Therefore, if you have been raised with Christ, keep seeking the things above, where Christ is, seated at the right hand of God. Keep thinking about things above, not things on the earth, for you have died and your life is hidden with Christ in God. (Colossians 3:1-3)
A soprano organ note rings clean and true. It is followed by climbing and falling notes that swing our heart with a joyful melody. Simultaneously, a low note reverberates to introduce a different phrase. The two strains soar and dip, independent of each other, to create counter tension. J.S. Bach was the master of this polyphony—layering separate melodies into one piece. His Little Fugue in G minor is a classic example.
The kingdom of heaven plays its perfect music for our earth. The subtle melody carries us into the clouds. Notes climb the scale, peak with a sustained chord, then cascade down again. We drink in the beautiful tune, and lesser cares dissipate into shadows.
A bass tone jumps out from the world to vibrate our chest. A second brazen melody runs forward, drowning heaven’s crystalline refrain. The new phrase is seductive and repetitive. Oddly, its part of the same song, but its melody has little to do with heaven’s theme.
Two melodies, one song, different goals. The notes of God’s kingdom sing of joy, peace, and truth. When I let that chorus move me, the ways of heaven govern. Every Bible promise comes true—salvation, healing, eternal prosperity.
The pounding notes of the world shout “self” over and over. It’s a crude ditty, but it serves a vital purpose. The counter tension of life is carried in the earthly notes. They contrast with the majesty of heaven, intensifying its bliss. Without the abasement of sin, the remedy of Christ would be less euphoric.
Earth’s counter strain is necessary, but it’s not the primary melody. It’s not the music I want my dance to follow. I must separate the two refrains, and focus on the one above.
Prayer: Almighty Jesus, help me move to your melody today.