. So if you’re a beginner, don’t feel obligated to make such a purchase.

The term “upright piano” speaks of the vertical position of the soundboard (where the strings are) contrasted to the horizontal position of a grand piano’s soundboard. Upright pianos come in various sizes (although they all have 88 keys!). But although size may be important to the home decorator in your family, the quality of the sound and the stiffness of the keys are more important factors. If you know someone who plays the piano already, I would suggest having them play a piano before you buy it and get their opinion.

Do acoustic pianos need to be tuned?

They certainly do. In fact, the vast majority of pianos in the universe are out of tune because they don’t get tuned as often as they should. “Tuning” a piano simply means tightening or loosening the strings so that every pitch is where it ought to be. That’s an oversimplified explanation that would offend most professional tuners, but it will suffice. The job should best be left to a professional tuner and not something you should tackle yourself. Check the Yellow Pages.

Is an electronic keyboard sufficient?

If you don’t want to be bothered to hire a piano tuner periodically, an electronic (or digital) piano may be for you! These instruments never go out of tune. Many piano studios are using these types of instruments exclusively. However, you will want to be cautious about scooping up the next one you see at a garage sale. They don’t all qualify. Also, you will find that after playing for awhile, you will long for the touch of a “real” piano.

Any particular brand names?

While I don’t claim to know the industry inside out, I will recommend the leaders. Roland has some quality instruments these days. Yamaha doesn’t just make motorcycles! In fact, their Clavinova line is an excellent choice. Kurzweil is an option worth looking at. Other brands may make acceptable instruments, but these three are known for their quality, while other brands focus on offering keyboards for the lowest price, while sacrificing quality.

Any particular features?

Comparing features can be tedious, but doing your homework will pay off. If you are buying a piano for the purpose of developing your keyboard skills, set the following parameters. These are a must:

Full size keys (some sold in electronic stores have miniature size keys that will fool you into thinking that your hand can span two octaves!)
88-keys (Don’t settle for 61 keys. These instruments are created for a different purpose)
Weighted keys (Keys which are tapered underneath like organ keys are not weighted. You want to simulate an acoustic piano to improve your control over the keyboard.)
Authentic piano sound (a “patch” electronically-speaking that will do justice to the music you are studying. Some digital pianos sound tinny or hollow.)
Sturdy stand (anything that allows the keyboard to wobble while you’re playing is not sufficient).

Plenty of other bells and whistles are available, including rhythm sections, sequencers, transposers, and 40 million built-in sounds. But don’t sacrifice the requirements above to buy a high-tech toy. You can buy one of those later.

Music Lesson FAQs

2005-08-09T18:59:00.000-04:00

I’m about to post this series of FAQs on the studio portion of my website. I thought I would post it here for feedback. Feel free to make suggestions for improvement or suggest a topic that I haven’t covered. For instance, what questions would a potential music student or a parent have?

What age should I start my child in lessons?

Immediately! OK, so a 3-month old may have difficulty reaching an octave on a piano. But there are options such as Kindermusik for teaching rhythm, musicality, and expression for toddlers. Participating in a pre-school program can contribute to the development of motor skills, listening skills, and social interaction.

For private piano lessons, I usually recommend age 5 as a good starting point. Children’s motor skills are usually ready for the keyboard at that point, and the excitement of producing music is high. While progress may not be rapid until ages 8-10, an early start is beneficial for a child’s musical development.

Interested in strings? You don’t have to wait till age 5. Programs like Suzuki are designed for children as young as 3. Be prepared, however, for the expense of a series of growing instruments that grow with your child. More than in any other musical discipline, the size of the instrument is vital to the student’s success.

Brass and woodwind instruments are difficult to start before age 8. They require the coordination and strength of facial muscles and breath support that younger students lack. But that doesn’t mean that students should wait till age 8 to study music. Students who approach an instrument having a background in piano and basic theory have a great advantage. Pre-band instruments such as recorder, fife, and Orff instruments are also beneficial.

Drummers be patient! The serious study of percussion needs to prefaced with the development of keyboard skills. The basics of rhythm are best learned at a piano. Mallet percussion demands a knowledge of the keyboard. This is so important that percussion classes that I’m familiar with are open only to those who have completed a minimum of two years of piano lessons.

How much does my child need to practice?

There are three factors that influence the amount of practice necessary. The first is the standard of progress expected. As a general rule, increased practice = greater progress. Funny how that works, isn’t it? This principle is similar to the ratio between study time and test grades.

Secondly, the student himself is a factor. Some students catch on more naturally than others, but diligence and hard work can trump natural talent.

The third factor is somewhat related. How does the student practice? What does he spend his time doing? Is he watching the clock? Listening for the kitchen timer? Is he playing his favourite pieces from 3 weeks ago? Or is he focused on the task at hand, committed to overcoming the hurdles before him?

Your teacher will likely suggest (or demand) a particular time for your child to spend at the piano. This may range from 15 minutes a day to 2 hours a day. But keep in mind that success is not measured by a clock, but by musical accomplishment.

Do we need to own a piano to take piano lessons?

Ownership is not the required part, but regular access to a piano is a must. But before you decide to borrow someone else's, do your homework. Scheduling your practice time around someone else's practice time, nap time, or dinner time may be a bit more complicated than you think.

I would suggest watching classified ads for a used piano or visit your local music store for an acoustic or digital piano. See the FAQ pertaining to piano selection for more information.

My child wants to play the guitar (or saxophone, violin, drums, etc.) Do they really need to learn piano?

The piano keyboard is fundamental to an understanding of music theory. While piano lessons aren't mandatory for success, they will aid the student in achieving that success. No successful instrumentalist will look back on piano lessons as a waste.

Is it possible to learn the piano by ear? If so, why bother learning to read all those complicated notes?

Yes, you can. But why would you want to? Playing by ear means you are limited to playing music that you have heard. Why limit yourself to music you already know? That’s like sitting in a library reading only books that have been read to you. Think of the thousands of books that you could experience if you knew how to read! Note-reading opens up the world of music for your personal exploration.

I’m an adult who wishes I had taken piano as a child (or did take piano and now wish I hadn’t quit). Is it too late?

That depends on your determination. It’s never too late if you care enough about it. Unfortunately, adulthood brings responsibilities that affect our priorities (like paying the bills!). But don’t let the joy of music slip by in the rush of life. If you’re resolved to learn music and can afford some time (even a little bit) regularly practicing, you can fulfill your dream.

Introduction

2005-08-05T14:03:00.000-04:00

Welcome to the first posting of Scott’s Thoughts. While the title may sound self-centered (as does my domain name, ashbyME.com J ), that is not my intention. Rather, it springs from the same motive that the Apostle Paul had when he wrote, “Be ye followers of me, even as I also am of Christ.” Paul was not claiming perfection in his Christian walk (see Rom. 7), but was pointing the way to Christ as a model. He desired people to follow him to the extent that he was like Christ and when he erred, to turn away from Paul to Christ. The last thing Paul wanted was to wield influence over people and teach them error for personal gain. When he wasn’t writing letters under the inspiration of the Holy Spirit, Paul was a fallible human that God used greatly.

Although I desire to be used by God however He sees fit, I do not seek influence that corrupts fellow believers. So in the spirit of Paul pointing to Christ, let me preface all that I ever write in this blog with this: These are Scott’s thoughts, not necessarily God’s thoughts. Though it is my desire to pattern my thoughts after His, read them with a realization that my complete conformity to Christ will be marred by my humanity until the day that I stand before Him. Then I “shall see Him as He is” (I John 3:2) and “I shall know fully, even as I have been fully known.” (I Cor. 13:12 ESV)