the ancient Egyptian legend which talks about the “sound constituent” of man; the facts of ontogenesis from the primitive encephalon development, the neuron chords, up to the constitution of the central nervous system.

AFRICAN MELODY CASTLE – THE GREGORIAN CHANT WAY (by IGIRI INNOCENT)

In my research life I have always believed that things are exactly the way they are said to be until proven otherwise through experimented findings. Good is good, and bad is bad! But then I forgot to remember that almost everything under the sun has different meaning, value and respect to different people of the globe. To some people, yesterday is the same thing with tomorrow. New born child is regarded as returnee from the ancient; and so on.

Then I remembered that nothing actually in this world is new- whatever we know or yet to see has already been though in various forms and nature.

In Africa, the knowledge of modernization and civilization brought a sense of limitation in the believe of who we are; we were made to think about ourselves and our cultures as inferior. We accepted the unilateral knowledge that belittles our chemistry, physics, literature, music, and other fundamental fields and yet even African human life needed no value.  Today, Africa has suddenly awoken to the realization that so many analyzed theses on African subjects were untrue, ill-experimented or mixed false and truth.

One of such matters is Africa counterpart music generally known as classical music. Apart from the recent realization, it has been the believe almost in all African documents that this genre of culture is from European soil, meant for the elite and super rich. May be due to this notion, Africans distanced themselves from the enormous good and overall nourishment of this tradition just because some facts labeled it un-African. THAT IS NOT TRUE!

Let me start here: It will interest the reader to know that the first manifestation of music ever known in human is the pulsation of the heart. The beating of the human heart draws the amniotic liquid together at the throbbing spot, the heart of the mother, where it condenses into the foetus. (The psychophysical development of man)

Abundant music activities have been registered in human beings from the earliest development days of the foetus through the post natal period, from lallation stage to pre-elementary school years of any child’s development. These are years of unconscious musicking and it represents the era of music in the natural unconscious.

Furthermore; there are four stages of music origin from the earliest form of development to what we now call classical music. There are:

1.   Music in human nature

2.   Music in human activity

3.   Music in human consciousness and practice

4.   Music in human reason

The 1^st and 2^nd stages shows that music is the most pervading of all the arts, the muses, the gods to which music owes its names and manifestations were the brains behind every human intellectual endeavor. For every human endeavor originate from the controlling influence of the central nervous system.

Today there is a well-established scientific backing of the ancient Egyptian legend which talks about the “sound constituent” of man; the facts of ontogenesis from the primitive encephalon development, the neuron chords, up to the constitution of the central nervous system.

In the 3^rd stage man now becomes conscious of practice of music; he could now learn the art of playing musical instruments or singing through imitation and/or instruction; or even learn to compose.

In the 4^th stage man now begins to rationalize music.

AFRICAN WAY

Plainchant music generally known as Gregorian chant music today in Christianity religion predates counterpart tradition known as classical music and was formed using anagrammed expression of symbols found in Egyptian (North Africa) religious courts. This is a well-established knowledge of the foremost indigent of the African scribe. The worshippers in Africa created this music practice system based on hulariumism in attempt to put their spirit in motion while performing religious practices. This form of chant grew dramatically and became the most celebrated form of music both in Africa and beyond. The traditional monks and priests studied this type of music through their formation system. Music formed part of the discipline of higher education in Egypt in mystery system schools, a kind of university where every manner of discipline- Philosophy, Religion, Medicine, Law, Music, Mathematics, Geometry, Astronomy, and other sciences were taught by Egyptian priest-philosophers in 3200 BC, although music in human consciousness and practice started much earlier than 6000 BC in the Nile valley. From antiquity till date, that music system has profited and still profiting humans through meditation, performance and inventions. This shows that African music is concretizations of thoughts manifesting in musical sound action.

DRUMMING AND DANCE IN AFRICAN MUSIC CULTURE

African music is indeed harmonious with dance-inducing rhythmic drumming; but dance and/or with the drumming is definitely not part of the definition of music; they are different from music. They are physical activities meant for the theatre of spectacle. Even animals are indeed sensitive to sounds in general, and to rhythm in particular, because rhythm is the foremost sensuous ingredient of music.

Therefore; DRUMMING is the articulation of TIME in music; TIME is the measure of DURATION in music; DURATION is a property of SOUND in music; SOUND is an ESSENTIAL COMPONENT of music. Rhythm is the manifestation of the sequence of vibrational pulsation. “Drumming is therefore not an essence of music. Drumming to music is a lazy mind’s way of listening to music”.

MUSIC LANGUAGE

Music indeed is a symbolic language itself; it communicates to the mind, it evokes emotions and feelings, it can change our moods.

These wonderful effects of music are the very nature of music in all cultures of the world. They are universal;

AFRICAN MELODY CASTLE

The transcendental order or the melodic nature or the logical sense of African music is well explained in the view of priest-philosophers who defined music and its principles and beauty. It is said to be like the ancient Egyptian castle; “THE 

MELODY CASTLE”

This melody castle in brief, is the African music order which consist of principle of music flowered in the beauty of the numerical divine proportion; in the beauty of the planetary orbits of the sidereal heavens and reproduced in the propagation of tone, and in the equilibrium of body and soul.

FINAL NOTE & ADMONITION

It is quite unacceptable to attribute classical music to only the Europeans in whatsoever attempt.

Please always create time and attend classical music concerts, operas, festivals, and carnivals. Allow it to touch you, don’t run away from life.

Let me salute the church for taking it upon them to be the sole custodian of this tradition, and I urge every African child to gracefully celebrate classical music anytime/any day you come across it. Whenever you come across a Church where Gregorian chants are rendered, pay attention and remember all I have buttress here.

IGIRI INNOCENT 

Second most cherished piece in Africa

Second is           O DANNY BOY

Have you ever imagined been outside of home or may be having a walk by a lonely street with gardens and birds singing all around, and then rain is falling? And you had no umbrella or a good shield around? Just imagine the sound of the rain dropping with the melody of the birds’ songs, then try to reason that you are part of the nature; then remind yourself of a beautiful nature tune that echoes love, endowments and morals. You must feel something, and in case you did please don’t tell me.

One beautiful thing about the rain whenever it chooses to fall it gathers strength to make sure that it reaches the earth no matter how little it dropped. I have learnt to add melody to sound of the rain because the sound seems wasted each time. For instance, when it began with thunder, lightning and force, certain melody are made in line with fortissimo, Virgo, tutti, and allegro. In Burundi, one person is officially mandated in their tradition to ascertain the mood and tempo of rainfalls in case if the gods be communicating to them through the signs of the rain.

A legend was told of a culture in Africa in which rainfall was seen as echoes of gods’ movement and conversation which must be observed according to its signs and strength for the purposes of knowing exactly what the gods’ are saying. In that legend the people always found insight to pieces which has endured even now.

This piece always tries to bring down momentous slow, soft, and mild rain. Whenever this piece is played in Africa African indigent tries to imagine shadow on a lonely street of lofty gardens and that always makes us remember that we came from somewhere.

Played on a 4 manual Allen organ in Nigeria I composed some fine stop; mixing Flute sounds coupled with tremulants and chimes colors; you can’t believe what happened: the combination got the job done.

A lot of confessions have been made by nature loving individual in Africa, their words on the value of this piece to them says “I so much like this piece because of its tuneful ability” to bring back minds and to bring down rain.

I started with the Refrains

I meditated on a 8yrs old little boy on the bushy street in Kenya early Saturday morning cut by a thunderous rain as it begins on that lonely street without a shield. The little boy thought of running but the journey seems far. He decided to walk under it and prayed that some magic could be done for him seeing that he was helpless, but he believed the stories of gods helping children in their land.

In the first Stanza

I moved further to speak of another little boy happily standing under same heavy rain watching his father planting cassava with hoe. He seems unperturbed abut the thunderous rain. He remembered that one day he will take the hoe and do the same. For this little boy he wishes the rain to give him the courage and strength in age to learn the techniques of cultivating. The piece is in high motion now but slowly remembering the first boy in the refrain who is expecting a magic because of his fear of the rain I went back to the refrain.

In second Stanza

The fearful boy soundly became strong under the rain. Pulls off his clothing and sang a melodious tune into the heavy droppings with boldness that I still struggle to explain. “but come ye back” o danny boy I love you so, I love you so”

I spoke of the little boy’s father moving the hoe in rhythmic action and his son carefully observing the beats. Whilst I meditate I myself wished I could experience the rain in such manner again now that I’m an adult. In those days, I loved it playing under the rain. Songs are made and strength is gained.

Both the rain and the boys certainly enjoyed their union as the showers began to reduce slowly and gradually softened till it goes away.

Am I dreaming? The little boys asked! I was lost in thought but am alive.

Enjoy this piece anytime you heard it played. Cheers.

IGIRI INNOCENT

3 most cherished Hymns in African Continent by Igiri Innocent

3 most cherished organ pieces

First is      -             “LOVE DIVINE, ALL LOVE EXCELLING”

Apart from the spiritual connotation which richly accords this piece, it is apparently designed with joys of sounds which echoes “live” this live is seen in all around us; in contest, love is live. So where we display love, live inevitably is created. What am I saying? Now, through the windows of classical music, study of organ sounds and music psychology teachings- humans grabs an important communication through sound than sight. Thus I can see someone running but if I do not hear shouts like; Thief! Thief!! I will only presume that you are doing excises. But if I hear shouts like; Thief! Thief!! Without even seeing any one on the run I will adjust myself and take some certain measures. Or maybe I hear shouts like; Fire! Fire!! Without seeing any smoke or seeing people running, I will definitely take some actions. So it is that some persons do not require physical expressions of love to begat live, but they earnestly wait for the right force which has the key of turning their precious persons into live transmitting agents. Those type of people prefer to judge a musical competition not by sight (fineness of the performer) but by sound (the quality of the artistic skill and level of reasoning).

Now, some music writers like; C. Wesley was so blessed with great minds that their imaginations surpass what we call monogamous text in music literature. Their music is entirely mature for marriage in tonology. Their sounds and lyrics remain undisrupted no matter the tunes used to present them. Some people don’t need a preacher man to speak to them about love or any people to show them love in the presence of these sounds which accompanies these lyrics. They want you to allow the sounds to do its job. And trust me; they get every bit of that message even more than they would have grabs spoken word.

Happily there are good Church organs in African Churches today listeners can depend on when it comes to nature mellowed sounds that will depict a communication that exist before reason. And more, happily, African has produced many renowned, seasoned, potential and well-trained organ recitalists who understands and sees beyond black & white keys or five lines & four spaces. Performers who always tend to communicate the hidden message of the art in clarity. These young & old women and men took their art in suptuum and endeavors  to study the history, symbolism & science of every phase of structural piece before performance, to technically extract points and intent of the writer or composer; and as well show some level of their human comprehension ability in their performance. These People are “able to tell stories without making use of spoken words” they are able to explain, yet without words, they are able to make vivid the intention of a theorist or a philosopher. I can go on and on…

These aforementioned synopses are what usually ignite every tropism into being addicted to certain melodies; like “LOVE DIVINE ALL LOVE EXCELLING”.

Permit me to recommend this wonderful piece for your perfect meditation tune. As a German trained organist whose performance experience spans over 10 years now, I see myself qualified to present and recommend sound musical works based on my tendentious analysis of their components and divisional proportion.

Performing this very piece with 3 manual organ @ Ave Maria Cathedral Anvil, Conakry, Guinea; I was aware of the story I was about to tell. “A STORY OF THE CREATION AND DIVINITY”

In the Intro (prelude) - I spoke of darkness & water that fills the earth before time and the Mighty Spirit of Yahweh that dwells upon it. Just try to imagine the depth of that water, her purity that made her suitable for Magnificent Spirit of Yahweh. I did not need tremulants effects to achieve a clear communication. All I did was 32, 16, 8, 4 of Bourdons + Flutes.

In Verse 1   -   I spoke with tenderness of the created things; LIGHT, DAY & NIGHT, EVENING & MORNING, FIRMAMENT HEAVEN, DRY LAND (EARTH), SEA, GRASS, HERB, TREE, TWO GREAT LIGHTS, STARS, ABUNDANCE OF LIVING CREATURES, WINGED BIRDS, MAN IN THE IMAGE OF GOD; and I spoke with humility of their groaning to salute (worship) their Maker in tongues that could only be understood by the Spirit of their Maker.  I carefully progress to tutti A, B with new foundations involving 8, 4, 2, mixtures of Principal + Flutes of well-structured mind and body.

In Verse 2   -  I spoke of man with confidence and boldness which the Spirit gives; asserting his authority over other created things that be. I equally spoke of the Maker’s grace, tolerance and punishment for man’s disobedience. I recognized the openings of various scenes of life; of good & evil; of death, suffering in childbirth & earnings; and finally, of a great promise of a Messiah to come, whose birth, life, death, and resurrections will surely deliver man into life everlasting through his graces. I built a special sequence of what looks like Fibonacci Mathematical progression to illustrate the stages with immutaions 1’ 2’ 9^th of Strings in solo.

In Verse 3   -   I spoke of man moving on in life after a very grievous fall. He was sent out of Paradise but his journey was never ended, he moved on. He finally ends up dying a death in obedience to the law of his Maker; dust you are and unto dust you must surely return. I muted the pedals to give credence to the grandeur of all things yielding to its final rest through Him and in Him. Making use of simple foundations of 8, 4, 2 of Principals & Flutes coupled.

I invite you to sit and listen to this work via my youtube channel @ INNOCENT IGIRI

TO BE CONTINUED WITH THE SECOND & THIRD…. CHECK IT OUT

Secrets of the 7 notes of a piano scale

7 notes of C major scale

by

Igiri Innocent

Key of C major scale

Is one of my favorite piano scale

As a child,

Reason is just because it is too simple to play

And all the notes are all in white keys.

But not quite long, I noticed

That key of “C” note in particular

Is only but a firm foundation,

On which all other notes and keys are built.

Inside it were D, E, F, G, A and B.

All of them working together

According to the principle of the head, “C major scale”.

Now, let’s examine the symbolism of this arrangement for a Church musician (i.e choir masters, music directors, choristers, organists, keyboardists, and other instrumentalists in the church).

Apart from being the first key to learn as a piano student, key of C major scale as the primary key of every musical instrument has a hidden message of God’s direction for His musicians.

A note for church musician through key of C major scale

Scale degree of key C major and God’s message in it.

1.      “C” which we call Tonic, Doh stands for CHRIST who is the First of all things and to whom we ought to offer ourselves first as members of His kingdom, and then our services. Tonic is a confident note, it has a natural ability to restore a chromatic sharp or flat note, and it has rooms to accommodate and assist notes both small and big, and also leads them like a father. This note is so much needed in music making that we cannot assume to have started a song or concluded a song without it.

Lesson: In the life of a church musician, this note is meant to teach us the important of Christ in the life of every good church musician. In as much as we need “Tonic” note to start/progress or conclude our performance, we need CHRIST first. Read: 2 Corinthians 8:5 NKJV.

2.      “D” which we call Super-Tonic, Ray: (the super here simply means “above” in Latin): this note stands for DEDICATION. Super-Tonic note is one note on the scale that one needs not to question its dedication or commitment in every musical arrangement. Unassuming but full of supportive flavor.

Lesson: That is how church musician ought to be. Dedication to God and His work. Joyfully singing your songs and playing your instruments to God at all times. This note calls all the church musicians to be dedicated to the service in which God has placed them in charge that they may receive grace for their service. Read: 1 Corinthians 15:58 NKJV

3.      “E” which we call Mediant, Meh: this note stands for EDUCATION. Mediant is so a lovely note that plays high efficient and bold role in every musical arrangement.

Lesson: Education is very important in the making of a sound church musician. It is through education that one will learn the norms of professional service which is also required of a workman in God’s vineyard. Talent is good but it is not enough, you need to harness it and properly shape it through Education. Read:  2 Timothy 2:15 NKJV

4.      “F” which we call Sub-Dominant, Fah: (Sub, simply means “under or underneath” in Latin): it stands for FRIENDSHIP. In act of four part choir training, a particular note is allotted to Bass singers for deep voice drills. This note has been tested and proven to be a superefficient tool in balancing the low note male singers otherwise known as “BASS”. They are the pot on which good or bad foods are cooked. Again, and as a matter of fact, a good judge at a musical competition always beacon on the sound of this note when sounded by the low note singers to ascertain if the general chorus is still on the pitch or have moved. Therefore I can boldly say that one good bass singer is equals to 15 other parts. As less important as this note may sound, if you use it to train your bass singers they can sing 32ft bourdon note comfortably.

Lesson: We cannot over emphasis the important of friends in ones’ life especially as a Christian, but friends who fear God are best. This note which we call FRIENDSHIP can be a determinator of how good or bad a musician service can be to God and his people. If we chose best friends to follow or best music practice to imitate, we can be like St. Cecilia who chose to use her musicability only for the praise of God. Music in general has a good and bad spirit, and that is because the evil one has long noticed that God dwells in songs of praise and worship and has vowed to pollute that divine practice and the practitioners of music. But God in His infinite wisdom having foreknown the mind of satan gave us a warning not to imitate or follow bad (music) friends who are capable of ruining us and making our works unacceptable to God. Therefore, making good music friends who has fear of God in them will always keep us on the right track to render a holy service to God. Read:  Proverbs 13:20 NKJV

5.      “G” which we call Dominant, Soh stands for God. This note has a unique height of governance over all the other notes.  In music, dominant is so important that we call it the salt of basic chords in chordiatic theory. All notes of the C major scale has a reserved respect for this note, they needs her backup to make a balance harmony. No wonder all the great musicologists of the sixteenth century derives satisfactory always by positioning their compositions on 5^th note (i.e Dominant) modulation. In fact, this note is as active as its name “DOMINANT”. Aside of this note, all works and efforts of all other notes could become useless or wasted effort.

Lesson: That is how important God should be in our lives as church musicians. Music in the church is a calling unto praising and worshiping God and we cannot do that genuinely if we fail to make God the king of music. All music should be played or performed with a conscience of godliness. Read: 1 Corinthians 10:31 NKJV

6.      “A” which we call Sub-Mediant, Lah: this name was given to it simply because it is in the middle of upper tonic and subdominant: and it stands for AUTHORITY. SPIRITUAL AUTHORITIES. This note is always obedient to authorities that be. It carries out orders as ordered. It stands in the position of authority only when asked to by the main authority. No note in all the scales is as obedient as this note. When this note is at work, the main authorities can beat their chest and have a sound sleep knowing that submediant recognizes her seniors.

Lesson: Church musicians should be like this note, standing in the middle between Man (subdominant) and God (upper-tonic) not as a priest but as a servant to people of God. The duty of church musician (choir master, choir director, choristers, organists, and other instrumentalist) is not and can never be solo in itself but in total obedience to spiritual authorities whom God has placed over us. Spiritual authorities can be Our Pastors (Priests), Directors, Chairmen, etc..  Spiritual authorities are to direct and oversee our functions/duties as church musicians.  Therefore, we cannot claim to obey God and yet have not obeyed the authorities which he has placed over us. Read: Hebrews 13:17 NKJV

7.      “B” which we call Leading Note, Teh: it stands for BLESSINGS. Leading note is the seventh note in all major scales, and it is a special note in scaling both Harmonic and Melodic minor scales. Both in contrary and in similar motions of scale. Apart from its unique tonal color, it has a way of leading the scale into upper-tonic (God). And that is how this note is meant to lead church musicians to God that they may obtain blessings and favors from him.

Lesson: God always has a way of blessing us through the spiritual authorities which he placed over us. “I am a living testimony to this”. This note remains dormant on a straight major scale except submediant is played, meaning that except we obey spiritual authorities we cannot experience the influence of this note which is blessings. But remember, there are 6 other notes before this one and none of them is less important. All should be observed. Take note.

God bless us. inno_organ@yahoo.com.  (Organist @ Holy Cross Cathedral Lagos)

Satan music chief of Heaven

Satan, the former music director/organist.

I always hear from people how Satan was the chief music director of Heaven and how he played skillfully for the glory of God before he was chased away by God. I believed the story. However, I decided to go through the scriptures to find out exactly what happened, owning that myself, I am a musicologist, director of music, and organist. I decided to know how he carried out his duties as the music director of heaven and did pleased God before he mescaphonded. As I searched through the scriptures I found something that I could lay hands on as the true story positioning Satan as musician in book of Ezekiel chapter 28:12-15.

Read with me……….Ezekiel 28:12-15 NKJV

12: Son of man, take up a lamentation upon the king of Tyrus, and say unto him, Thus saith the Lord GOD; Thou sealest up the sum, full of wisdom, and perfect in beauty.

13: Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.

14: Thou art the anointed cherub that covereth; and I have set thee so: thou wast upon the holy mountain of God; thou hast walked up and down in the midst of the stones of fire.

15: Thou wast perfect in thy ways from the day that thou wast created, till iniquity was found in thee.

I found this to be a description of Satan.  He is said there to have been in the Garden of Eden and was perfect in all his ways until iniquity was found in him. That fits none other but the devil. Therefore, the prince of Tyrus mentioned earlier in the chapter would be the earthly ruler of Tyre, while the king of Tyrus would be the devil who rules over the prince of Tyrus. I was able to arrive at this conclusion following my previous study of Daniel chapter 10 which deals with the connection between many earthly rulers and evil spiritual principalities.

Therefore, verse 13 of my dialogue chapter (i.e Ezekiel 28) captures it very well with an interesting phrase.

13: “Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.”

That is, he was created with tabrets and pipes built in him. What would this refer to?  Tabrets (spelled taborets in modern English) are small drums like those used to beat out timing for a fife player. Pipes probably refer to tubes used to produce tones by blowing air through them, as in pipe organ. This made me to understand that the devil had the makings of percussion instruments and wind instruments built into his very being. Why would God create him with these strange apparatus? I asked.

I continued to ask why and why was he created with such gadgets, and then I found the presiding verse explaining why.

14: “Thou art the anointed cherub that covereth; and I have set thee so: thou wast upon the holy mountain of God; thou hast walked up and down in the midst of the stones of fire.”

 (He is called the anointed cherub who covers.)

I quickly recalled that in the previous chapter, precisely In Ezekiel 10:1-22 there are four cherubim who stand at the four corners of the throne of God. Since "the glory of the LORD went up from the cherub" (Ezekiel 10:4) the cherubim were there to give glory and praise to the Lord. This paragraph did justice to my quest for the confirmation of the story that depicts Satan as former music director and organist of heaven. God made him with these gadgets to use it to give glory and praise to Him.  As one of the cherubs, his job had been to glorify God musically with those gadgets built in him. (that made him the music director). If I am correct here, it will be interesting to note that the most powerful of God's heavenly creatures is the one who most prominently gives glory and praise to God musically.

 In one sense therefore, I was able to conclude through the course of my studies that Satan was once the heavenly music director and he led the songs of praise to the Lord.

Now, my other question/apprehension is:

When Satan fell in rebellion against God, did he or did he not lose the natural abilities that God had given him? The tabrets, and the pipes?

Looking at the bad influences of music in the world today, I have no doubt than to conclude that the evil one kept the tabrets and the pipes, but now uses them to turn God's creatures against their Creator. His expertise is so powerful welded in today’s secular music, and he has always tried to inflict the only one God holds dear which is SACRED MUSIC. Satan has made music in the church one of the most controversial issues for Christians. Issues like; should we use certain instrument in the church? Is music ecology relevant in church music? And so many other issues around church music. The reason is so obvious, the evil one, knowing what he has been enjoying before he was chased out fights to keep worshipers away from enjoying that benefits from God.  He knows what we will benefit if we do it right, and because he knew what the Lord enjoys, he introduced the opposite (i.e his music) into the world and tries to see that church musicians are equally corrupt just like his own musicians because he hates the Lord.  This is a dangerous.

Remembering that as an organist, I play organ virtually every day and all the apparatus mentioned as the part of the makings of a being that God specially made for the praise and glory of his Name are known components of a pipe organs or digital organs that we use in the church today.

Was it intentional? Yes! God in his wisdom knew that Satan would fall and did give man the knowledge of making a better alternative for that same purpose. This time, no power can corrupt it.

Let me explain: out of all the musical instruments available in the world today, the pipe organ still remain the king of instrument, respected, known for church use, known for hymns accompaniment, recital performance, serious classical pieces, theater or opera works, mighty in size, sacred in nature, rich in sound, furnished with precious woods, expensive to purchase, lasting for hundreds of years, meddling in tone, satisfactory, creative to perform, strength to last, beauty to behold, and all other virtues. God is so wise that He made only but few religious scholars to cherish the godly endowments of this piece of art and as such took the eyes of the worldly/secular musicians off this instrument. Rarely do the world use it in their secular/worldly activities unlike the way other music instruments like keyboard, saxophone, trumpet, and son on are been used by these agents.

This write up column will be too small for me to download everything I know about organ and why God made it as a replacement for Satan and his formal functionalities. But will continue to write on this subject until I am satisfied.

Let me stop here by saying that the earlier our churches begin to understand the cryptology imbibed in the making of Satan, and the similar connection of it to organ as God’s chosen replacement for His worship, until then, we are yet to wash off the cobwebs which Satan has used to blind us in this matter. Thank you.  To be continued……

By Igiri Innocent. Holy Cross Cathedral Organist.