The Waltz of Life


Before examining the ways of Yahweh by which He effects the establishment of His encompassed temple, His kingdom, upon this earth over a time period of 12,000 years, let us briefly examine some of the history of music and the matter of rhythm or meter.


Just about everything about us as humans exhibits a binary rhythm.  When we walk or run, we do so in binary rhythm.  When we breathe, inhaling and exhaling, we do so in binary rhythm.  Even our heart pumps our red blood in binary rhythm—lub–dub, lub–dub. 


In music, duple time (our human two beats per measure) is often associated with collective dances and tends to be more martial, in marching timing.  This makes sense since marching is in fact obligated to being binary.  For example, most national anthems are in duple time as a march.  Unusual exceptions to this are the British and American national anthems, which are in triple time (three beats per measure).  Of course America is the kingdom of heaven at the nations level.


Triple time, in contrast to duple time, is by its very nature different.  It does not follow the natural human binary pace.  Before the 1600s, Renaissance dance music was primarily duple time, changing in the 1600s with the Baroque period and the free-flowing triple-time waltz.  Triple time is associated with closed couple dancing, such as the waltz, whereby two become one.  Open couple dancing does not have this expression in union.  Music in triple time tends to be more lyrical and less martial than that which is in duple time. 


Let us now look at another revealing aspect about this.  As we have noted, triple time is characterized by three beats per measure.  But most importantly, the accent is on the first beat.  Placing the emphasis with the use of a bold ‘1,’ it would be 1–2–3, 1–2–3, 1–2–3, and so on.  As you will see, this meter is actually the ways of Yahweh whereby He creates His kingdom upon this earth.  He uses triple time, equally emphasizing the first ‘beat.’ 


This emphasis on the first is of course evidenced in the trinity of God.  The Father is the emphasis.  Or in the trinity of the mind of Yahweh—wisdom, understanding, and knowledge—again, wisdom is emphasized, it too must be first.  There is even a trinity in music.  It is—melody, harmony, and rhythm.  And again, in godly music melody must be first, emphasized. 


Triple time is much more common in harmonious ballads and classical music.  In revealing contrast, jazz, rock and roll, country, pop, and other like Curse of 1920 music follow the beat of the flesh—a 4/4 duple time—with a noteworthy distinction.  While the way of Yahweh for good is to place the emphasis on the first ‘beat,’ these cursed forms of music do just the opposite (just as evil is opposite of good).  Instead of a front beat, these cursed forms of music use a back beat.  Instead of being 1–2–3, they use an aberrant and even erotic and rebellious 1–2–3–4, 1–2–3–4, often with the hardest and most consistent emphasis on the back 4. 


As addressed in The Curse of 1920, the origin of this erotic back beat is cursed voodoo music from Africa that made its way into western music by way of New Orleans blues and jazz, and eventually gave us cursed rock and roll by way of the black church.


When we examine in this writing the ways and works of Yahweh God, you will get a glimpse of what this would mean for man if this duple-time cursed back-beat music was that which He ‘played.’  Certainly, you can be VERY glad He likes to waltz.  If not, you would be as dead as the thousands, if not millions, who have invited this cursed voodoo music into their lives.  And if He rejects this music for your sake, then why shouldn’t you do likewise?


What you will now see is that Yahweh performs four measures of a harmonious 1–2–3 waltz over 12,000 years, and in so doing establishes His glorified encompassed temple upon this earth.  1–2–3, 1–2–3, 1–2–3, 1–2–3, and it will all be done!

Continue to page 2 of The Waltz of Life for THE CREATION PATTERN

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