music ministry handbook
TRANSCRIPT
COUPLES FOR CHRIST
MUSIC MINISTRY HANDBOOK
Released: December 20, 2014
Content
I. How to use the Music Ministry Handbook
II. The Role of the Music Ministry Core
III. Music Ministry Structure in an Area
IV. Music Ministry Workshop
V. Music Ministry Service in a Christian Life Program VI. Music Camp VII. Music Ministry Conference The Music Ministry as a Ministry of Praise and Worship Playing Skillfully for the Lord Workshops:
Songwriting, Singing, Bass, Voice, Worship Leading,Liturgical Music, Drums, Sound Engineering
Annex: The PraisefestCorporate WorshipCorporate Worship Table
HOW TO USE THE MUSIC MINISTRYHANDBOOK
The Music Ministry Handbook was developed to guide all the Music Ministriesin Couples For Christ at the different levels – chapter, provincial, or national.It is a product of the experiences of various music ministries in CFC,particularly of those in the CFC International Music Ministry Core which iscomposed of Music Ministry leaders of CFC and of the Family Ministriesled bythe CFC Music Ministry Director.
The document on “The International Music Ministry Core”describes theirgoals, roles, and responsibilities. By understanding the Core’spurpose, it willbe easier for the different Provincial and Country Music Ministry Coordinatorsto relate to them and be able to channel ideas, song proposals, and concernsregarding the Music Ministry.
The section on the “Music Ministry Structure in an area” is a guide on theroles and responsibilities of the music ministries at various levels ofstructure. It aims to put order and uniformity of the expectations of eachmusic ministry member and leader across all CFC areas globally.
The “Music Ministry Workshop” is the basic of all trainings and teachings ofthe Music Ministry. It focuses on defining what a Music Ministry is; the basicprinciples and attitudes of God’s musicians; and how to organize the musicministry. There is also portion on skills development, but the emphasis is the“heart and spirit” of one who serves God through music. It is important thatthis workshop be given first, before the others are implemented.
The manual on “Music Ministry Service in a Christian Life Program” directsthe music ministries on the proper conduct and preparation of their serviceduring a CLP. It aims to orient them on the proper way of presentingthemselves and the ideal manner of teaching the songs to the participants.It also proposes a list of suggested songs per session.
The “Music Camp” is a team building activity for the Music Ministry. In thismodule, there are various bonding activities that will solidify relationships.Often, the Music Ministry is attacked with relationship conflicts –the usualcause of its breakdown. A cohesive and harmonious Music Ministry teammakes serving truly a joy; and the way they relate reflects on how they serveGod and the community. One of the highlights of the Camp is the TeamSongwriting activity, wherein by the end of the camp, each group is able topresent a new song that will be submitted to the Music Ministry Core forreview; and possibly be included in the list of standard community songs.
The “Music Ministry Conference” stresses on the excellence of the MusicMinistry. It also reinforces that the Music ministry is a “praise and worship”ministry – that its excellence is rooted in the purpose to serve God with thebest of what they can give. It has various skills workshops for every musicministry member. The Liturgical Music workshop is one of its featuredactivities, which orients the music ministries of the appropriate way ofserving and choosing songsfor the Holy Mass. Worship Leading workshop isalso offered especially to Chapter leaders and others interested. Thismodule is done in a conference type of setting due its plenary sessions andmany simultaneous workshops.
Annexedon this handbook is a guide for the Praisefest – its basic structureand the choosing of the songs to have the ideal flow. Also, available forreference is guide on Corporate Worship (Prayer Assembly) with anaccompanying Corporate Worship table.
We encourage every music ministry member to read the whole manualaccording to its sequence. Each of the modules is to be given in a trainingformat to reinforce one’s reading. It is ideal to undergo the Music MinistryWorkshop even prior to their service during a CLP.By the power of the HolySpirit, may the Music Ministry Handbook enable your service to the Lord.Likeour Mother Mary in her Magnificat, let us sing from the heart and “proclaimthe greatness of the Lord.” (Lk. 1:46)
In Christ,
THE INTERNATIONAL MUSIC MINISTRY CORE
Vision Statement
A World United in Christ through Music
Mission Statement
Led by the Holy Spirit, We Will Proclaim Christ’s Love and Message with Songs in our Hearts and Harmony in our Voices, all for the Glory of
God.
The International Music Ministry Core
The International Music Ministry Core is composed of brothers and sisters inCFC and its family ministries who are appointed by the CFC Music MinistryDirector to contribute in the development of the culture and practice ofpraise and worship through music.
The Goals of the International Music Ministry Core:
1. To promote CFC music globally. The Music core thinks of ways on how different cultures can adapt CFC standard songs. This way the corporate expression of praise and worship through the songs will be culturally significant while making it more personal and heart-felt on the individual.
2. To direct the community to the right CFC culture with respectto its praise and worship practices and traditions. The MusicCore serves as vanguards1 of our praise and worship life. It protects,preserves and promotes how praise and worship ought to be done. Italso aims to improve, enhance and find new expressions of praise andworship as revealed by God. [Some applications are: the proper way asong is sung or given musical accompaniment (technical), basicattitudes of a music minister (affective), etc.] The Core also provides aforum for study, discussion and discernment in recognizing God-givencharisms for CFC.
Roles and Responsibilities of the International Music Ministry Core
The Music Core is working toward providing resources for effective use andmeaningful service in the praise and worship life of CFC.
1 Vanguards in the context of a group of people leading the way in new developments and ideas (spearhead), while protecting, preserving and promoting a culture or tradition (shield)
1.0To identify and classify community songs.
1.1 Identification pertains to determining songs for inclusion in thelist ofstandard songs of the community. The process of identificationinvolves examination, evaluation and discernment which can beapplied to new works or those already in the CFC Glory Songbook.
1.2 Classification applies to categorizing and appropriating songsaccording to purpose and use. Some examples of song types arefast/slow praise songs, fast/slow worship songs, reflection andinspirational songs, fellowship songs, liturgical songs among others.
1.3 Archiving and conservation functions of the Music Corepertains tocollection, storage and preservation of CFC songs whichpassed through the identification and classification process.
2.0 To review and recommend songs newly written and/or fromother traditions which the community can use with confidence.[This can be considered as the ‘clearing house’ function of the MusicMinistry Core]
2.1 A song for use in CFC — be it an original song or an existing songfrom asource outside the community — can be examined from fourstandpoints or criteria:
a. Scriptural and doctrinal; this refers to fidelity to Scriptureand doctrinal soundness.
b. Musical; referring to the aesthetic and practical aspects ofthe musical work ;
c. Poetic or lyrical; referring to the aesthetic and practicalaspects of the song lyrics (especially grammar, choice ofwords in terms of expressiveness and/or appropriateness,etc.);
d. Functional; referring to the suitability of the song inliturgical, CFC-cultural and pastoral settings.
2.2 The Music Core qualifies and approves new home-grown originalsongs for use in the community
a. Given the criteria mentioned above (2.1), the Music Corecan suggest changes in a song to its composer. However,inasmuch as it is recognized that the song is theintellectual property of its composer, the Music Coreconsults him on any and all changes proposed to his song.Only upon agreement and consent of the composer onsuch changes will the song remain in consideration forapproval by the Music Core. This way the composer is alsogiven the opportunity to explain his work.
b. The intention is not to curb or limit a composer's creativityand expression but to raise the level of excellence in termsof accepted songwriting principles and approved criteria.Moreover, the process allows a deeper appreciation of theoriginal composition with regards to its intent and form —by the Music Core, the composer himself/herself and eventhe greater community — while maintaining good order inCFC life and culture.
2.3 The Music core (consistent with its 'clearing house'function) approvesnew standard songs to be introduced duringmajor events of CFC.After approval by the Music Core and for it to berecognized as standard, a new song goes through a formal introduction— by means of teaching it to the body during a major event (e.g., MCGconference or gathering, Liveloud, ICON, etc.).
2.4 The Music Core approves songs to be produced andrecorded by ABLAZE for commercial use.
3.0 To raise up able servants and stewards with gifts in music andworship leadership by providing opportunities for theirinstruction (= knowledge), training ( = skills) and spiritualformation (= values).
3.1 The Music Core initiates and develops programs on music asapplied topraise and worship, and other various functions of thecommunity.The developmental programs include teaching and trainingmodules, conferences, workshops, discussion fora and otherevents/activities to be initially conducted by the Music Core. Related tothis, the Music Core is responsible in the formulation of manuals,guidelines, course outlines and other reference materials.
3.2 Led by the Holy Spirit, these programs give direction in the roleof musicin the worship life of the community. (The Music Core takes aconscious effort to see a continuous and progressive development inits praise and worship practice and tradition. In this regard, there isneed for a periodic evaluation by means of prayerful discernment andconsultation with the leaders of the community)
3.3 Through the Music Core, musically-talented and gifted individualsin thecommunity are identified and encouraged to write, producetheologically-sound songs, and to serve (in music ministries and in theCore itself).
The Music Ministry Structure
1. The Metro Manila Sector/Provincial (Phil. Missions)/National (for Int’l missions) Music Ministry Coordinatora. Ensures that all the Chapters in each Metro Manila
Cluster/Provincial Sector have Chapter Music Ministry Coordinators and Chapter Music Ministries.
b. Acts as the “Guiding”2 Coordinator for the other ministries: YFC, SFC, HOLD, SOLDin the sector/province.
c. The Family Ministiries Music Coordinators in the sector must have “service relationship” with the Sector/Provincial Music Coordinator.
d. Monitors & ensures that the music ministry teaching, training tracks and guidelines are being followed.
e. Coordinates the music activities like workshops, praisefests, and etc .with the CFC MM Sector/Provincial Leadership.
2. The Chapter Music Ministry Coordinator
2 “Guidance” to other ministries means that CFC praise and worship culture is maintained.Each ministry in an area/country is also aligned to a ministerial (not territorial) relationshipbased in Manila. (E.g. YFC ministry in the area is aligned to YFC ministry international core inManila.); the songs flows from this source. There is a tendency for any music ministry toteach a random song to their members although not officially recognized by the community.The rule of thumb is to use standard community songs (in the Glory Song book or officiallytaught in the International Conferences) for praise and worship. Other songs may be utilizedfor reflection or for creative presentation.
a. Ensures that the Chapter has a vibrant Music Ministry b. Coordinates with the Chapter Head regarding Chapter
assemblies, CLPs etc.c. Ensures that practices are regular. d. Helps in the spiritual growth of the members through musice. May or may not be the musical director (he may have a musical
director under him), but must have spiritual maturity and the leadership potential
3. The Music Ministry Member3
a. May be a Chapter Head, a Unit Head, a Household Head or a CFC member
b. Has to have the musical talent or the potentialc. Will not be under the pastoral care of the Chapter Music Ministry
Coordinator but will be under their respective CFC Household Heads, who are asked to encourage, support and build their members to help ensure the success of the Chapter Music Ministry.
MUSIC MINISTRY WORKSHOP
“The Heart, Spirit, and Skills of God’s Musicians to EnhanceWorship”
3 The details of the composition of the Music Ministry (Music Director, Singers, Instrumentalists, etc.) is discussed in the Music Ministry Workshop module under thesession: “Organizing CFC’s Music Ministry”
CFC MUSIC MINISTRY WORKSHOP
Schedule
8:30 Gathering / Worship
9:00 Introduction Talk
9:30 Talk 1: Worship in CFC
10:15 Talk 2: The Heart and Spirit of God’s Musicians
11:00 Activity 1 – Group Sharing
12:00 Lunch
1:00 Worship
1:15 Activity 2 - Team Building
1:45 Talk 3: Organizing CFC’s Music Ministry
2:30 Open Forum for questions
2:45 Talk 4: Harmony in the Music Ministry
3:15 Activity 3 - Skills Workshop
4:30 Mini Praisefest
5:00 End
Service Team Guidelines
I. General Objectives:
The Music Ministry Workshop is an activity to guide our members of the wayCouples for Christ and its family ministries approach worship and musicministry. It aims to achieve the following:
a. to have the proper attitude and focus as a music ministerb. to establish the right culture and practices in the Music Ministryc. to emphasize on the importance of worship in our life and mission.d. to give newly formed music ministries insights and tips on being
excellent as God’s musicianse. to remind the seasoned music ministries of basic principles in leading
God’s people through music.
This activity is open to CFC and all its family ministries. There should be aconnectivity and uniformity in the different music ministries across thevarious family ministries. This workshop will unite these groups and will leadthem to a common understanding about God’s gift of music to ourcommunity.
II. Preparation:
1. The most experienced and the one with authority among the musicministries is encouraged to take the lead in organizing this workshop.
2. Please be mindful of choosing speakers who have the posture of humilityand obedience rather than those with a high level of musical skills.
3. You may invite chapter or unit leaders to this workshop so they may havea better appreciation for the ministry and its principles.
4. Choose a suitable venue with good acoustics and comfortable seating tomaximize the impact of the workshop.
5. Encourage the participants to bring their musical instruments for the skillsworkshop.
6. Choose a Team Leader, Registration team, discussion group leaders,logistics/set-up team and designated music ministry.
7. In service meetings, always be centered on the Lord and ask Him to leadyou to a Spirit-filled workshop.
III. Activity Guidelines
Activity 1: Group Sharing
The talk will highlight the proper posture or attitude of a Music Ministry member. The group sharing will encourage the atmosphere of humility and openness.
You may group them into four (4). Limiting the number of members to four will help you manage the time well.
Discussion Starters:
1. Why do I serve in the Music Ministry?
2. What are the things that I need to improve to become a better MusicMinistry member?
Reflection Song: Create in me a clean heart, or Only by Grace
Activity 2: (Option 1) The Voice of One Calling…
This activity is a variation of the popular team building game, “Animal Sounds.” This game is for the session “Organizing the Music Ministry” and is to be given before the talk.
Materials needed:Cloth or Handkerchiefs for Blindfold
1. This Activity is given before the talk2. The participants will be grouped (5-10 members in a group).3. Each group will choose a praise song that they will beusing later (make sure that songs are not duplicated. Each group has their own unique song). Iftime permitslet the group sing their chosen song.4. After forming the groups, the individual members will now be blindfolded using their handkerchiefs or the service team can provide a black cloth. Give them a minute to sing the song together as a group to practice5. Disperse all of the members in the vicinity blindfolded.6. When the participants are already dispersed, they will now try to form their groups by singing their group song and listening to the voice of the other members.7. The first one to form the group will win the game. Wait for the others to find their team mates.
8. Process the experience by asking how they felt and what they have learned.
Key lessons to stress:
Talent and organizing – We recognize that everyone has talent, but we alsoneed to organize these talents. We have to find those who can contribute to the music ministry. Talent is necessary but attitude and pastoral maturity is also important.
Listen – As members of the music ministry its important that we not only hear but more importantly we also listen. Listening involves the heart, hearing involves the brain. We listen first to the Lord, to each other as Christians then as musicians.
(Option 2) Water Jug Percussion team Building
This is a fun activity and a good ice breaker for the body. It will be interesting for the participants. You must be able to choose a good percussionist with a good plan to bring everyone to a good rhythm pattern.
1. Prepare enough percussion instruments for the participants. If there are many participants, bring 6 gallon mineral water jugs.
2. The percussion leader teaches some basic beats for each division.
3. Each division practices.4. Percussion leader directs the flow of the beats.
You may refer to this link for guidance: http://www.youtube.com/watch?v=V4X-V5TLWAQ
Key lessons to stress: As a team, we should play the same beat. We have to follow God’s rhythm or else we will be disunited. Serving in the music ministry is fun but it also entails discipline and cooperation.
Activity 3: Skills Workshop Outline (Guide for the speaker)
A. Identifying Different Instruments: 1. Ask the participants to present all the instruments they brought
for the workshop.2. Ask the participant to demonstrate how to use the instrument if
it is not common.
(Note: If the speaker is knowledgeable of the said instrument, observe if the participant was able to use it properly. Give some
tips if necessary.)3. Then make a demonstration on how it can be used and how it should not be used.
B. Playing as a team. 1. Get two (2) guitarists from among the participants and have
them play a song. Ex: Refiner’s Fire. (Note: Observe how they play. Are they doing different things or are they just duplicating each
other?)2. Give some tips on what guitarist 1 and guitarist 2 can do that
can complement one another.
C. Playing less. 1. Get a volunteer keyboardist and ask him/her to play a song.
Ex: Worship The Lord.(Give some tips on how to keep it simple but interesting.)
D. Playing as a Worship Band. (Musical Arrangement) 1. Get volunteers from among the participants. (It’s better if from
different areas) Composition:
1 Acoustic Guitarist2 Electric Guitarists1 Bassist1 or 2 Keyboardists1 Drummer8 Singers (4 female & 4 male)Percussionists if there’s any
2. Have them play a song. Ex: Be Exalted, O God.3. Observe how they gave the song their own musical treatment.4. Give some tips on how to turn a very simple song into
something very interesting.
INTRODUCTION Talk: The CFC Music Ministry
Note: This talk is ideally given by a CFC top leader in the area.
Introduction:
We are here to understand the basic principles of serving in the music ministry. The music ministry plays a vital role in having a vibrant community.Imagine the households and the assemblies without the element of music. It
would be dry and lacking in expression. Let us now come to understand the significance of the service that God has given you through your talents.
I. The Blessing of Music
a. Music is really a gift from God to allow man to fully express himself.
b. In our life as a community in CFC, music will always be a part of our basic expression of our love for God.
c. Music is a special way that we reach out and communicate to God. Thus, strengthening our personal relationship with Him.
d. St. Augustine said, “When we sing, we pray twice!” And rightly so. Because in singing, we not only utter words but we express our prayer using a melody. And as this music is pleasing to God,to whom the songs are sung, the assembly of worshippers who participate in the singing in turn are drawn to HIM.
e. Music also inspires people and may also evangelize other people outside the community.
f. 1Thessalonians 5:16-18 “Rejoice always; pray without ceasing; in everything give thanks; for this is God's will for you in Christ Jesus.” .
If singing to the Lord is praying, then we can rephrase this passage: “Rejoice always, sing to the Lord without ceasing…”
II. Biblical Origin of Music Ministry
a. When God founded the earth, while he was working, there wasbackground music
Job 38:4-7 "While the morning stars sang in chorus and all thesons of God shouted for joy.") Music started with God througheternity. God loves music. He loves to hear us sing to Him.
As early as Genesis 4:21 there was Jubal whose name means"sound". He is eighth in line from Adam and is said to be "theancestor of all who play the lyre and the pipe."
In King David's time we see organized singers and musicians(Levites) ministered day and night in the tabernacle and laterin the temple.(1Chr 9:33, 15:16,27, 16:4-6, 23:2-5,30-31,2Chr5:12-14, 20:20-30)
IV. What is a ministry?
"Ministry" is from the Greek word diakoneo, meaning "to serve" or douleuo, meaning "to serve as a slave."
In the New Testament, ministry is seen as service to God and to other people in His name. Jesus provided the model for Christian ministry—He came, not to be served, but to serve (Matthew 20:28).
V. What is a music ministry?
Music Ministry is a team of talented and service-oriented individuals who serve God through singing and playing of instruments.
The music ministry directly supports the worship leader in bringing the community to worship God through songs of praise and worship.
It is formed to serve God first, then to serve in the CFC assemblies and even in our own parishes as choir for the Eucharistic Celebration
In the following talks, we will present to you the heart, the spirit , and the skills of God’s musicians to enhance worship.
The talks include:
1. Worship in CFC
2. The Heart and Spirit of God’s Musician
3. Organizing the CFC Music Ministry
3. Harmony in the Music Ministry
Worship in CFC
Talk 1 of the Music Ministry Workshop
Objectives:
1. To have a clear understanding of our worship life in CFC.
2. To appreciate the essence of worship to be able to anchor the music ministry to its core purpose.
Introduction
It is essential to embrace the importance of worship to fully understand the role of the Music Ministry. Worship is the main reason why we form the musicministry. Let us build the music ministry to its full potential by realizing the basics of worship.
I. What is Worship?
a. Worship is from the root word worthship or “worthy of worship”. It can be defined as the highest honor, praise, respect and recognition given to anyone or anything.
b. As Christians, we do not worship anyone or anything except the One True God. “You shall have no other gods before Me” Exodus 20:3
c. True worship cannot be forced upon a person. It should come from a submissive, repentant and obedient heart.
d. It is God who initiates worship. Thus worship is being aware of God’s Presence and giving our response to His Presence
II. Why do we Worship?
Two Very Important Aspects of Worship:
a. Relational - right worship is founded upon a right relationship withGod and not on techniques focused on producing a certain type ofexperience. Our worship to God is based on who he is, his holiness, hisgreatness, his glory, his steadfast love and compassion and what hehas done for us. God is our father and we are his sons and daughters.He loves us, saves us, forgives us, provides for us. God is our king andwe owe him honor and respect and our full loyalty and obedience.
b. Expressive - worship is something expressed, given, shown. Worshipdisplays awe, honor and devotion, respect and submission. Worship ismeant to express our relationship with God. It is to express a heart, themind and will that is yielded to God, seeking to serve, honor, and obeyhim. Romans 12:1 "offer your bodies as a living sacrifice, holy andpleasing to God, your spiritual worship." The outward must flow fromthe inside, an inner conviction of a love of God. We desire for everyoneto give a full musical expression to the Lord according to what is intheir heart.
Scripture tell us that as creatures of the Creator, we must worship God and God alone.
“O come, let us worship and bow down: let us kneel before the LORD our maker” Psalm 95:6
Weworship God because of who He is – His nature and character, His qualities and works;
IV. How should we worship our God?
Jesus says in John 4:23-24, "But the hour is coming, and now is, when true worshippers will worship the Father in spirit and in truth, for the Father is seeking such to worship Him. God is Spirit and they that worship Him mustworship Him in spirit and in truth."
a. In Spirit.
Since God is Spirit, we must worship Him in spirit.
Worship is to be done in a spirit of awe, reverence, and attentiveness.
During Worship, we express to God
our adoration through praise, our gratitude through thanksgivingour repentance through confessionour dependence through supplicationour submission through total surrenderour commitment through obedience
b. In Truth.
The Word of God is truth, therefore we must worship Him according to His Word (The Scriptures). Our worship must always conform to the teachings in Scriptures and the teachings of the Catholic Church.
Scripture tells us to “bow down and worship the Lord”. To bow is to be humble in the Presence of God.
“Therefore I urge you, brethren, by the mercies of God, to present your bodies a living and holy sacrifice, acceptable to God, which is your spiritual service of worship.” Romans 12:1
Being acceptable to God is obeying His commands and doing His will. We cannot worship the Lord if we do things contrary to His commands.
"But why do you call me Lord, Lord, and do not do the things which I say?" Luke 6:46
V. Elements of a full charismatic worship in CFC.
a. The Elements of Charismatic Worship Music and singing Prayers Scripture Readings Offering of Gifts Affirmation of Faith Responses from the community ( Amens) Symbols – Cross, Bible, candles Silence - being still and listening to God Prophecies, Visions Healing External actions like standing, clapping, raising hands,
kneeling, dancing
b. In CFC we follow a Worship Pattern.
A basic worship pattern is important as this will put order in thesequence and flow of the worship segments. Unless a basic pattern inworship is followed, it will be difficult for the people to open andsurrender themselves to the prodding and leading of the Holy Spirit.
A typical worship at the start of a CFC gathering includes the following
Gathering song - This signals the assembly to settle downand allow the Spirit to move and draw all to a posture ofworship
Exhortation of Leader- Encouraging words from the worshipleader to set the atmosphere of worship. It should be short,not more than 5 minutes.
Praise and worshipsongs (3 songs: 2 fast and 1 slow) withspontaneous praising;
Praising and singing in the Spirit (separate workshop onpraising in tongues; define briefly what praising and singing intongues is as distinguished from speaking in tongues)
Silence followed by inspired readings or prophecy andrevelations
Prayers. If in a household, there are thanksgiving and liftingup of concerns of the worshippers and ending in a structuredprayer like Our Father, Hail Mary, and Glory Be. If in acorporate worship or big gathering, the worship leader prays ageneral prayer and ends with a structured prayer.
c. Types of worship gatherings:
Household Meeting
Chapter Assembly
Sector Assembly
Teaching Night
Praisefest
VI. Giving our all in worship
Let us be passionate in worshipping God. He deserves our all. Let us sing,dance, and jump in praise for His glorious presence. We raise our handsin awe and reverence of His greatness.
We lift up our hearts and souls to God who understands us more than wecan ever understand ourselves. We fully surrender in worshipping Him.
We practice the gifts of the Holy Spirit, so God may reveal His message inthe intimacy of worship.
Conclusion:
Worship is important in the life and mission of CFC and its family ministries.When we worship we are reminded of God’s greatness. Being part of theMusic Ministry we are given this wonderful opportunity to be instruments ofbringing God’s people closer to Him.
The Heart and Spirit of God’s Musician
Talk 2 of the Music Ministry Workshop
Objectives:
1. To establish the importance of having the right attitude and posture as God’s musician
2. To emphasize the need for the Christian virtues like humility, charity, obedience and patience in serving God through the Music Ministry
I. God’s Musician is first and foremost a Christian
a. More important than being musicians, the members of the CFC music ministry are Christians.
b. We must continue to strive to live as authentic Christians because we now serve God as His minister, through the Music Ministry.
c. Be aware that the music ministry is a powerful ministry, that’s why it is the target of the evil one. Satan’s objective is to make us proud and make us ineffective. Do not give any opening to thedevil.
II. How is God’s Musician different from ordinary musicians
Musicians abound within our midst. But what is it that distinctly identifies God’s Musicians from other musicians?
a. God’s Musician is NOT a performer entertaining the assembly. We do not seek approval of people. We are already beautiful in God’s eyes.
b. God’s musician acknowledges that all his/her talents are God-given. God’s musician further develops his talents andskills to be more effective in bringing people to experienceGod.
Psalm 33:3 says “Sing to God a new song; skillfully play with joyful chant.”
c. God’s musician is generous with his talent, his time and even his treasure.
Talent. He must be willing to teach and pass on his knowledge and skills by training other brothers and sisters. One must not hide his talents because he is shy or unwilling to commit to serve God.
Time. Being a member of the Music Ministry requiresa lot of time for rehearsals and service. They are the first to arrive at the venue for set-up and sound check and the last to leave to pack up the sound system.
Treasure. On top of tithing, the music min members may require contributions for food for practices, transportation for service, and investment in musical equipment.
d. For God’s musician, personal holiness takes priority than improving talents and skills.
e. God’s musician is NOT self-centered with a personal agenda (like seeking fame and self-satisfaction).
III. The Music Ministry is God-centered
a. Not the music, but the Creator of Music
God is our audience.
Our God is a loving Father who is always interested in His children. But He does not look at the technical aspect of the music. He looks at our hearts.
“'This people honor me with their lips,but their hearts are far from me;” Matthew 15:8
God intimately listens
He hears and penetrates the purity of our heart’s intentions. He attentively hears our praise, our thanksgiving, our deepest prayer, what we are, what we mean and what we try to pour out to Him.
God is the source of all gracesNever give in to the temptation to think that you have become what you are because of your own efforts.
IV. The Heart of God’s musician
Matthew 22:37 “love God with all your heart……”
Is your heart sincere?
We should examine ourselves and honestly ask ourselves why are we serving in the Music Ministry
“Since we have ‘a great priest over the house of God,’ let us approach with sincere heart” Hebrews 10:21-22.
Is your heart repentant?
We cannot lead people to repent and turn to God, if we ourselves
do not repent.
Turn away from wrongdoing and anything that leads you to
wrongdoing. In the music ministry, one of the most dangerous sin
is pride. Remember that we cannot be lukewarm in our faith.
“So, because you are lukewarm, neither hot nor cold, I will spit you out of my mouth” Revelations 3:16
Is your heart pure?
Ask the Lord to remove the impurities in your heart like hurts, resentments, envy, hatred, and fear.
“Blessed are the pure in heart, for they shall see God” Matthew 5:8
4. Is your heart loving?
Serving in the music ministry flows from our love for God and neighborWe must have unconditional love especially for other members in the music ministry. Loving means accepting even those who are difficult to love
Loving is our willingness to provide assistance, making ourselves completely available to all who are in need (ex: not enough service
team in the CLP, we can help distribute food)
Loving neighbor may mean welcoming newcomers to our ministry.Put relationships (love of God and neighbor) above our desires and
above our tasks. Handle conflicts in a Christian manner. Conflicts arise even
in the music ministry. From time to time, there will be disagreements.
V. The Right Spirit of God’s musician
Put a new and right spirit within me! – Psalm 51.
What does it mean to be in the right spirit. The right spirit refers to the right posture that the Lord commended in His sermon on the Mount: humble in spirit; meek; thirsting for righteousness; merciful; peacemaking; and selfless. (See Matthew 5:3-10)
1. For a Music minister, to be in the right spirit we must be meek and humble. That means being teachable, open to correction and open to change.
a. We must not boast of our talents. Remember, the glory belongs to God. Do not rob him of His glory.
b. If people thank you and honor you for your good service, always refocus. Start and end each service with a prayer, bringing back all the glory to God.
c. If things don’t turn out well during worship, like missing a noteor playing a wrong chord, learn from the mistake and commit to do better next time. Sometimes it’s also God’s way of telling us not to be proud and not to rely on our own strength. Never fall into the devil’s trap of starting to blame each other.
2. To be in the right spirit we must be obedient to God’s will!
It follows that to be obedient to God, means we are to obey the people whom God has empowered to lead us. That includes the worship leader, the music ministry head, the musical director.
3. To be in the right spirit, we must be trusting.
a. We practice and prepare well, striving for excellence, but in the end we surrender everything to God’s love and mercy.
b. We must allow the Spirit to move freely in our ministry. If it is the work of the Spirit, nothing can stop it. (Acts 5:38-39)
4. To be in the right spirit we must be willing to sacrifice
a. We must detach ourselves from our personal ideas and preferences, including musical style. Be willing to give up your role if someone better comes along or to give others a chance to serve.
5. To be in the right spirit is to be joyful always
The Lord loves a cheerful giver. Serve with joy in your hearts. Watch your artistic temper, it has no place in the music ministry.
“Come, let us sing joyfully to the LORD; cry out to the rock of our salvation. Let us greet him with a song of praise, joyfully sing out our psalms.” Psalm 95:1-2
Conclusion
1. The Holy Spirit is our guide in everything we do in the music ministry- oursinging , playing, composing, and leading a worship. Everything must truly be Spirit-led.
2. If we are to draw people to God’s presence, we must have a clean heart and a right spirit.
REFLECTION QUESTION:
1. Why do I serve in the Music Ministry?
2. What are the things that I have to improve to become a better Music Ministry member?
Reflection Song: Create in me a clean heart, or Only by Grace
Organizing CFC’s music ministry
Talk 3 of the Music Minsitry Workshop
Objectives:
1. To orient the participants of the role of each Music Ministry member.
2. To have guidelines in setting up the music ministry
I. WHY (The Objectives)
a. Technical: To provide good quality music that will help create an environment of worship.
b. Spiritual: The music ministry is there to support the worship leader and submits to the leadings of the Holy Spirit on the worship leader. The Music Ministry also opens people’s hearts to receive the Holy Spirit.
c. Pastoral: The CFC music ministry is also a venue for spiritual growth of its members
II. WHO (The People in the Music Ministry and their Roles)
a. The music ministry head: Not necessarily the most musically talented. He acts as overall coordinator, leads by example, service-oriented, and obedient to elders.
b. the musical director – With good technical knowledge of music. prepares scores, arrangements, and technical training for the musicians.
c. the singers – talent in singing, (with a section leader or choirmaster in a big group)
d. the instrumentalists – talent in playing instruments (guitars, drums, keyboard)
e. the audio and video technical support – in charge of the sound system, mixing, safekeeping and maintenance of the music min equipment
f. support group: secretariat (e.g., photocopying), information dissemination(e.g., text brigade), food, etc.
III. HOW (Organizing the music ministry)
a. Membership to the music ministry can be by invitation or can be open to all who have musical talents and skills necessary to take on roles mentioned above. Auditions may be conducted and is optional.
b. It is important to discern if a brother or sister is being called by God to themusic mininstry.
1. Discernment of the individual
i. One must examine his/her intentions and pray for guidanceand direction from the Holy Spirit
2. Discernment of the music ministry head
i. The music ministry head prays for the individual wishing tojoin the music ministry.
ii. He should consult the pastoral head of the individual to determine if the brother/sister is ready to take the role.
3. Discernment of pastoral head of the area is also needed.
c. Once organized, make sure each person is aware of his/her role. Organizeyour singers according to voices (soprano, alto, tenor and bass). Assign instrumentalists and back ups.
d. For big groups, subdivide group into: choir, section leaders, instrumentalists, and technical team.
e. Set regular practice dates, and set house rules. (Example: During rehearsals, everyone must be attentive to the musical director. All cellphones must be turned off.
The 4 P’s for a successful music ministry:
1. Prayer
a. Always pray together (before and after rehearsals, before and after an event)
b. Attend your household meetings and assemblies regularly
c. The music ministry should as a team have regular retreats,teachings, bible studies and rehearsal camps. This builds unity and spirituality of the members.
2. Practice
a. Regular practices are important- at least twice a month for about 4 hours each rehearsal. The general rule should be, no practice-no service except if the absence is for a valid reason.
b. Enhance your skills. Practice regularly on your own. This also saves time of learning songs during group rehearsals.
c. Practices should be productive and must start and end on time. Avoid idle time.
d. Always review old songs and learn new songs each practiceday. Make sure that the songs are sung according to the original music score. Remember, since you are the music
ministry, the people will always assume that you are singing it correctly.
e. Regular practice allows you to be cohesive as a team. It is ideal during worship that you focus less on the technical and focus more on God.
f. Practice with the worship leaders, especially for praisefests.
g. Make your practices an opportunity to worship the Lord.
3. Playing for God alone
a. Always remind yourself that the music ministry is there for God and God alone. Take God away and the music ministry becomes simply a band performing for themselves and for the audience.
b. Be attentive and focused to the promptings of the Spirit (through the worship leader during worship)
c. You must be able to draw the community to praise and worship God.
d. Do not create distractions that will put people’s focus on yourself. A good music ministry must be effective but not attracting attention to themselves. In a way he must be invisible to the audience, instead of seeing you, they are seeing God in you.
4. Pastoral Care for Music Ministry members
a. The music ministry head must be able to discern and suggest the pastoral needs of his members and relay them to his/her pastoral head.
b. Conduct regular music min talks, inviting good speakers to sustain the spiritual growth of members.
c. Make sure that all members of the music ministry have households and attend all teachings required.
d. After the opening worship, the music ministry must remain in the venue to listen to all the talks and teachings.
Discourage members from leaving the venue and coming back only for the closing song.
Watch out for following pitfalls:
a.There is always the temptation to perform rather than to worship. Always keep your focus.
b. There is a tendency to be engrossed in the music and forget about God.
c. The objective of the ministry is to help people participate in the worship and not to make them just stop and listen to good music. You are there to please God and not man
d. Do not recruit members simply on the basis of talents.
Conclusion
Organizing the Music Ministry is not a simple task. We must not rely on our own strength but allow the Holy Spirit to move freely.
Reflection Questions:
1. Discern whether you are being called to the music ministry.
2. In what area can you best use your skills and talent to enhance your musicministry?
3. Is there anybody you want to invite to the music ministry?
Harmony in the Music Ministry
Talk 4 of the Music Ministry Workshop
Objectives:
1. To share tips or knowledge in the musical and technical aspects of leading Christian music.
2. To let the participants understand the importance of being in harmony to help enhance the worship experience.
I. Our God is a god of order and excellence
When playing for God, we give our best. We want to be able to lead the worshippers closer to God. A music ministry in good harmony will help achieve this goal. We want to avoid distractions that may draw their attention from God towards the music ministry.
II. Tips for Harmony in the Music Ministry
Here are some tips and guidelines that may help us become excellent musicians for the Lord.
"and the harmony between trumpeters and singers was such that only onemelody could be heard as they praised and gave thanks to Yahweh -- and thesinging began, to the accompaniment of trumpets, cymbals and musicalinstruments, and they praised Yahweh 'for his faithful love is everlasting'-then the Temple was filled with the cloud of the glory of Yahweh" 2Chronicles5:13
a. Harmony in our Praise - there must be harmony in everything we do as
Christians, and that includes harmony in praising God
Harmony of voices - Each person may be singing a different voice, it is important that each voice sings the precise note in the
arrangement. The second voice should not be too loud. The melody line
should stand out because that is what the congregation will sing.
Harmony of sound -- there may be several instruments playing together,
each instrument should be doing something different but complementing
each other. The sound should result to harmonious music setting an
environment for worship.
Unity of Voices - all the singers must sing in tune, with the rightphrasing, and the right tempo. No one singing out of tune, or out of beat.
Unity of Sound - all in tune, right beat, right accents and expression. This
is achieved by practicing regularly.
Sound mix - a good music ministry must be complemented with a goodsound system and a good sound technician.
b. Harmony of Voices - composed of the following
Lead Singer(s) Back up Singers Choir Choir Master/ Arranger/ Vocal coach
c. Harmony of Sounds
Acoustic Guitarist Bassist Keyboardist Drummer Electric Guitars (Lead & Rhythm) Musical Director
III. Improving the Musicality
The Hand Rule - each hand has five fingers, each finger has a different size and
shape, each finger has a specific role. Ex: Without a thumb, it will be hard to grip an object. Without your forefinger it's not easy to write. If all your fingershad the same length, hand dexterity will be limited.
The same principle applies to improving your sound as a music ministry.
Try playing less ; simple is beautiful - Decide whether a songis guitar driven or keyboard driven. ex. God is enough is commonly a guitar-driven song. Exodus 15 is normally keyboard driven. This will guide the musicians in determining which instrument will be dominant for a particular song. Like in the hand rule, each instrumentalist has his own role, each giving space to the other and not trying to out-dominate one another.
Try playing on different register than the others - Ex. A bass player takes care of the low register tones, the lead guitar normally the high register tones. If you're a keyboard or acoustic guitar player, it will sound better if you play in the middle register.
Keyboardist should not play the bass part if there’s a bassist in the group- There is a tendency for keyboard players (especially those with classical music background or those used to playing alone) to play all the parts of the music, that is the bass, the lead and the rhythm part. When playing with a band, the keyboardist will have to give some of these roles. Leave the bass to the bassist and don't play any lead part when the lead guitarist is doing his part.
Bassist and drummer are partners in praise - Very often, the bass guitar player and the drummer set the groove especially when playing fast songs. It is advisable that the two musicians stay close together or at least have visual and audio contact.
Learn to use the capo - Playing the guitar becomes easy if you
can learn to use the capo. Normally, you can play any song usingeasy to play chords like G, E, A, D and C and changing the key bymoving the capo up or down the guitar fret board. It is also useful if there are 2 or more guitarists. It allows them to play at different registers thus enriching the sound of the band and preventing redundant sound, meaning 2 or more guitarist playingand doing the same thing.
Learn to use effects- this allows the musician to create different sounds that are appropriate to the song being played.
Different treatment of song- sometimes the worship leader will ask the band to play a particular song in a different way. Ex. God is the strength of my heart can be played fast, but can also be played slow.
Develop clear signals - normally a closed fist would mean go to the ending of the song. Forming a letter C with your hand can mean going back to the chorus part. Develop easy hand signals so that the instrumentalists and singers are always on the same page
Give space– based on the musical arrangement of a song, knowwhere your part is. It is even advisable to discuss this during rehearsals. Again you are a team. Don't compete with each other.
Intro and extro - This gives you a certain level of confidence instarting and ending a song.
Always do a sound check- this minimizes problems duringactual worship which can sometimes be distracting to the congregation
For big events have a tech rider.
Planning is always essential. Plan as if everything depends onyou but at the same time, pray to God because everything
depends
on Him.
IV. Tips for Singers
Singers should know type of microphone - There are different types: uni-directional, wireless, condenser microphones. Learn to
use and adjust to each type.
Cover all zones - as a music ministry you are ministering to the congregation. For big groups it is advisable that you discuss
among
yourselves which area of the congregation you will minister too.
Adjust the degree of vibrato - Singers who sing with too much vibrato will stand out. Try to minimize this. Again unity of sound means sounding as one.
Listen to each other. The rule is if you cannot hear the other singers, then you are probably singing too loud or too close to the microphone. Exception is when you're singing a solo part, which is rare in praise and worship.
Always support the worship leader, don’t override him.The worship leader is anointed. Allow the Spirit to work through him. Support him all the way
As a singer don’t abuse your freedom of expression - . It is good to occasionally sing spontaneous fill ins in between verses
and melody lines with the purpose of enhancing the worship
experience. However, this must not be overdone as it may blur the
message of the song and may be confusing to the congregation.
Do not sing on top of each other.
Know your limits as a singer - What is your vocal range and what
areas still have to be improved? Learn to listen to yourself.
Be sure of first line - It is always ideal to memorize lyrics. But the minimum is, at least know the first few lines so you can effectively lead the people.
Be conscious of promptings from worship leader
Dynamics (loud , soft, accents) - You should not sing loud all the
time. It is nice to express your feelings by putting emotion to the song
Conclusion:
Harmony is important to be able to encourage more people to worship God intimately. No matter how simple, advanced or high tech the set-up is, whatis crucial is the harmony within the relationship of the team and the harmonyof our relationship with the Lord.
Prayer of the Lord’s Musician
May we play for God
Not simply with instruments
Made by human hands,
But with the melodious instrument
Of our human existence
Proceed to Skills Workshop
Music Ministry Service in a Christian LifeProgram
A. Introduction
The role of the Music Ministry is very significant to be able to achieve thegoals of the Christian Life Program. Through the songs, the participants areable to imbibe biblical truths, find a new expression of their faith, experiencethe power of praise and worship, and feel the unity of a Christian community.These elements ought to be the effect of the service of the Music Ministry.
There are four (4) important aspects in the preparation and the actualservice in the CLP. These are: (a) Spiritual preparedness; (b) Practice ofsongs; (c) Teaching of songs; and the (d) praise and worship.
B. Spiritual preparedness
Those serving as music ministers are expected to be prepared for spiritualwarfare, as the rest of the CLP service team. Since it is the Music Ministrythat engages with the participants before the start of the sessions, theirwords and actions should exude with joy and excitement as a result of afruitful prayer life. Prayer, fasting, and Sacraments – especially Confessionand Eucharist – are the expected spiritual preparations of the music ministry.These are not different from the preparations of the rest of the service teamof the CLP (refer to CLP Team Manual).
C. Practice of songs
It is important that the participants are attracted to the beauty of theChristian songs and through this, feel the loving presence of God. This canbe achieved through regular practice. The Music Ministry must not appearunprepared before the CLP participants –unsure of the chords and the tune.Therefore, the Music Ministry masters the songs by heart since the CLP songsare the community’s basic songs.
D. Teaching of Songs
1. The CLP Music Leader is the head of the CLP Music Group. He is the one responsible in speaking to the participants, coordinating with the CLP Team Leader to determine the time when the opening prayer starts, and managing the allotted time of at least 30 minutes for the teaching of the twoto three selected songs for each session.
2. The Lead Singer is a member of the CLP Music Group who teaches the songs and leads in singing.He/she possesses a loud and clear voice so the participants may fully appreciate the message and melody of the songs. The rest of the CLP Music Group will sing with the participants in the echoing parts during the teaching of the songs.
3. The CLP Music Leader and the Lead Singer could be one and the same person.
4. Each member of the CLP Music Group will help make the participants feel at home through casual conversion and showing their warmest smile.
5. The CLP Music Leader makes sure that all his members strictly follow the decorum set for singing in the opening prayer for the entire CLP;
* Module One - no clapping, no dancing, only gentle swaying.
* Module Two - clapping and gentle swaying.
* Module Three - full charismatic worship: dancing, clapping, raising of hands and singing in tongues.
6. The CLP Music Leader shall do the following:
a. Introduces the CLP Music Ministry to the participants and inform them that the group will sing and teach the songs while waiting for the CLP to start.
b. Names the title of the songs that the group will be singing and mention the pages where these can be found in the participant's songbook/songsheet or as shown in the projector.
c. Informs the participants that the CLP Music Ministry will sing all 2-3 songs first and introduce the Lead Singer who will take over later in teaching the songs.
d. Before singing each song, he describes briefly what the song is all about and explains the meaning of some important words or phrases in the song. For example: "Zion" which is a hill in the cityof Jerusalem where the great temple was built, or the "Two EdgedSword" which means the Bible or the Word of God.
e. After singing each song, he tells the participants how he feels about the song or how it inspires him to be closer to God. Encourage the participants to learn the song.
7. The Teaching Method
a. The refrain or chorusis often the most remembered part of the songs, even by just hearing them once or twice. The reason why we remember the refrain or chorus, aside from its appealing melody and captivating words, is because these are repeated several times in the song; memorization is aided by repetition. Moreover, even if the participants were taught only the refrain orchorus due to short teaching time, they will still be able to participate in the communal singing at least half of the entire song.
b. With this in mind, the CLP Music Ministry shall prioritize in teaching the refrain or chorus partof the songs. Depending on the available time, the music leadermay move on to teach the verses or the rest of the song. For songs without refrain or chorus, start teaching the Verse that is repeated. For short songs,teach the entire song.
c. Steps:
1st. The Lead Singer shall sing each line or phrase in the refrain, chorus or versevery slowly accompanied withonly one instrument, preferably a guitar.
The guitar shall be played by strumming one slow downward stroke for every chord so that the melody and the voice of the Lead Singer be clearly heard by the participants. Do the same for keyboard, use piano voice with sustain.
2nd. The Lead Singer shall encourage the participants to echo each line sung. The rest of the CLP Music Group
members shall echo together with the participants tofurther encourage singing.
3rd. Repeat 1st and 2nd step progressing to a faster tempo until the normal or acomfortable tempo for the participants is attained.
While in the learning phase, it is quite difficult to readthe words and sing at the same time, therefore, attaining the correct tempo is not the goal. What is important is for the participants to be able to sing thewords clearly, in tune and on the right beat, during the communal singing.
4th. The CLP Music Leader shall encourage the participants to sing the entire songwith the CLP MusicGroup once or twice depending on the allotted time. Avoid clapping or dancing during this period so that the participants will clearly hear the words and melody, and focus only in singing.
5th. Repeat 1st to 4th step in teaching the next two songs. And if pressed for time,teach only the refrain, or the chorus or the repetitive verse. Continue teaching until the CLP Team Leader signals the start of the opening prayer.
E. Recommended Songs for Every Talk
Below are the songs that are relevant to the talks or activities of each week. You may choose 2-3 songs to teach out of the 4-5 song choices .
Module One: The Basic Truths About Christianity
Talk 1: God’s Love God is Enough, Sure Foundation, YouAlone Are Holy, Mighty King of Zion, OhHallelujah
Talk 2: Who is Jesus Christ Beloved, Lord Jesus We Enthrone You,All I Want, Let us Exalt His NameForever, Fix My Eyes on Jesus
Talk 3: What it Means to be aChristian
Follow You, Strong and Faithful, ThePeople of God, You are My Delight, Open
the Eyes of my HeartTalk 4: Repentance and Faith Redeeming Love, Refiner’s Fire,
Salvation Belongs To Our God, God is myRefuge,
Module Two: The Authentic Christian LifeTalk 5: Loving God To Love You and to Make You Loved,
Blessing and Glory, Holy O Holy, Psalm100, Ascribe Greatness, Who is LikeThee
Talk 6: Loving Your Neighbor You’re My Disciples, Love One Another,A New Commandment, Father Make UsOne
Talk 7: Christian Family Prepare the Way, Worship The Lord, WeBelong to God, Come Let us Go Up,Psalm 95
Talk 8: Life in the Holy Spirit Spirit of the Living God, Pour and Flow,Make My Heart Your Dwelling Place, LordI Lift Your Name on High
Module Three: Living a Spirit filled Christian LifeTalk 9: Receiving the Power of theHoly Spirit
You Shall Be Clothed With Power,Ablaze,Let the Fire Fall, Come Holy Spirit
Commitment to Christ Create In MePray-Over Session You Are Near, Come Holy Spirit, Enter In,
Isaiah 43, God Alone, Ascribe to theLord, Be Exalted O God, Glorify ThyName, My God and My All, SalvationBelongs to our God, O Come Let usWorship, O Send Forth Your Light andYour Truth, Only By Grace, Thanks Be ToGod, Abide O Lord, Strong and Faithful, IOffer My Life (all CFC slow songs in theGlory song book may apply)
Talk 10: Growing in the Spirit Grateful, Heaven, God With usEmmanuel, As the Deer
Talk 11: Life and Mission ofCouples For Christ
Couples For Christ Theme (not for praiseand worship), People of God, I Give MyAll, The Voice of One Calling in theDesert, As the Deer
Talk 12: Transformation in Christ We’ll be Faithful, Victory to our King, Letthe Saints Be Joyful, O Send Forth YourLight and Your Truth
Dedication Here I am Lord, Welcome to the Family,The Mission
Lord’s Day The Lord Reigns, The Light of Christ,Taste and See, Shine Jesus Shine
Music Camp Manual
MUSIC CAMP
Totally Empowered Ablaze Musicians
Program Schedule
Time Activity
06:45AM Registration
07:30 Gathering
08:00 Worship
08:30 Inspirational talk
09:00 Sing Your Cheer
10:00 Pick up 10
11:00 1 Know Your Notes
12:00nn Jesus lunch
01:00pm Ice breakers
02:00 Crossing The Red Sea
03:00 Song Writing
06:00pm Dinner
07:00 Bonfire
Sunday
08:00am Mass
09:30 Team Song Presentation
11:00 Sharing from Participants
11:30 Praisefest
The Music Camp
Overview
The Music Camp is a Team Building activity for the Music Ministries in aparticular area. Service in the music ministry is prone to disagreementsamong its members due to possible creative differences, preference inmusic, and requirement for discipline and commitment. There is a need toestablish a deep bond of friendship, brotherhood, and faith so that theministry will stand strong even through difficulties and relationshipchallenges. Being a team or T.E.A.M (Totally Empowered Ablaze Musicians) isessential to the growth and strengthening of the Music Ministry in the area.
Goals of the Music Camp:
1. To foster a strong bond among different Music ministries2. To impart the value of passion in service3. To be empowered as one team of musicians4. To set a standard for vibrant worship5. To stress on excellence in serving as music ministers
Musicians Ablaze!
Inspirational Talk of the CFC Music Camp
Introduction
Our passion for God is the source of our passion for music and service.
There is a saying:
“Our passions are the winds that propel our vessel. Our reason is the pilotthat steers her. Without winds the vessel would not move and without a pilotshe would be lost.”
As members of the music ministry, we all love music. We can say that musicis a passion.
But Music alone, does not assure us that we are moving in the right direction.
I. Growing in the Music Ministry
Growing in the music ministry must move us from simply being passionateabout music, to using that passion as energy to propel our vessel – thevessel of service of giving and of leading people to God.
But propelling the vessel without direction, can be dangerous and at timeseven disastrous. Without a navigator, we will bring us nowhere close to ourfinal destination. We need a pilot. And God should be the pilot of our vessel.
II. How do we define passion?
St. Therese of Lisieux said: “Love alone attracts me.I will spend my heaven doing good upon the earth… Do ordinary things in an extraordinary way.”
Mother Teresa said: “We cannot do great things on this Earth, only small things with great love.”
Passion can be defined as doing the ordinary things in an extraordinary way with LOVE. The key word is love. We need to love what we are doing, otherwise it becomes a burden. The Lord loves a cheerful giver, therefore our service must bear the fruits of the Spirit!
III. Serving in the Music Ministry
Serving in the Music ministry must not be limited to our love for music. We are not ordinary musicians. We are God’s musicians. In everything we do, it’s all for the glory of God. And there’s nothing much we can do without God.
If all these are for GOD, then we should strive for excellence, doing it in an “extra-ordinary” way – doing the best we can even in the little things, like practicing.
We need to have a continuous improvement of skills as individuals and as a ministry. It is God’s will that we develop the talents that He has given us, andnot just bury it.
We are to combine our talents and skills, training others, even duplicating ourselves if necessary. The harvest is plenty, but the laborers are few.
IV. We need to be a TEAM of Passionate Servants!
Totally Empowered Ablaze Musicians
Total – fullness in Christ. We are not only musicians but also servantleaders in community and at home.
Empowered – led by the Holy Spirit to proclaim God through music and worship
Ablaze – On Fire with Passion for the Lord
Musicians – a special calling from God to serve him through the talent He gave us
Conclusion:
We must be humble to accept that we are all work-in-progress, and God continues to teach us new things everyday. Be humble to accept that there are others who are equally talented and even better than us.
Doing things in an extraordinary way means, learning new things, re-learningthe old things and unlearning the wrong things.
Let us be passionate in our music, service, and for God.
START OF MUSIC CAMP
After the Worship we proceed to the following:
• Briefing, House rules, prompt, safety, expectations etc.
• Introduce Team of Facilitators
Service team introduces themselves and makes the participants feel welcome.
• Assignment of TEAMs.
The teams must compose of different music ministries from different areas. Each team is assigned a color and given bandanas matching their color assignments.
The teams are now asked to come up with their own team name.The team name should reflect two things: (a) their color and (b)something that has to do with the music ministry (ex. Blue Choristers )
Activity 1: Banner Making
Provide the following materials to each team:
Plain white tarp or cloth (2ft x 3ft)
Pole for the flag/banner
Colored Permanent Markers
Activity 2: “Sing” your Cheer
Normally, the team makes a cheer to bring out the team spirit. The twist thistime is to Sing the Cheer. It should just be just a stanza long.
Activity 2: Snake Dance
Blindfold the team and let them form a line. They are to hold the hips of the person in front of them
The objective is to be able to pick up balls on the ground and theteam with the most balls wins.
Guide (not blindfolded) is at the tail end, SINGING THE instructions to the snake’s head
CREATE SINGING CODES.
Left: assign a praise/worship song
Right: assign a praise/worship song
Pick up: assign a praise/worship song
Team Leader can say the word “STOP”
Team needs to pick up 10 balls (team color)
Activity 3: Know Your Notes
Each Team will create music using bottles, water, drums, percussion instruments
Mechanics:
Using materials on hand, the team will render an instrumental version of a praise song.
Each team will draw from a list of songs.
Time limit: 30 minutes
Processing: Some things look impossible, but with God nothing is impossible. We just need to be faithful to God and to each other.
Listen to each other, work as a team, not as individuals
There is always someone with a better idea. Be open to suggestions.
Activity 4: Jesus Lunch
Passion is also about sacrifice
Teamwork involves making personal sacrifices for the sake of the team
Jesus Lunch
Around 8-10 tables
4-6 people per table
Rice, meat, vegetables, soup are randomly placed on each table
Complete silence is required
Nobody starts eating unless all have complete food in their plates
Activity 5: After Lunch Activity
Icebreaker
we will ask each team to present team banner and a singing cheer (5 minutes per team)
Activity 6: Crossing the Red Sea
Each team gets 4 boats, 10”x 6” (inches)
Team needs to cross Red Sea (approximately 120“ wide)
No one gets left behind
Team allowed to carry passengers on their backs
Team members can pass the boat by hand to the lead person, but no one is allowed to throw boats
If any member of team steps on unsafe zone, the teams starts again
Objective: all team members must cross Red Sea
All members can only move forward, no going back
Safety First!!!
Activity 7: Team Song Writing Competition
Mechanics:
After a songwriting workshop is done, each team is asked to write a 1 song
The songs should be related to a theme, example about God’s Mercy and forgiveness. (draw lots)
Songs must be interpreted by the group.
Any Instrument can be used
Activity 8: Time to Reflect
Evening Session, After Dinner
Setting: In a quiet place:
Write down the things you plan to stop doing.
Write down the things you plan to start doing
Write down the things you plan to continue doing
End session with a singing around bonfire,
Spontaneous prayers
Healing Prayer
Team hug!
Activity 9: Team Song Preparation
Each team presents their composed song.
Each team interprets the song that they composed.
If possible, someone can video the presentation.
The songs are to be submitted to the Music Core.
Schedule of Music Ministry Conference 2013
November 24, 2013 (Sunday)
Morning
7:30 Registration and Gathering
8:30 Holy Mass
9:30 Break
9:45 Opening Worship
10:00 Session 1: The Music Ministry as a Ministry of Praise and
Worship
11:00 Group Dynamics
12:00 Lunch Break
Afternoon
1:00 Session 2: Playing Skillfully for the Lord
2:00-3:30 1st Round of Workshops*
3:30-5:00 2nd Round of Workshops*
5:00 Praisefest
6:00 End
The Music Ministry as a Ministry of Praise and Worship
Talk 1 of the Music Ministry Conference 2013
Introduction:
The Music Ministry primarily exists to help bring people to the lovingpresence of God through praise and worship. Worship is presence (small “p”)encountering Presence (big “P”). Worship is a time wherein we come toacknowledge that God is God. Our goal is to facilitate the assembly inresponding to God’s Presence as a result of carefully discerned songs thatare attuned to the Holy Spirit’s leading. Thus, in real essence, the musicministry is a ministry of praise and worship.
I. “Three Words Linked to the Workings of the Holy Spirit” *
Pope Francis gives us a perspective of the workings of the Holy Spirit as we relate it to Ministry of Worship.
a. Newness
“Yet throughout the history of salvation, whenever God reveals himself, hebrings newness - God always brings newness -, and demands our completetrust.” -Homily of Pope Francis, SOLEMNITY OF PENTECOST HOLY MASSWITH THE ECCLESIAL MOVEMENTS, May 19, 2013
Although Pope Francis expressed these words in the context of life in general,we can apply this in our service in the Music Ministry. If we are truly In theSpirit, there is always a sense of newness.
Newness is freshness. The Lord wants to nourish and cultivate us. For thepast years, He has been preparing us, asking us to proclaim His greatnessthrough the great things He has done for us. He also asks each of us to beHis witnesses, by saying Yes to His will, even in trials and difficulties.
As worship leaders and music ministers, if we are to discern songs, the effecton the worshipper should be fresh and relevant – new. Often, due to a lack ofpreparation and prayer, we choose songs that do not bring out theenthusiasm in people. Enthusiasm comes from two greekwords: En (within)and Theos (God). Therefore, enthusiasm means to be in God, and if we arein the Lord there is vibrancy in worship!
Newness, in the praise and worship experience, does not pertain to choosingnew songs per se. It means discerning and choosing songs that will:
a.1 renew,refresh and revive God’s people in the Spirit
a.2 be relevant to the need of the moment
a.3 reveal the leading of the Holy Spirit in our lives through prophecy and the other gifts
We strive to “Sing to him a new song” as written in the first part of ouranchor verse from Psalms 33:3. We want to put an end to “lifeless” worshipand usher in a newness that is in true character of the Holy Spirit workingthrough us.
In the broader sense, as a ministry, we are called to renew, refresh, revive,be relevant, and reveal the power of God in each of our lives.
We as music ministry members in the past may have fallen away from God’splan of loving God with all our heart mind and strength, and loving others asourselves. Perhaps we may have focused too much on ourselves, our works,our preferences and ideas. If we are to be a ministry of renewal, weourselves must be renewed – in our thinking, in our ways, in our actions andin our service. If we are to bring others to the loving presence of God, wemust be ready to bend down and humble ourselves. We must be willing todecrease so that He might increase. As we elevate our perspective of themusic ministry to a worship ministry, let us remember the words of Jesus:“Behold I make all things new” Rev 21:5
b. Harmony
In the Church, it is the Holy Spirit who creates harmony. One of Fathers ofthe Church has an expression which I love: the Holy Spirit himself is harmony– “Ipse harmoniaest”. Homily of Pope Francis, May 19, 2013
The musical instruments---including voice---represent diversity in sound, inappearance, and in function. Yet, when played in beautiful unison through aworship song, produces harmony that aids our imagination to be able torelate the feeling of being one with the angels and saints in worship to theTrinity.
Harmony is important. Technically, we have to strive to sound pleasing toGod and man. Thus the implication of the second part of the anchor verse ofthis year’s Music Ministry Conference: “skillfully play with joyful chant.”As a ministry of worship, we strive for excellence by playing harmoniously forthe Lord.
If we are not in harmony:
b.1 We distract the people from their focus on the Lord
b.2 We tempt people to sin (making side comments)
b.3. We showcase our unpreparedness and lack of practice.
Harmony, in the spiritual sense, also means to be in harmony with God -- tobe attuned to Him and not on ourselves. There’s a very thin line betweenworship and performance. What distracts us are the “idols” that deviate usfrom true worship – including tendency to “perform”. We can say that theopposite of worship is idolatry. Pope Francis said in his homily of Oct 15, thatin the world today “there are many idols and many idolaters. Quoting fromSt. Paul, the Pope condemned the sin of idolatry in those who, “although they
knew God,” did not “accord him glory as God or give him thanks,” preferringinstead to worship “the creature rather than the Creator.”
Music ministry is God-centered and we do not discriminate those who arewilling to participate in this service, especially if they are willing to improve.But then, God does deserve the best we can offer.
In the same manner that we play our instruments in harmony, so should ourrelationship---both with God and with fellow music ministers---be in harmony.
c. Mission
“Let us ask ourselves: do we tend to stay closed in on ourselves, on ourgroup, or do we let the Holy Spirit open us to mission?” Homily of PopeFrancis, May 19, 2013
We are musicians on mission. Whenever there is a new area to beconquered, the music ministry is always at the forefront of the battle. A CLPis not without the music ministry. If we are to be effective evangelizers,music as an instrument for evangelization, should attract and be a gatewayto the Church for the non-believer and to the “unchurched.” ("Unchurched"alternatively, "The Unchurched" or "unchurched people") means, in thebroad sense, people who are not connected with a church.)
As a worship ministry of CFC, we must fulfill our three fold mission strategyof growing in personal holiness, building the Church of the Home and theChurch of the Poor. As missionaries, we pursue global evangelization and
total Christian liberation. How can a worship ministry fulfill this mission? Westrive to become Who we worship, to be another Christ – Altus Christus.
We are to worship from our hearts -- a worship that is authentic and pure.CFC has been gifted by God with many talented members. But talent alonecannot fulfill the mission. There must be sacrifice and selflessness. If peopleare attracted only to the music, this would be superficial and temporary.Therefore, our mission must be to attract people not just to the music butmore importantly to the humility, purity and authenticity of the community.
Music is one of the charisms of CFC, and is a powerful tool for the NewEvangelization. A major part of our mission is to help people open up to anintimate encounter with God through worship. If people continue toexperience this through our service, then we are truly a ministry of worship.
II. The Ministry of Praise and Worship: A Paradigm Shift
We are not to be limited to serving God by playing CFC Songs. We are alsoto be concerned of the following:
a. Be knowledgeable and capable to render service as music ministryfor the Holy Eucharist.
b. Be open to other expressions of worship, specifically in coordinationwith Dance.
c. Modelling and Training of worship leaders
d. Be vanguards of CFC worship culture especially in our worshipformat, correct way of singing the songs, and the excellence of ourservice.
We are not here to just “play well”. We are here to be an example of how itis to truly Worship the Lord. This is a PARADIGM SHIFT from the current ideaof many music ministries who merely “play” and do not “pray”. By pray, wemean that we are to be persons of prayer -- of worship. And that posture ofbeing true worshippers, emanates in how we render our service in front ofthe assembly of God’s people.
III. Addressing matters of “new and old” CFC songs
As a ministry of worship, we look upon our songs as treasures of thecommunity. Like in the Psalms, our songs also convey how we relate to theLord as a people. Our community songs, especially the original ones, alsoreveal our own CFC Spirituality.
Now, many “young” music ministries and community leaders tend to discardthe use of “old songs.” (old songs pertain mostly to ones that were practicedduring the period of CFC being under the Ligaya ng Panginoon community.These songs are mostly in the “blue glory songbook”)
On the other hand, there are “veteran” music ministries and leaders who donot welcome the “new songs” (new songs generally refer to originallycomposed praise and worship music that are products of Liveloud, Songsintroduced during the Mission Core Weekend, and adapted Popular gospelmusic).
These are two extremes, and we are to practice prudence, for both “new andold” songs are workings of the Holy Spirit. Here are some principles that willhelp us in the use of our song treasures:
a. As much as possible, use only the songs prescribed in the GlorySongbook.
We do not deny that Hillsong songs are very powerful andinspiring. In fact, if there are occasions that call for a strongleading of some of the Hillsong songs to be used, then who arewe to stifle the Spirit? Yet, Hillsong prescribes to a different typeof Spirituality and we in CFC are called to our own uniqueexpressions. This is besides the fact that we are not legallyauthorized to print their songs in our Glory Songbook. Anybodywith an internet access can pick up an inspiring song fromYoutube, and be self-led to use it in corporate worship. We are torefrain from introducing this song to our own chapters, for westrive to be in Harmony with the whole CFC community and itsFamily Ministries. This principle also applies to original songs.The Music Ministry Core is the official “clearing house” for newsongs to be introduced to the community.
b. In discerning Worship Songs, strive to combine “new and old” songs.
The purpose of this principle is to preserve our heritage, as wellas embrace new expressions. Make sure to teach the unfamiliarsongs prior to the praise and worship.
c. The songs chosen, whether “old or new” should lead thecongregation to a vibrant and Spirit-filled worship experience.
We do not choose songs, only for the sake of personalpreference. We must also keep in mind the corporate nature ofthe worship. Remember that it is the community that isworshipping and not you alone.
Conclusion:
Let us take a second look at our own music ministries. Is our way ofplaying music, leading people closer to the Lord? Does each member of ourmusic ministry embody a true worshipper? Are we ready to expand ourcapacity as a music ministry by embracing the idea of the ministry ofworship? These are some things to ponder.
Let us be one in the Holy Spirit in pursuing Newness, Harmony, and Missionas we serve in the Music Ministry. Praise the Lord!
Skillfully Play for the Lord
Talk 2 of the Music Ministry Conference 2013
Introduction:
A Desire to Serve
Playing skillfully for the Lord is an offering---a sacrifice---for our Lord Savior.To reach a desired level of skill, it will require hours of consistent practice andpatient learning -- fueled by the desire to serve. It demands much of ourtime and effort. Nobody was born with a guitar in his hands or a goodsinging voice. Therefore, skill is not in-born but can be developed. Althoughwe acknowledge that there are those who are more inclined to a certaintalent. For some, having a good singing voice comes naturally orunderstanding the dynamics of guitar playing is easier. For others, hard work
and dedication is needed to acquire a certain skill. There can be a longdiscussion about “Nature or Nurture” when it comes to developing one’s skill,but what is important is the desire to elevate our talents to the dignity ofservice to the Lord.
*St. Augustine has accurately written: "Music, that is the science or thesense of proper modulation, is likewise given by God's generosity to mortalshaving rational souls in order to lead them to higher things." –MUSICAESACRAE 5. ENCYCLICAL OF POPE PIUS XII ON SACRED MUSIC
**
I. The Purpose of the workshops
a. To raise the level of excellence in our service in the Music Ministry
We do not expect that in just 1.5 hours, you will come out from theworkshops with highly improved skills. Our hope is that the workshopsbecome a jump-off point for the participant to pursue excellence in hischosen instrument of service. Through the speakers and the input ofother workshop attendees, you will get tips that will shorten yourlearning curve and inspire you to improve.
b. To find optimal answers to lingering questions regarding ourchosen field of music service
It is a time to raise queries that may also be similar to the concern ofother music ministers. Especially in the areas of liturgical music,manner of strumming, harmony issues, worship leading issues, correcttune of songs, and etc. We are using the word “optimal” since music isan art. There can really be no absolute answers, but we will rely moreon sound principles.
c. To expand our knowledge on topics and skills of interest.
We are given the opportunity to register to two workshops (exceptworship leading). Perhaps you’ve always wanted to learn how to write
songs or curious to try out a crash course in acoustic guitar. You maywant to gain insight on the dynamics of the Technical team thatensures good acoustics. The workshops also help us discover more ofour potential talents.
d. To be surrounded by brothers and sisters with a common passion
There is a famous saying, “Steel sharpens steel”. This applies in theworkshop situation wherein you will meet others who are equallypassionate with your musical inclinations. Just to hear others “speak inthe same language” can already encourage a striving music minister.
Conclusion:
The spirit of the LORD had departed from Saul, and he was tormented by anevil spirit from the LORD. So the servants of Saul said to him: “Look! An evilspirit from God is tormenting you. If your lordship will order it, we, yourservants here attending to you, will look for a man skilled in playingthe harp. When the evil spirit from God comes upon you, he will play andyou will feel better.” Saul then told his servants, “Find me a good harpistand bring him to me.” One of the servants spoke up: “I have observed that ason of Jesse of Bethlehem is a skillful harpist. He is also a brave warrior, anable speaker, and a handsome young man. The LORD is certainly with him.”1 Samuel 16: 14-18
God’s music, especially when skillfully played, can soothe a tormented soul.Just as Saul needed a skilled harpist to calm his tormented soul, so can ourpraise and worship calm conflicting hearts and revive hopeless spirits.
Whenever the spirit from God came upon Saul, David would take the harpand play, and Saul would be relieved and feel better, for the evil spirit wouldleave him. 1 Samuel 16: 23
Let us strive to play like David and use our talents to battle the evil in thisworld. Play skillfully for the Lord!
WORKSHOPS of the MUSIC CONFERENCE
Songwriting Workshop
SING TO THE LORD A NEW SONG!Writing Songs for Praise and Worship
Goal:
To be able to build up the confidence of the participants to write songs.
To share useful experiences in being able to sense the leading of the Spirit in writing songs.To relay the purpose of songwriting in CFC, which is to praise, honor, and worship God.
Introduction
Through the years, the Holy Spirit has moved our community to write songsof praise and worship. The ways of showcasing the community’s charism forsongwriting has evolved from the Glory Song Writing Festivals in the pastand all the way to a free flow of song submissions through Liveloud. Theoriginal or “home-grown songs” speaks of the very Spirituality of CFC and itsmembers. We can fully relate to the message for the songs spring from cryof the heart of a CFC loving and serving God.
I. Be A Man/Woman After God’s Own Heart
The Book of Psalms is mainly a response of the Psalmist to God’s revelationto him and to the chosen people of Israel. The sentiments in the Psalms,shows the intensity of prayer of a human being to God.
Clearly, if one has a close relationship with Jesus---continually being in thehabit of listening to Him--- he/she will be led to explore different expressionsto worship. Some manifestations of these expressions are poetry and song--combined together as songwriting.
We should be able relate to David, a Psalmist, who is a “Man after God’s OwnHeart”--when we write songs for praise and worship.
II. Sing to the Lord a New Song!
Psalms 33:3 encourages us to “Sing to Him a new song; skillfully play with joyful chant.”
Further we see more verses that encourages us to sing a new song. Psalm 96:1 “Sing to the Lord a new song; sing to the Lord, all the
earth. Psalm 98:1 “Sing a new song to the Lord, for He has done marvelous deeds. His right hand and holy arm have won the victory.Isaiah 42:10 “Sing to the Lord a New Song, his praise from the ends of the earth. Let the sea and what fills it resound, the coastlands, and those who dwell in them.
Why Sing a New Song to the Lord? When are filled with the presence of God, we cannot help but to burst into SONG. The Holy Spirit is always FRESH, never irrelevant and never out of date. The capacity of the music minister to
discern for a new song to sing, greatly contributes to the vibrancy and building up of the community. Singing a new song can also literally mean to write new songs. The Lord continuously speaks to us and His message is always fresh. And so, like a Psalmist we are called sing to the Lord a new song!
III. What is the purpose of writing songs for praise and worship?
Different people have different intentions of writing songs. Some, though in secret, want to be recognized and gain some fame. Some, want to earn money using the community. Although the two examples might result from songs widely used in community and other groups, it is never the primary intention.
We have to purify our intentions. Below are the three main purposes for songwriting in the context of praise and worship:
a. To offer to God the gift of our talents.
Our songs are an offering. It is our gift to the Lord. Although inspired by the Holy Spirit, our cooperation is our contribution. Oncethe song is made, it is already the Lord’s. We do not really own it, as to take full glory of its completion. It is both the work of the Holy Spirit and one who is willing to partake.
b. To deepen our faithThe songs should help us to believe more in God and to trust in His goodness. It should be more than just being “a catchy tune”. It hasto have depth. The content should be consistent with Bible truths and Church Tradition.
c. To lead people closer to Jesus
Ultimately, the songs should help the worshipper or the contemplative build a more intimate relationship with our Lord. Our goal is not to sing well or to pray well but to know God more through worship.
IV. Watch-outs for the songwriter
a. Writing for fame. “Forcing” your song to be recognized.b. Not sharing your songs. Hindering others to blessed because of
false humility.c. Writing for money.
d. Writing without praying.e. Writing without consulting others. Being not open to suggestion or
correction.f. The attitude of procrastinationg. Not finishing your song. Leaving so many songs “hanging.”h. Declaring that you can never write a song.
V. Some useful tips for Song Writing.
a. Pray for it. Always come before God in prayer.b. Draft it. Dump your thoughts on paper. Do not mind the rhymes or
syllabications yet.c. Feel it. The chords patterns, tempo, and beat should reflect the way
you feel about the song.d. Imagine it. Try to picture yourself or other people worshipping and
praying with the song.e. Grammar-check it. Make sure you consult someone who can correct
the sentence construction.f. Purify it. Consult other songwriters or leaders for the consistency of
the content with Bible Truths and Church Tradition.g. Share it. Don’t be afraid to share your song to others. See how the
Spirit is using the song.h. Submit it. The Music Ministry Core will pray further on how might
the Lord use the song for community. You can email to [email protected].
VI. Useful tools and reference for Songwriting
a. Bibleb. Notes or Reflectionsc. Life Experiencesd. Catchy Phrasese. Inspired Readingsf. Instrument – guitar, pianog. Dictionaryh. Thesaurusi. Pen & a Paperj. Comfortable Place to Write
VII. Frequently asked Questions
1. Which comes first, the music or the lyrics?Answer: The Lord can either use music or lyrics as a jump –off point of
inspiriation.
2. Do I need to be fully inspired or to have an “aha” moment to write the songs?Answer: You just need to be in Spirit. Do not wait for that “aha” moment, but let it flow through the initiative of prayer and draft writing.
3. Do the exact words really have to come from the Bible?Answer: The best songs are those which words and phrases really are closest to the written word in the Bible. Most of the classic songs are written in this manner. This helps one “memorize” God’s Word and put Scripture into heart. There are also songs written as a Response to God’s Word in the Bible. These are mostly inspirational songs. Praise and Worship songs that do not directly adopt the written Word in the Bible should embody the essence of the Bible Passage’s message.
4. When is the best time to write songs?There is really no best time. Ideally during your prayer time. But some inspirations can come in the most unlikely situations like being in the bus or while driving or even while taking a bath. It helps to have a handy recorder to capture that melody or to dictate the lyrics.
Conclusion:
Songwriting is a skill just like building a house is a skill, it can be learned. Donot underestimate how the Spirit will use you. Be humble and seek deep in your soul God’s message for you and His people.
WORSKSHOP PROPER:
Worskhop 1: Sing this verse
I will always thank the Lord; I will never stop praising Him. Psalm 34:1
Workshop 2: Song Writing proper
1. Group according to the number of guitars.
2. Choose a topicLove, Mercy, Peace, Sacrifice, Offering, Hope, Faith, Courage, Strength, Blessing, Etc.
2. Pick a Psalm or other verses in the bible that fits your topic/inspiration. You may choose from the following verses:
Psalm 23:4Even though I walk through the valley of the shadow of death,
I will fear no evil, for you are with me; your rod and your staff, they comfort me.
Philippians 4:4-7"Rejoice in the Lord always. I will say it again: Rejoice! Let your gentleness beevident to all. The Lord is near. Do not be anxious about anything, but in everything, by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guardyour hearts and your minds in Christ Jesus.“
1 Thessalonians 5:16-18Be joyful always; pray continually; give thanks in all circumstances, for this isGod's will for you in Christ Jesus.
Psalm 73:26My flesh and my heart may fail, but God is the strength of my heart and my portion forever.
4. Compose a verse and a chorus
5. Present this to the group
VOICE WORKSHOP
How to use your body to produce good vocalsound
Just as an instrumentalist has his musical instrument, a singer’s singingapparatus is his body. Instrumentalists try to know how their musicalinstruments work and master the skills to make it produce beautiful sound.The same is true for singers. In order for the singer to produce beautifulsound from his singing apparatus, he needs to understand how it works,learn to use it properly, and master the techniques for producing beautifulsound from it.
It is a mistake to think that singing involves only the voice box or larynx.It is far from the truth. The larynx is only responsible for producing thesound or tune, the rest is the work of coordinating the different muscles ofthe body such as the diaphragm, the lungs, the throat, tongue, palate andmouth, nose, as well as the jaw. Even our feet and hips play a part insinging!
Singing is a strenuous physical activity that involves our whole body. Justlike playing any sports activity, one’s body must be conditioned for it beforeengaging in any singing.
PHYSICAL PROCESS OF SINGING
When we sing, it generally involves 4 main physical processes:1. Breath is taken in (Respiration)2. Sound is initiated in the voice box or larynx (Phonation)3. Vocal resonators receive the sound and influence it (Resonation)4. The articulators shape the sound into recognizable units (Articulation)
These four processes, though separate, are one coordinated action insinging and cannot be separated from each other. If one is impaired, singingproperly cannot take place and may even lead to vocal health problems inthe future. Singing is an intelligent process, and singers are to be mindfulalways of these 4 physical processes that takes place in the body whilesinging. For those who constantly practice singing the correct way, theseprocesses comes automatically and may in fact come across to the observeras an effortless activity.
1. RESPIRATION
Posture in singing While singing, one needs to relax his body, from head to toe, so
that air can freely flow within his breathing apparatus and resonancechambers. If standing, he must stand straight with his feet slightlyapart to support himself well. Hands should be on the side, exceptwhen holding a microphone, and with the head straight and alignedwith the shoulders. Chest should be comfortably forward and theabdomen should be flat. If seated, he should be sitting straight, onthe edge of the seat so that his abdomen is not being pressed uponand his hands should be relaxed on his lap.
Breath SupportBefore producing any sound, one is to breath in air, enough to fill
one’s lung cavity. When our lungs are full our stomach becomesdistended due to the pressure of the diaphragm on it.
The action of breathing should be done unnoticeably in a relaxedmanner. There should be no movement of the shoulders and the neckarea should be relaxed. Inhalation should be silent.Breathing should never be done through the mouth as it will dry themouth and throat and can lead to coughing.
Role of the Lungs and Diaphragm in Breath SupportIf one observes how an accordion works and produces sound,
one will note that it simulates the work of the lungs and diaphragm asone sings. The diaphragm is a muscle between the lungs and thestomach that plays an important part in breath support. When webreath in air, the diaphragm lowers and air fills our lungs. In normalbreathing, this muscle pops out involuntarily so that air is exhaled outof our lungs unnoticeably before webreath in, while the larynx is opento let air flow freely. When we sing, the larynx constricts so that the airpressure from the lungs vibrates the vocal cords in the larynx. Singinginvolves controlling the movement of the diaphragm so that airpressure in our lungs is just enough to produce vibration in our larynxor voice box. This air flow that sustains the phonated sound from thevoice box should be smooth and even.
2. PHONATIONPhonation is the process of producing sound in the voice box
through the vibration of the vocal folds. The vocal folds, also knowncommonly as vocal cords or voice reeds, are composed of twininfoldingsof mucous membrane stretched horizontally acrossthe larynx. When one sings, they vibrate, modulating the flow of air
being expelled from the lungs. (Wikipedia) The physical characteristicsof our vocal folds give the specific character to our voices. Mengenerally have longer and thicker vocal folds that give them a lowerpitch while women have thinner and shorter vocal folds.
3. VOCAL RESONATION
Vocal resonation is the process by which the basic product of phonationis enhanced in timbre and/or intensity by the air-filled cavities throughwhich it passes on its way to the outside air. (Wikipedia). The mainpoint of resonation is to make a better sound with our singing voicethru amplification, intensification, enrichment and prolongation.
Human Resonating Chambers
There are generally 4 resonances produced in the human body:Chest , Mouth, Nasal, and Head. The 4 represent the gradations ofresonances in a spectrum, from dark or heavy (chest) to bright or light(head). These may correspond to pitches from low to high. A singermust be able to have command of these four in order to have the fullrange of emotional expression. (Wikipedia)
These four resonances are produced in the 7 resonating chambers ofthe human body. In sequence from the lowest within the body to thehighest, these areas are the chest, the tracheal tree, the larynx itself,the pharynx, the oral cavity, the nasal cavity, and the sinuses.
Chest anatomy
The chest
The chest is not an effective resonator. Although strong vibratorysensations may be experienced in the upper chest, and althoughnumerous voice books refer to chest resonance, the chest, by virtue ofits design and location, can make no significant contribution to theresonance system of the voice. The chest is on the wrong side ofthe vocal folds and there is nothing in the design of the lungs thatcould serve to reflect sound waves back toward the larynx.
The tracheal tree
throat diagram
The trachea and the bronchial tubes combine to form an inverted Y-shaped structure known as the tracheal tree. It lies just below the larynx, and, unlike the interior of the lungs, has a definite tubular shape and comparatively hard surfaces.
The larynx
Due to its small size, the larynx acts as a resonator only for high frequencies. Research indicates that one of the desirable attributes of good vocal tone is a prominent overtone. This attribute is identified as brilliance, or more frequently as ring or the singer's formant. There are several areas in or adjacent to the larynx which might resonate such a high pitch. Among them are the collar of the larynx, the ventricles of
Morgani, the vallecula, and the pyriform sinuses. The larynx is not under conscious control, but whatever produces "ring" can be encouraged indirectly by awareness on the part of the student and the teacher of the sounds which contain it.
The pharynx
The pharynx is the most important resonator by virtue of its position, size, and degree of adjustability. It is the first cavity of any size throughwhich the product of the laryngeal vibrator passes; the other resonance cavities have to accept whatever the pharynx passes on to them.
The oral cavity
The oral cavity is the second most effective resonator.
The nasal cavity
The nasal cavity is the third most effective resonator.
The sinuses
The sinuses are extremely important to voice modulation. (Wikipedia)
It is important for a singer to understand how the right control and formation of these resonating cavities allows one to effectively projectand enhance one’s singing voice. Opening one’s throat is the simplestway to ensure that the vocal folds can freely vibrate as air from the lungs is carried through it. One of the best ways to achieve an open throat is the “silent laugh” position of the mouth and throat while the tip of the tongue is touching the lower teeth. When one uses this technique, the tongue loses it’s tendency to press on the larynx, it relaxes the jaw muscles, facilitates breathing and articulation.
4. ARTICULATION
Articulation is about how one pronounces words. It is an important key to creating a beautiful sound. One may have a beautiful voice and may use the right techniques for resonating and projection but if one is not able to pronounce the words correctly and intelligibly, it diminishes the beauty of the singing. Many singers are particularly challenged in this area and will have to practice constantly to get rid ofthe slurs and the dropped consonants to be able to pronounce words intelligibly while singing. It is good to ask someone to listen to the singing and check if the words are understandable.
The formation of the mouth should be slightly rounded in order for the vowels to be articulated properly. The words should flow naturally while the end consonants should be emphasized.
Singing high notes can be particularly challenging as they tend to make the singer resort to nasal singing. In this instance, the tongue is pushed far back onto the roof of the mouth or soft palate and is not free to close the vowels and consonants.
COMMON PITFALLS1. Concentrating all effort from the throat – many singers do not use
breath support and instead strain to reach high notes using only themuscles in the throat region. The resulting sound lack brilliance and timbre and become “throaty”. This is absolutely harmful to one’s vocal health.
2. Unsustained notes – this is another result of singing without breath support. The tendency is for the singer to immediately end the note
in order to catch his breath. This makes for choppy and emotionlesssinging. The ideal is that words should flow smoothly from one to another to make for beautiful singing.
3. Breathing not staggered when singing in groups – In group singing, there is a tendency to take a breath all at the same time in particular parts and phrases of the songs. This again results in a choppy and emotionless sound. The ideal is to stagger breathing within the group so that the sound that comes out is smooth and flowing.
4. Wrong articulation – some Pilipino singers continue to use Filipino diction when singing in English, or vice versa, tend to Anglicize Filipino words. Also there is a tendency to drop consonants at the end of words making them unintelligible
5. Jaws not dropped/ throat not opened/ tongue root held back – when one lacks confidence in singing, the tendency is to be embarrassed to open one’s mouth. The resulting sound comes across as weak and without emotion. On the other hand, singers think that they can create a deeper and wider sound if they hold back the root of their tongue to press on the larynx. This can harm the vocal folds inthe long term.
6. Mindless singing – singing is essentially communicating with one’s voice. Being able to understand the message of the song and convey it effectively with one’s voice is the essence of singing. Before opening at all one’s mouth to produce the first note, singers must already have a full grasp of the song’s message, it’s mood and emotion and how to convey them thru song.
7. Not taking care of one’s vocal health – there are many medical advises on how to take care of one’s vocal health. Unfortunately very few take them seriously. The reason many say is that they aren’t really professional singers so why bother? Ice cold drink tastes extra refreshing after that rigorous singing practice!
SOME TIPS FOR VOCAL HEALTH
1. Always do simple voice warm-ups before engaging in real singing2. Keep your mouth and throat hydrated by drinking enough water
throughout the day.3. Avoid dairy products such as milk and cheese since they build up
mucus on the larynx and impairs the ability of the vocal folds to vibrate freely
4. Avoid coffee, alcoholic drinks, and smoking as it dries out the throat5. Avoid peanuts and chocolate since it tends to irritate the throat
lining and can lead to coughing6. Avoid drinking cold drinks immediately after singing.7. Avoid clearing your throat often. If you need to clear your throat,
do it shallowly or by swallowing only to avoid irritating the mucus lining.
8. Do vocal exercises daily9. Avoid screaming, shouting and talking too much.10. If one is singing properly, one will not feel any discomfort or pain
at all even during long haul singing. When you start feeling any pain or your voice starts to get hoarse it’s time to give it a break. Do not abuse and overuse your voice.
11. Always use breath support when singing.12. Remember to take care of your over-all health as it will directly
have an impact on your ability to sing
CFC Worship Leading Workshop
Goal: To teach and train CFC members in effectively leading theassembly in worship during a CFC activity or event.
Introduction.The CFC Worship Leading Workshop, while aiming to providebasic teaching and training on worship leading for CFC members,emphasizes on the importance of having the right attitude and propercondition of the heart on the part of a worship leader in order for him/her tobe effective in carrying out the assigned task. The success and effectivenessof the program on the individual is therefore heavily grounded on his/herspiritual maturity.
The module is not exhaustive as it simply aims to present Christian principlesand guidelines on effective worship leading that can be applied in CFCassemblies and meetings. Rather than hard and fast rules, the principles andguidelines presented shall be based on Scripture, teachings of the Churchand on accepted communal worship practices of CFC.
As Scripture and church liturgy do not directly speak to most of the practicalaspects of being a worship leader, much material included in the moduleshall be based on experience and best-practice knowledge with Scripture,Church and CFC culture still serving as foundation. This is important in theprocess of addressing issues regarding the actual praxis of worship leading inCFC assemblies and meetings.
The knowledge and skills training that the module aims to provide coupledwith values it aims to promote should not only prove useful to worshipleaders of big assemblies and gatherings. Small group leaders who headhousehold prayer meetings should benefit in the preparation and conduct oftheir worship and prayer. The clear prime objective for the participant inattending the workshop is to become an effective worship leader.
Program Outline. The module is divided into two sessions (morning andafternoon) with each session having a basic talk followed by the workshop.Average run for a session is three hours more or less. The workshop portionis composed of the instruction leading to workshop, activity, presentation,and critique/feedback. The session ends with an assessment and summary.
I. Worship [15 minutes; e.g., 9:00-9:15am]II. Introduction to Module [10 minutes; e.g., 9:15-9:25am]III. Session 1:
A. Basic Talk: Worship in CFC [30 minutes; e.g., 9:25-9:55am]B. Workshop I: Preparing to Lead – Selecting the Songs
1) Instruction [30 minutes; e.g., 9:55-10:25am]
2) Workshop Proper [30 minutes; e.g., 10:25-10:55am]
3) Presentation and Critique [40 minutes; e.g., 10:55-11:35am]
C. Open Forum and Wrap-Up [15 minutes; e.g., 11:35-11:50am]
Break [12:00nn-12:45pm]
IV. Worship [15 minutes, e.g., 12:45-1:00pm]V. Session 2:
A. Basic Talk: The Effective Worship Leader [30 minutes; e.g.,1:00-1:30pm]
B. Workshop 2: Preparing to Lead – Developing the ExhortationLeading to Worshipa. Instruction [30 minutes; e.g., 1:30-2:00pm]
b. Workshop Proper [30 minutes; e.g., 2:00-2:30pm]
c. Delivery and Critique [45 minutes; e.g., 2:30-3:15pm]
d. Open Forum and Wrap-Up [15 minutes; e.g., 3:15-3:30pm]
V. Q&A, Sharing and General Assessment [15 minutes; e.g., 3:30-3:45pm]
VI. Conclusion and Closing Prayer [15 minutes; e.g., 3:45-4:00pm]
Session 1: Talk
Worship in CFCExpanded Outline
Objective: Present a background on worship and how CFC as a communityworships in a typical gathering; it can be a small group as in a householdmeeting or a big assembly.
A. Introduction. What is worship? Worship is what we accord only to God.We do not worship anyone or anything else.
Exodus 34:14: Do not worship any other god, for the LORD, whosename is Jealous, is a jealous God.
1) Literally, ‘worship’ means to ascribe worth to God (= He is worthy).True worship begins with a deep respect or reverence for God; it is aframe of mind, an attitude. When we worship God, we ascribe worth,respect, awe and adoration to Him and Him alone.
2) Worship is the highest form of prayer. It ought to be our number onepriority as Christians. [Also we, Catholics, believe that the Holy Mass isthe highest form of worship.]
B. Why worship God?
We worship God because –
1) He commands us to worship Him. Clearly Hewantsus to worship Himbecause He is very specific in His command. And being His creation itis only right that we obey.
On the occasion of Satan’s third temptation of Christ in the wilderness:
Matthew 4:9-10: And he said to Him, ‘All these things I will give Youif You will fall down and worship me.’ Then Jesus said to him, ‘Awaywith you, Satan! For it is written, “You shall worship the LORD yourGod, and Him only you shall serve.”’
Think of this: God has to command us because after all He createdus having the freedom to choose whether we will obey or not.
2) He deserves it. We worship God for who He is – His nature andqualities, for His works – all He has done, all He is doing and for all heis about to do in our lives.
3) We need to worship Him. We have this strong desire to worship that ifwe do not give it to God, we will probably bring it elsewhere.Therefore,anyone who does not worship God and Him alone is by defaultworshipping some other being or thing that is lesser than Him.
C. Elements of a CFC Worship Assembly
1) The Community. CFC being a Catholic charismatic community,worship in CFC assemblies is also called charismatic inasmuch as the
Holy Spirit works in creating and leading the ‘flow of worship’.Moreover, the gifts of the Holy Spirit are very much encouraged to bemanifested. Praise and worship songs and music (usuallycontemporary), clapping and raising of hands, spontaneous praising,singing and praying in tongues, and non-formal prayer leading arecommonly seen in a CFC worship.
2) The Worship Leader. Session 2 Talk 2 is devoted to the worshipleader.
3) The Music Ministry (including the music ministry head, (musicaldirector), singers, instrumentalists and technical staff).
4) The Worship Pattern (Order). In CFC worship assemblies there is abasic worship pattern. This is important because the pattern puts orderin the sequence and flow of the worship segments. The general patternin a typical CFC worship is given below.These are the parts of a typical CFC worship service with an estimatedduration for each segment.
a. Gathering Song to signal the imminent start of the worship proper.[3+ minutes.]
b. Exhortation leading to worship given by the worship leader. [Nolonger than 5 minutes.]
c. Two (2) praise/fast songs with spontaneous praising after each song.Short exhortations can be said just before the second song. [About10 minutes; Cf. Appendix 2]
d. Worship/slow song to be followed by praising and singing intongues. The change of tempo from the second fast song to theslow, solemn song can be preceded by a short exhortation just toprepare the people for the high worship part. [5+ minutes; Cf.Appendix 2]
e. A brief period of silence followed by inspired readings andrevelations. [3+ minutes.]
f. Prayer of the worship leader [3+ minutes.]
Approximate total run for the entire worship service is 30 minutes.
Note: While there are other worship patterns (such as praisefest,healing pray-over, necrological service, planning session, businessmeeting, special event in the community, a church event or service,etc.) depending on the event, the common pattern is emphasizedhere.
5) The Worship Setting.a. Event. Worship is held in the household prayer meeting, monthly
prayer assembly, Lord’s Day Celebration, teaching, conference, andsome event where the common pattern is used. Again other worshippatterns can be used depending on the event
b. Venue. On-site physical conditions may become considerations inthe conduct of the worship service. The ambience and atmospheremay be affected by the area or volume of space, lighting, air, roomtemperature, acoustics, humidity, etc.
[End of Talk]
Session 1: Workshop
Preparing to Lead: Selecting theSongs
Objective of the Workshops: In giving the participants specific tasks in thepreparation for leading a worship service,
1. make clear to them the role of the worship leader in a worship service byallowing them to experience specific skill-building activities; and
2. make them understand the dynamics of the worship service.
A. Background Material I:The Importance of Music in Worship
Music is an important element in our worship of God. It is therefore goodfor worship leaders to know more about music. Some reasons why musicis important in worship are as follows.
1) We can express our worship and praise in ways that nothing else can.Music is a wonderful way for us to express our love and devotion toGod. [Psalm 27:6]
2) Music can make us feel closer to God. [Psalm 95:2]
3) Music is a powerful tool by which God ministers to His people. Throughmusic, we are used by God to minister to His people. Music is aministry in the truest sense of the word. God can move and whereverand whenever He is praised, worshipped and glorified. [Psalm 22:3]
4) Music is a powerful tool to evangelize others. It can move, inspire,encourage and evangelize in ways teaching and preaching the word ofGod cannot. [2 Chronicles 5;13]
5) Music is a wonderful way of celebrating the goodness of the Lord.Imagine a celebration without music. [Psalm 149:3]
B. Background Material II: Types of Christian Songs
1) Worship Songs. Songs containing words/lyrics expressing reverentlove and devotion to God and addressed Him in the second person,directly speaking to Him through the song. Examples: Lord Jesus WeEnthrone You, Glorify Thy Name, You Alone Are Holy, You Are MyDelight, As The Deer, Thine O Lord.
2) Praise Songs. Songs having lyrics describing God, proclaiming andextolling God’s nature, qualities, His works and deeds and mostlyreferring to Him in the third person. Examples: God Is My Refuge, LetThe Saints Be Joyful, God Is Enough.
3) Songs of Supplication/Petition.This type of songs express a certainpurpose on the part of those singing them. It can speak of repentance,offering, healing, blessing, etc. As these songs may acknowledge God’smight, His capacity to provide and His power over our lives, they canalso be used to praise God. Care, however, must be taken in usingthese songs in worship because, although these songs may beprayerful and solemn, the lyrics may not be worshipful. Not all slowsongs are appropriate for worship.
Examples: Create In Me, Let The Fire Fall, I Offer My Life, The Prayer ofSt. Francis. While Make My Heart Your Dwelling Place is a song ofsupplication, adding the song My God and My All makes the sequenceappropriate for worship. A New Commandment, although solemn andslow, is not a worship song but a fellowship song.
4) Fellowship Songs. These songs contain lyrics that edify, encourageand inspire the community of believers and therefore are directed topeople. Although they may be sung as gathering songs, these songsare not appropriate for worship. Examples: A New Commandment,Welcome To The Family.
Note: There are songs that can be classified under two or more types.
C. Guidelines for Song Selection. With the help of the music ministry, theworship leader selects the songs to be used in the worship service. Alongwith the selection of songs the worship leader might well have ideas as tothe sequence and arrangement of the songs.
1) Basis for Selecting Songs.Discernment is required on the worshipleader in searching for God’s message, perhaps spoken through aninspired Scripture reading or a revelation, by which he may take thepeople to the point of worship where God meets them. Through thismessage God can also point the worship leader to which particularneed the people might have at the time of worship so that He mayrespond to fill that need. This discernment serves as basis by which theworship leader not only develops his exhortation and prayer but also inthe choice of songs in the worship service.
2) Preparing the Music Program.
a. The worship leader prays for guidance and inspiration as to whichdirection God wants the worship service to be brought. Only throughprayer can discernment be possible.
b. Looking at the lyrics, the worship leader chooses the songs thatbest fit the message or theme. He/She checks the songs forconsistency of message with the exhortation and prayer, thepurpose of the activity or event, or a particular need of the peopleat the time as discerned.
c. The worship leader coordinates with the music ministry andpractices the run of the worship service with them.
d. The worship leader is open to revising the song list if improvementscan be done or there is a change in the direction and flow ofworship as led by the Holy Spirit.
D. The Workshop
1) Developing a theme. Assume that this theme is based on a messagewhich was previously discerned through prayer. This message in turnserves as basis for the choice of songs, and the development of theexhortation and prayer. From the list of verses listed below, theparticipant may choose one that will serve as Biblical handle of thetheme for the worship service he/she will be leading. A participant mayprefer to give his/her own theme also although he/she will have to givea Biblical handle verse with it.
- Psalm 16:11: In Your presence is fullness of joy. (Example: Joy inthe Knowledge of God’s Love)
- Isaiah 43:2: ‘When you pass through the waters I will be withyou.’ (Example: Faith Through Trials)
- Psalm 71:5: You are my hope, O Lord God; You are my trust frommy youth. (Example: Strength and Hope in the Lord)
- Psalm 55:17: Evening and morning and at noon I will pray, andcry aloud, and He shall hear my voice. (Example: God IsAlways There - We Have Reason to Rejoice.)
- Matthew 20:26: ‘Whoever desires to become great among you,let him be your servant.’ (Example: There is Strength inWeakness; also Humility in Leadership.)
- Luke 12:34: Where your treasure is, there your heart will be also.(Example: Enjoying the Riches of God’s Grace.)
- Lamentations 3:22-23: His compassions fail not. They are newevery morning; great is Your faithfulness. (Example: God’sFaithfulness; also Second Chances.)
- 1 Peter 3:14: Do not be afraid of their threats, nor be troubled.
2) Select the songs. Choose for the Glory Songbook three (3) songs,two fast (praise) songs and one (1) slow, solemn worship song whilekeeping in mind the theme selected for the worship service. Check thelyrics for consistency with the theme, the message and/or the verse.Also specify the sequence of the songs.
3) Presentation. Select participants to present and explain. A shortcritique can be held after each presentation.
4) Open Forum and Wrap-up. Observations are presented capped by ashort summary.
[End of Session 1]
Session 2: Talk
The Effective Worship LeaderExpanded Outline
Objective of the Talk: Discuss the elements that define an effective worshipleader in a CFC worship assembly.
A. Introduction. What makes an effective worship leader in CFC?
a. The purpose of the worship leader. In CFC and as the nameimplies, the worship leader is the person tasked to lead the worshipservice in a gathering or an assembly. The two major elements in a CFCworship service are music and prayer.
b. The word effective qualifies how the worship leader carries out thetasks. ‘Effective’ is an adjective which means ‘producing a definite ordesired result’. Its synonyms are ‘productive’, ‘persuasive’, ‘efficient’,‘competent’, ‘useful’, and ‘powerful’ among others. In order to be aneffective worship leader, a person should have certain qualities alongwith proper conditions present. These are included in the talk.
B. The Role and Tasks of the Worship Leader
1) Since the worship leader is the one who leads the people (= assembly)into the presence of the Almighty, his/her tasks here include:
a. Praying for the service well beforehand; praying for anointing forhimself/herself and others in the worship team (= music ministryand service team), the conduct of the service including the venue,and the entire assembly.
b. Before the service, he/she coordinates with the music ministry andtakes the lead in the selection of songs. He/She learns andfamiliarizes himself/herself with the songs.
c. During the service, he/she goes first and “ushers in” the people tothat place where they encounter God and where God makes Hispresence with them. He/She takes lead in the singing for whichhe/she prepared for in B.1.b above.
2) He/She develops, with the Holy Spirit leading him/her, an atmosphereof reverent worship. His/Her tasks here include:
a. leading the assembly into worship through exhortation;
b. edifying the people through delivery of an inspired message orreading of Scripture; and
c. saying the general prayer for the event and the community.
3) He/She maintains, again with Holy Spirit leading him/her, the order andflow of the worship service. His tasks involve:
a. He/She prompts the music ministry and the people in the assemblyduring the worship service.
b. He/She keeps the course of the worship service within its intendedduration (= length of time).
C. Qualities of the Effective Worship Leader. Being a leader is aboutrelationships: first, his/her relationship with the Lord; and, second, his/herrelationship with people. It is easy to say that a worship leader has to bespiritually mature, But what does this really mean?
1) The effective worship leader maintains a strong relationshipwith the Lord who is the object of his worship. He/she -
a. lives a life of worship and walks in God’s grace; he/she is aworshipper who delights in the presence of God.
b. is disciplined in prayer, study, service and fellowship; having asound knowledge of the word of God.
c. is sensitive to the voice of God and the prompting/leading of theHoly Spirit.
2) The effective worship leader ministers to God’s people.
a. He/She is humble, having a servant’s attitude (Mark 9:35) and aLevitical heart while fully accepting the anointing of being theworship leader and being an evangelizer.
b. He/She has a firm understanding of the people that he/she leads inworship: the music ministry and the congregation.
c. He/She always has a thankful heart.
3) The effective worship leader is skilled in communication and inmusic. This pertains to his/her relationship with the music ministryand with the congregation. Acquiring these skills will requirepreparation on the part of the worship leader.
[End of Session 2: Talk]
Session 2: Workshop
Preparing to Lead:
Developing the ExhortationLeading to Worship
Objective of the Workshops: After giving some instruction and guidance theparticipants are given specific tasks in preparation for leading a worshipservice.
Secondary Objectives of the Workshops:
1. Make clear to the participants the role and tasks of the worship leader in aworship service by allowing them to experience specific skill-buildingactivities.
2. Make the participant understand the dynamics of the worship service.
A. The Importance of Exhortation
1) The need for people to focus their attention to God.
2) The need for people to be reminded of the “worthiness of God” to beworshipped.
3) The need for people to be led and brought to the presence of God.
4) Exhortation builds faith.
5) Exhortation helps people to respond to God in worship.
B. Developing and Effective Exhortation
1) Considerations
a. Knowledge in the purpose of the gathering or event.
b. Knowledge of the people being exhorted to worship – their presentcondition and needs.
c. Appropriate and practical applications that the people need or willrespond to.
d. The time allotted for the worship service.
2) Elements of an Exhortationa. Opening greeting
b. Introduction
c. Reading of the Scripture verse handle
d. Exhortation
e. Invitation to worship
3) Guidelines for Making an Effective Exhortation
a. Pray for guidance by the Holy Spirit; pray for anointing; pray forwisdom and power.
b. Choose a reference passage from the Bible. (While other sourcescan be used like an inspired quotation, a reading or a revelation; theBiblical verse is an authoritative reference of a message comingfrom God.)
c. Choose examples of the practical application of the verse; apersonal experience is good and preferable.
d. Relate the example to the practical application and message of theverse.
e. Always end by making the invitation to worship.
f. Do not pre-empt the main speaker in a teaching or event bytouching on subjects which will be discussed in the meeting proper.Care ought to be observed that an exhortation will not turn topreaching. Remember that the primary role of the worship leader isto lead the people to worship.
g. Be mindful of the time.
4) Basic Structure of an Exhortation
a. Goal of the exhortation. What areas of the lives of the peoplepresent do you want to touch on? Are there concerns that need tobe addressed? How do you want the people to respond? What doyou want the people to experience during worship?
b. Introduction.Does the people need to be reminded about a basictruth about God or their relationship with Him? Is there an area ofdifficulty that can be used to lead you to the verse handle andexample?
c. Bible verse handle and example. Reference Scripture passagefollowed by the example. The example can be an analogy or apersonal sharing which illustrates the message.
d. The message. Relate the example to the practical application orlesson.
e. Conclusion. Make the invitation to worship.
C. The Workshop:Drafting and Delivering the Exhortation
1) Preparing the Draft of a 5-Minute Exhortation. From the chosentheme and the selected verse used to prepare the song list (WorkshopI), make a draft of your exhortation following the guidelines, structureand sequence of elements as discussed. Devote 20-30 minutes for this.
2) Presentation: Delivering the Exhortation. Allow the participants todeliver their five-minute long exhortation. They can be allowed to readtheir draft while the critique can focus on the delivery (posture, voiceprojection, clarity, etc.), content and time management. A shortcritique can be held after each presentation.
3) Open Forum and Wrap-up. Observations are presented capped by ashort summary.
[End of Session 2]
Wrap-Up
Pursuing Excellence in the CFCWorship Service
A Summary. Give a general assessment of the talks and the conduct of theworkshops. A feedback form can be distributed and collected here.
B. Open Forum. Entertain questions from the participants. Allow them toshare their experience and give suggestions. Duration of this portiondepends on available time.
C. Conclusion. Reiterate the goals of the module and conclude byencouraging the participants to pursue excellence in serving as worshipleaders by improving their worship leading skills and assuming the properposture and attitude of a servant.
[End of Module]
Appendix A: From Talk on Corporate Worship
4. Worship.
4.1 Music.
a. The music ministry usually starts off with a rousingsong, one which naturally propels the assembly toloud and vibrant praise.
b. The music ministry continues to make a joyful noisewith its instruments during the times of verbalpraising.
c. As the praising is toning down, another praise song issung. The continuity should not be broken byallowing the praising to stop before starting thesecond song. Also, the momentum should not beinhibited by pausing to make an announcement as towhat song is to be sung.
d. If the praising is still very vibrant, the music ministryleader (or upon signal from the prayer meetingleader) may decide to have still a third fast song.
e. As the praising tones down, a slow worship song isplayed.
f. The worship song leads automatically to singing intongues.
4.2 Words from the Lord.
a. One might be inspired to have a prophecy in song,which can blend into the singing in tongues.
b. When the singing in tongues has stopped, there is atime of silence. This is a time of waiting on the Lordto speak. This can last from just a few seconds to aminute or so.
c. During this time, those with prophecies, visions andinspired Scripture readings can come forward andpresent themselves to the prayer assembly leader,who decides on who will be allowed to speak out.
4.3 Prayers by the leader.
a. The prayer assembly leader may respond to any specific wordsfrom the Lord.For example, a call to repent; or a call to pray forone another; or a time for thosepresent to go to others to bereconciled.
b. Normally, the leader would just say a prayer on behalf of theassembly, whichprayer would close the time of worship.
c. There are to be no individual prayers of thanksgiving and petition(as is done in ahousehold meeting).
d. After his prayers, the leader asks everyone to sit down.
e. If there were others who wanted to speak a word from the Lord butwere notafforded the opportunity during the time of worship, theleader can still call onthem at this time.
4.4 Duration of worship would normally be from 30 to 45 minutes.
Appendix B: Why three songs? Two fast, one slow. Use the temple plan illustration.
1. This illustration gives us an idea how we approach the Lord in worship through the three songs we normally sing during the worship service.
2. Imagine yourself being outside the temple walls and just before entering the outermost gate. We begin by singing a Gathering Song for us, the people, to prepare.
3. Then the Worship Leader gives a short exhortation meant to inspire, encourage, and urge the people to praise and worshipthe Lord.
4. After the Worship Leader invites us to praise and worship, we sing the first praise (fast) song. Imagine entering the outermost gate into the outer court. (Enter His gates with thanksgiving, enter His courts with praise.) As we finish singing the first song, we find ourselves in the outer court andshout praises to the Lord.
5. The second song (which can be another fast praise song) is now sung and we pass through the second gate into the inner court. Again after finishing the song, we break into spontaneous praising as we find ourselves in the inner court and nearer to God’s presence.
6. The music slows down and it becomes more solemn and as we start singing the worship song (addressing the Lord in the second person: Glorify Thy Name, Lord, Jesus We Enthrone You, Holy O Holy), we enter the doorway into the Holy of
Holies or the Sanctuary where the Lord is waiting for us = the Tabernacle of the Temple. After the worship song, we sing and praise in tongues as we now encounter Him face to face and everything else fades away as we become lost in the awesome Presence.
7. As the praising in tongues die down after being led by the Holy Spirit, we fall silent and we allow the Lord to speak as weare still in the Holy Place with our God.
8. This is just an illustration to make us see how the three songs we sing in a CFC worship make sense.
WORKSHOP ON LITURGICAL MUSIC
Objective: To provide a clear understanding of the liturgical celebration, therole of music in the liturgy, and how the ministers of music should participatein its celebration
A. Introduction:
1. What is Liturgy – It is a rite of worship. As a religious phenomenon,liturgy is a communal response to the sacred through activity reflectingpraise, thanksgiving, supplication, or repentance. Ritualization maybe associated with life events such as birth, coming of age , marriageand death. It thus forms the basis for establishing a relationship with adivine agency, as well as with other participants in the liturgy.(Wikipedia)
In the Catholic tradition, which holds the liturgy in the highest regardas the summit of it’s worship life, theSacrosanctumConcilium( Constitution on the Sacred Liturgy) was draftedduring the SecondVatican Council in a spirit of reform, to establish and safeguard thenorms, practices and it’s principles, in order to faithfully accomplishthe commandment of Jesus to celebrate the memorial of His sacrificefor our salvation as His faithful people.
2. What is accomplished during the liturgy?
According to the introduction in the Constitution on the Sacred Liturgy“2. For the liturgy, "through which the work of our redemption isaccomplished," [1] most of all in the divine sacrifice of the Eucharist, is theoutstanding means whereby the faithful may express in their lives, andmanifest to others, the mystery of Christ and the real nature of the trueChurch. It is of the essence of the Church that she be both human anddivine, visible and yet invisibly equipped, eager to act and yet intent oncontemplation, present in this world and yet not at home in it; and she is allthese things in such wise that in her the human is directed and subordinatedto the divine, the visible likewise to the invisible, action to contemplation,and this present world to that city yet to come, which we seek [2]. While theliturgy daily builds up those who are within into a holy temple of the Lord,into a dwelling place for God in the Spirit [3], to the mature measure of thefullness of Christ [4], at the same time it marvelously strengthens theirpower to preach Christ, and thus shows forth the Church to those who areoutside as a sign lifted up among the nations [5] under which the scattered
children of God may be gathered together [6], until there is one sheepfoldand one shepherd [7].”
3. Real Presence
To accomplish this work, Jesus is present in the Holy Mass in four ways,in the person of the officiating priest, in the Word, in the Eucharisticspecies, and in the Church (people)when they pray and sing.
“…every liturgical celebration, because it is an action of Christ thepriest and of His Body which is the Church, is a sacred action surpassing allothers; no other action of the Church can equal its efficacy by the same titleand to the same degree.” (No. 7 Introduction to the Constitution on theSacred Liturgy, 1963)
4. God’s Initiative
“People forget that the liturgy is supposed to be ‘Opus Dei’, God’swork, in which He Himself acts first and we become the redeemed preciselybecause He is at work… For everyone, liturgy is participation in somethinglarger, which goes beyond the mere individual… It is rather a response to aninitiative from above, to a call and an act of love, which is mystery.” (Liturgyand Church Music, Benedict VI, 1985)
“…the liturgy is the summit toward which the activity of the Church isdirected; at the same time it is the font from which all her power flows. Forthe aim and object of apostolic works is that all who are made sons of Godby faith and baptism should come together to praise God in the midst of HisChurch, to take part in the sacrifice, and to eat the Lord's supper.”(No. 10Introduction to the Constitution on the Sacred Liturgy, 1963)
B. Role Of Music In Sacred Liturgy
The true purpose of Sacred Music is “the glory of God and the sanctificationof the faithful” (Chap 6, Sacred Music, Constitution on Sacred Liturgy, 1963)
“ Wherefore, in the revision of the liturgy, the following general norms shouldbe observed…That the intimate connection between words and rites may beapparent in the liturgy” (No. 35, II. The Promotion of Liturgical Instructionand Active Participation, Constitution on Sacred Liturgy, 1963)
“ Liturgical worship is given a more noble form when the divine offices arecelebrated solemnly in song, with the assistance of sacred ministers and the
active participation of the people.” (No. 113, Sacred Music, Constitution onSacred Liturgy, 1963)
1. Promotion of Active Participation
“But in order that the liturgy may be able to produce its full effects, itis necessary that the faithful come to it with proper dispositions, that theirminds should be attuned to their voices, and that they should cooperate withdivine grace lest they receive it in vain”(No. 11 Introduction to theConstitution on the Sacred Liturgy, 1963)
“In the restoration and promotion of the sacred liturgy, this full andactive participation by all the people is the aim to be considered before allelse; for it is the primary and indispensable source from which the faithfulare to derive the true Christian spirit;” (No. 14, II. The Promotion of LiturgicalInstruction and Active Participation, Constitution on Sacred Liturgy, 1963)
“To promote active participation, the people should be encouraged totake part by means of acclamations, responses, psalmody, antiphons, andsongs as well as by actions, gestures, and bodily attitudes…”(No 30, II. The Promotionof Liturgical Instruction and Active Participation, Constitution on SacredLiturgy, 1963)
“The faithful fulfill their liturgical role by making that full, consciousand active participation which is demanded by the nature of the liturgy itselfand which is, by reason of baptism, the right and duty of the Christianpeople.[13] This participation
(a) Should be above all internal, in the sense that by it the faithful join theirmind to what they pronounce or hear, and cooperate with heavenly grace,[14]
(b) Must be, on the other hand, external also, that is, such as to show theinternal participation by gestures and bodily attitudes, by the acclamations,responses and singing.[15]
The faithful should also be taught to unite themselves interiorly to what theministers or choir sing, so that by listening to them they may raise theirminds to God.”(No. 15, MusicamSacram, 1967)
2. Degrees Of Active Participation
29. The following belong to the first degree:
(a) In the entrance rites: the greeting of the priest together with the reply ofthe people; the prayer.
(b) In the Liturgy of the Word: the acclamations at the Gospel.
(c) In the Eucharistic Liturgy: the prayer over the offerings; the preface withits dialogue and the Sanctus; the final doxology of the Canon, the Lord'sprayer with its introduction and embolism; the Pax Domini; the prayer afterthe Communion; the formulas of dismissal.
30. The following belong to the second degree:
(a) the Kyrie, Gloria and Agnus Dei;
(b) the Creed;
(c) the prayer of the faithful.
31. The following belong to the third degree:
(a) the songs at the Entrance and Communion processions;
(b) the songs after the Lesson or Epistle;
(c) the Alleluia before the Gospel;
(d) the song at the Offertory; (No.29-30, MusicamSacram, 1967)
3. Spiritual Disposition Of Servers
“Servers, lectors commentators, and members of the choir alsoexercise a genuine liturgical function. They ought, therefore, to dischargetheir office with the sincere piety and decorum demanded by so exalted aministry and rightly expected of them by God's people.
Consequently they must all be deeply imbued with the spirit of theliturgy, each in his own measure, and they must be trained to perform theirfunctions in a correct and orderly manner. …”(No 29, II. The Promotion ofLiturgical Instruction and Active Participation, Constitution on Sacred Liturgy,1963)
4. The Use of Musical Instruments
62."The use of other instruments may also be admitted in divine worship,given the decision and consent of the competent territorial authority,provided that the instruments are suitable for sacred use, or can be adapted
to it, that they are in keeping with the dignity of the temple, and trulycontribute to the edification of the faithful."[43]
63. In permitting and using musical instruments, the culture and traditions ofindividual peoples must be taken into account. However, those instrumentswhich are, by common opinion and use, suitable for secular music only, areto be altogether prohibited from every liturgical celebration and frompopular devotions.[44]
Any musical instrument permitted in divine worship should be used in such away that it meets the needs of the liturgical celebration, and is in theinterests both of the beauty of worship and the edification of the faithful.
64. The use of musical instruments to accompany the singing can act as asupport to the voices, render participation easier, and achieve a deeperunion in the assembly. However, their sound should not so overwhelm thevoices that it is difficult to make out the text; and when some part isproclaimed aloud by the priest or a minister by virtue of his role, they shouldbe silent.
65. In sung or said Masses, the organ, or other instrument legitimatelyadmitted, can be used to accompany the singing of the choir and the people;it can also be played solo at the beginning before the priest reaches thealtar, at the Offertory, at the Communion, and at the end of Mass.
The same rule, with the necessary adaptations, can be applied to othersacred celebrations.
66. The playing of these same instruments as solos is not permitted inAdvent, Lent, during the Sacred Triduum and in the Offices and Masses ofthe Dead.
67. It is highly desirable that organists and other musicians should not onlypossess the skill to play properly the instrument entrusted to them: theyshould also enter into and be thoroughly aware of the spirit of the liturgy, sothat even when playing ex tempore, they will enrich the sacred celebrationaccording to the true nature of each of its parts, and encourage theparticipation of the faithful.[46](Chap 6, Sacred Instrumental Music,MusicamSacram, 1967)
C. Simple Guidelines In Choosing Songs For The Holy Mass(for both English or vernacular).
Entrance Processional – song should be in accordance with the mood and theseason of the celebration. During ordinary time it is usually about the invitation to participate in remembrance of the Lord’s supper. However, there may be specific celebrations and feasts that may use Psalms and other forms for the entrance processional.
Penitential Act - Everytime the Act of Contrition is prayed, the Kyrie is to be sung. It is appropriate to sing the Kyrie (Lord Have Mercy) whenever possible. During Lent and Advent when there is no Gloria, it is most encouraged that the choir sing the Kyrie.
Gloria – For English, only the latest version of Glory to God is acceptable where the words “ Glory to God in the highest and on earth peace to people of goodwill” instead of “… peace to His people on earth.” are the wordings.
Gospel Acclamation – Although Alleluia is a proper of the Mass, which means that verses vary except the Alleluia, it is best to sing songs that have no other words except the word “Alleluia” since choirs may not have the chance and ability to prepare the proper verses. It is then like a chant of praise toGod for His work of salvation.
Offertory – Since this is a song that accompanies the liturgical action it should always say that the people are offering Bread and Wine to the Lord as the fruit of their labor, most specially during the processional and the movement of the priest at the altar table. Songs such as Take and Receive, IOffer My Life, or PanalanginsaPagigingBukasPalad are not appropriate offertory songs.
Sanctus – For the English versions, it should say “Lord God of hosts” insteadof “ God of power and might”. Hence most of the old Holy songs are no longer acceptable.
Memorial Acclamation – In the English versions there are only 3 sets of wordings that are acceptable, and this does not include “Christ has died, Christ is risen…” or We Remember…
Version 1: We proclaim your Death, O Lord, and profess your Resurrection until you come again.
Version 2: When we eat this Bread and drink this Cup, we proclaim your Death, O Lord, until you come again
Version 3: Save us, Savior of the world, for by Your Cross and Resurrection You have set us free.These 3 versions are sung depending on the season. It is best to check in the missalette the version to be used during the time.
Great Amen - Only Amen words are acceptable, since it is a statement of assent by the congregation.
The Lord’s Prayer - For the English versions, only the original wordings “hallowed be thy name, thy kingdom come… and forgive us our trespasses…do not bring us into temptation…” are acceptable. In addition, there shouldbe no extra humming sounds in the main melody of the song. Lyrics shouldbe clear and straightforward based on the wordings of the Lord’s Prayer.
AgnusDei – It is important to convey in the tone and melody the prayerful pleading character of the song, hence it should not be bright or fast.
Communion - Based on MusicamSacram and the Constitution on Sacred Liturgy, the Communion song is actually a song that accompanies the liturgical action of partaking communion (action song). Therefore it should always be a Eucharistic song, should be Christ-centered and should proclaim our union with God as well as with His people through Jesus’ savingact as commemorated in the Eucharist. (Christocentric and Unitive). Thus, songs such as “One Bread, One Body”,” Tinapay ng Buhay”, “I Am the Bread of Life”, “Anima Christi”, “We Remember”, or “Here in this Place”, are appropriate. The 2ndor post-communion song can focus on the gospel message but should interiorly unite the faithful with Jesus.
Recessional - Though officially no longer part of the liturgy, it should also be in accordance with the mood and the season of the celebration but should bein the spirit of thanksgiving for what we have received in the Eucharist.
BASS GUITAR WORKSHOP
Goal: To improve and enhance the participants’ skill in playing the Bass Guitar with the ultimate purpose of serving God.
Introduction.
Psalm 33:1-4
“Shout for joy in the Lord, O you righteous! Praise befits the upright. Give thanks to the Lord with the lyre; make melody to him with the harp of ten strings! Sing to him a new song; play skillfully on the strings, with loud shouts. For the word of the Lord is upright, and all his work is done in faithfulness.”
The Bass Guitar is a stringed instrument. It is also known as the Electric Bass or Electric Bass Guitar or simply Bass.
Brief History:
In the 1930s, musician and inventor Paul Tutmarc from Seattle, Washington, developed the first electric string bass in its modern form, a frettedinstrument designed to be held and played horizontally. The 1935 sales catalog for Tutmarc's electronic musical instrument company, Audiovox, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass instrument with a 30½-inch scale length.
In the 1950s, Leo Fender, with the help of his employee George Fullerton, developed the first mass-produced electric bass. His Fender Precision Bass, introduced in 1951, became a widely copied industry standard.
In 1953, following Fender's lead, Gibson released the first short scale violin-shaped electric bass.
In 1956, Höfner 500/1 violin bass by Walter Höfner, The instrument is often known as the "Beatle Bass", due to its endorsement by Paul McCartney.
In 1957 Rickenbacker introduced the model 4000 bass.
Standard Tuning.
The tuning of the bass guitar is also the same as the standard tuning on the lower four strings on a six-string guitar, only an octave lower.
FOUR STRINGS – E, A, D and G in fourths such that the open highest string.
FIVE STRINGS - B, E, A, D and G. in which “B” provides extended lower range.
SIX STRINGS - B, E, A, D, G and C. Like a four-stringed bass with an additional low"B" string and a
high"C" string.
What must I know first before I can play the Bass Guitar?
1. Must know how to play the guitar.2. Must be familiar with the different notes/chords.3. Note position on a four-string bass guitar in standard EADG tuning.
Some basics in playing the Bass.
1. Played primarily with the fingers or thumb, by plucking, slapping, popping, tapping, thumping, or picking with a plectrum.
2. Learn proper posture, how to hold the bass while standing and sitting.a. Adjust the strap so that playing feels comfortable. b. You may rest the lower arm on the bass. Find a position along the strings where the sound is
full between the fretboard and the other end.3. Work mostly with the root notes of the chords.
4. Lock in with the drummer’s kick and snare drums.5. Learn how to mute strings with each of your hands.
a. When learning how to play bass, ideally a string should never vibrate with another.
The Beat
1. In music and music theory, the beat is the basic unit of time, the pulse of the mensural level (or beat level).In popular use, the beat can refer to a variety of related concepts including: tempo, meter, rhythm and groove.
a. Time Signature: 4/4 , 2/2 , 2/4 , 3/4 , and 6/8Example: for 4/4 time – whole note – 4 beats in a bar
Half note – 2 beats each note in a barQuarter note – 1 beat each note in a barEight note – ½ beat each note in abarSixteen note – ¼ beat each note in a bar
SCALE
1. Chromatic2. Diatonic3. Whole tone4. Octatonic (8 tones per octave): used in jazz and modern classical music5. Heptatonic (7 tones per octave): the most common modern Western scale6. Hexatonic (6 tones per octave): common in Western folk music7. Pentatonic (5 tones per octave): common in folk music, especially in oriental music; also known
as the "black note" scale8. Tetratonic (4 tones), tritonic (3 tones), and ditonic (2 tones): generally limited to prehistoric
("primitive") music9. Monotonic (1 tone): limited use in liturgy, or for effect in modern art music.
(Demonstrate Diatonic scale in Major notes)
FILL-IN – a way to break monotony in a bass part and set yourself apart from whatever the guitarist is doing. Fills are the little pieces of ear candy that embellish a solid bass line and help propel a song.
In keeping with the “bass-and-drums-as-one” concept, make your fills coincide with a drummer’s so that they sound like the same person’s idea being expressed.
(Play sample fill)
“Music is God's gift to man, the only art of Heaven given to earth, the only art of earth we take to Heaven.”- Walter Savage Landor
SOUND ENGINEERING WORKSHOP
Matthew 5:48, TLB. “But you are to be perfect, even as your Father inheaven is perfect.”
Luke 12:48, NIV. “From anyone who has been given much, much will bedemanded; and from the one who has been entrusted with much, muchmore will be asked.”
1 Chronicles 15:22 And Chonenias chief of the Levites, presided over theprophesy, to give out the tunes; for he was very skillful.
A. Goal.- To have a better understanding on how to handle sound equipment
so that it could have a positive effect on enhancing the worshipexperiences of the community.
B. Know what to do and why you do it.
- There are a lot of buttons, faders, sliders and potentiometers tomanipulate but if we do not know their function then they may justbe contributing to the already obnoxious audio output that punishesthe ears. Remember that different brands will mean different soundtextures. Different areas, rooms and their corresponding sizes willalso be a great factor to how sound will travel in it.
C. Knowing and understanding your equipment.- Is it analog or digital?: Analog systems are more susceptible to
interference and sound warmer than digital systems. Digitalsystems sound crisper but adjustment parameters are hidden so thetechnician must know where to go and what buttons to press to findwhat.
- How many inputs and outputs?: This will determine how mics andother sound source will be divided in the mixer.
- What are monitor outs?: It is where the monitor speakers arehooked.
- What are inserts?: It is where virtual connections are inserted (Ex:another mixer)
- What is send/return?: It is where outboard effects are connected.- What is phantom power?: It ranges from 9 vdc to 48 vdc. Although
audio signals are AC, the power needed to operate the equipment isDC. Phantom power amplifies the magnetic force on the platesinside the condenser mic to make it more sensitive than passivedynamic mics.
- What is gain?: It adjusts the input level of the source.- What is EQ?: It adjusts the tonal quality of the sound.- What is panning?: It allows you to throw the sound to the left or to
the right.- What is grouping?: It assigns a number of faders to a common fader.- What is master fader?: It is the over-all level of the mixer.- What is solo/PFL?: It isolates a fader for solo listening.
D. Types of microphones.1. Liquid microphone – metal cup filled with water and sulfuric acid. A
needle is placed on a diaphragm which floats on the liquid and onthe receiving side is another diaphragm that measures the changeof electrical signal from the movement of the needle.
2. Carbon microphone – carbon dust is compressed by two diaphragmswhich changes resistance.
3. Fiber optic microphone – uses fiber optics and no metals. Can bevery small and very much interference-free.
4. Dynamic microphone – takes advantage of electromagnetic signalswhich is generated by the movement of a coil.
5. Electret microphones – widely used in cellphones and computers.It is a type of condenser microphone, which eliminates the need fora polarizing power supply by using a permanently charged material.
6. Ribbon microphones – uses aluminum or nanofilm ribbons thatmoves when soundwaves hit them. It is bidirectional.
7. Laser microphone – uses laser beams that capture vibrations off of aplane and transmit it back to a photocell. The spies use this verymuch.
8. Condenser microphone – uses capacitors that change capacitancewhen they vibrate. A battery or external power source is needed tocharge the capacitors.
9. Cardioid microphone – it is best for recording because it is designedto capture sounds from the front and sides but not the back.
10. Crystal microphone - Certain crystals change their electricalproperties as they change shape. This type of microphone attachescrystals to a diaphragm that moves when soundwaves hit it.
E. What are effects?1. Reverb – reverberation or reverb are multiple reflections of sounds
produced, like when it hits walls. There are many types of reverbslike room, hall, arena, plate etc. What is best for what?
2. Delay – also called echo. The sound is repeatedly produced in acertain period of time and intervals. What is synchronized delay?
3. Chorus – is produced when sounds of roughly the same timbre andnearly but not exactly the same pitch converge and are perceivedas one. Too much chorus will tend to detune the sound.
4. Gate – is the exact time of ending the effect.5. Compressor – is used to limit the threshold of the signal meaning it
brings the distance of the lowest sound level and the peak levelcloser and limits both their bottom and peak to a certain amount.
F. What is grouping? - It is assigning many faders to another individual fader so that it can
be commonly manipulated.
G. What are reference monitors?- They are speaker systems that deliver flat response. They produce
minimal emphasis or de-emphasis of sound frequencies so that thesound we hear is exactly the same as the source.
H. Where to place speakers/mixing console.- They should be placed exactly where the throw of the sound to the
technician is at the meeting point (tangent). The sound is never thesame in different parts of the room/area.
I. Moving around/sound check.
- The sound should be checked from different angles so thatnecessary adjustments can be made until the sound is clear fromany position.
J. Band Instrument set-up.- The visual line path is also the audio line path. Remember that view
can be reflected by mirrors as much as audio can be bounced bysolid objects. But reflected view can be misleading and confusing asmuch as audio can be puzzling when they are not directly deliveredto us. So visual positioning is also important when setting up theband instruments. It is also important to know that to perfectlyachieve fidelity of sound from amplifiers the mic should be placedwith its diaphragm facing the loudspeaker and not as of thecommon mistake of hanging it at the front of the amplifier cabinetfacing the floor.
- Boom stands should be gravitationally balanced to avoid tippingover.
K. Drum set up.- We take special attention on drum micing. Not many technicians
know that an eight-piece drum set (having a bass drum, snare, hightom, mid tom, floor tom, hi hat, crash and ride) needs tenmicrophones.
- The bass drum will have one mic inside and another at half-waythrough the front hole. (explain why half-way through)
- The snare will have one mic on top and another at the bottom.Remember that the top of the snare is not where the snare is.
- The three toms will have one each at the top rim.- There will be one on top of the hi hat,- There are two mics (condensers) for overhead or ambience capture.- The best position to put a mic on a drum piece is at tangent inside
the rim because as we go inner the drum diameter, the more theskin vibrates and distortion is more and more created and thedifference between the hit and the overtone is quite large. So whatwe do is get the finer sound wave and then amplify it.
L. Acoustic Guitar micing.- Don’t place the mic too close to the guitar. Usually, it is about 1 ½
feet away from the guitar. It is always good to find the best angleand distance depending on the room or area. In recording studios,multiple-micing is utilized. (discuss further)
M.Cables. - Not all cables can deliver the satisfaction that we all want to
achieve. Of course the better-performing cables will demand higher
prices but the output and durability will compensate for theexpense. Some of the better ones are Mogami, Canare, Klotz etc.
N. Pre-amplifiers.- A pre-amp is a device that prepares a signal for further
amplification. This filters the signal so that signal-to-noise ratio orthe amount of desired signal against the background signal isimproved.
O. Input or output distortion.- Signals can be distorted because the sound source had gone way
above the input level of the receiver. The connection may be asynthesizer to the mixer, the amplifier to the mixer, the mixer to theamplifier or the amplifier to the speakers and etc.
- Mic levels usually range from +10 to +50 dbu.- Line levels are usually in the range of -10 to -20 dbu.- Louder volumes are more sensitive to mid-range frequencies.- Softer volumes are less sensitive to bass.- The safe level of monitoring for fidelity is 70 to 80 db.
P. Balancing and mixing.- There is no such a thing a standard set-up. Like we have discussed
earlier, different brand names and different rooms and areas willrequire different set-up.
- Different sound sources will also require different settings as in thecase of the human voice.
- Do not do a permanent EQ. just do a starting reference little bylittle.
- Do not maximize your setting at once because as more and morefaders go up, the setting will require you to adjust anew.
- Do not push one fader to its maximum (meaning the commonmistake of until you slightly hear that feedback). The best distanceis 50%.
- The Master Fader should be set to “0”.- Inspect the venue. What does it need or what doesn’t it need like
reverb EQ and etc?
Drums Workshop
Objectives:
To realize and understand clearly our calling in the music ministry through the talents that the Lord gave us.
To play skillfully, to inspire, to encourage and to draw people closer to God aswe hit the drums.
To bring back all the glory and honor to God with all humility
Psalm 150:1-6
Praise the Lord! Praise God in His sanctuary; praise Him in His mighty heavens! Praise Him for His mighty deeds; praise Him according to His excellent greatness! Praise Him with trumpet sound; praise Him with lute andharp! Praise Him with tambourine and dance; praise Him with strings and pipe! Praise Him with sounding cymbals; praise Him with loud clashing cymbals! ...
Driven by passion
a.) First and foremost we need to have passion in playing the drums.
b.) To be an effective Christian musician (drummer) we must have the passion to serve God.
Rhythm / rejoice
a.) In every beat and rhythm that we play is an offering of our worship to God. That everytime we hit the drums we strongly draw the community to worship God.
Psalm 150:4-6
Praise God with drum and dance!
Praise God with strings and pipe! Praise God with loud cymbals!
Praise God with clashing cymbals! Let every living thing praise the Lord!
b.) Rejoice in the goodness of God. Allow our hearts, hands, feet and body to be filled of joy worshipping God through our instruments (drums)
Unity
a.) We need to be united with God.
b.) We need to be united with the music ministry (band) especially with bass player.
c.) We need to be united to our community.
Phillipians 2:3
Do nothing out of selfish ambition, but in humility consider others better than yourselves.
Ministry
We are a Christian ministry. Our calling is to serve God and to serve our brethren in His name.
Matthew 20:28
28 even as the Son of Man came not to be served but to serve, and to give his life as a ransom for many.”
Servants
We are here to serve not to be served.
Humility is the key to be an effective servant of God and community.
Joshua 1:2
One who is distinguished as obedient and faithful to God or to Christ
Time, Talent, Treasure
Time - punctuality and availability
Talent - in singing and playing instrument which is very important in the music ministry
Treasure - sharing of our resources and investing in the instruments that we need.
Intimacy
Intimate understanding of our service in the music ministry and our community.
Initmate relationship with God, our prayer life as we play / learn the right rhythm for worship.
Commitment
To learn drum / song arrangement
To attend practice, service, household and other assemblies.
To serve not only in the music ministry but as well as other areas that we are called to serve.
To obey our leaders (pastoral heads and music ministry leaders)
Knowledge
Of God
Christian worship, our culture and CFC music
Knowledge of the drums
Drumming is rooted in our earliest biblical worship traditions. The frame drum (Hebrew TOF ) means drum, timbrel and tambourines that was used inthe old testament
Exodus 15:20-21
20 Then Miriam the prophetess, the sister of Aaron, took a tambourine in her hand, and all the women went out after her with tambourines and dancing. 21 And Miriam sang to them:
“Sing to the Lord, for he has triumphed gloriously;
the horse and his rider he has thrown into the sea.”
Drumming connects us with Christians around the world
Drumming is an accessible way for congregations to participate more fully in worship
Let us go drumming to the heartbeat of God
Conclusion;
Think of God as a Drummer and we are the drumstick, we maybe the best and most expensive drumstick but without God we are nothing and useless. Let us play skillfully for God’s glory.
Psalm 33:3
Sing unto Him a new song, play skillfully with a loud noise
ANNEX - A
THE PRAISEFEST
What is a Praisefest?
On of the blessings in our community is the gift of worship. In our households, when we pray-over during assemblies, we have been taught that our first response to all situations is to praise God. It is, therefore, no surprise how the Praisefest came to evolve.
The Praisefest is an extended worship in celebration of our life and mission in music. As such it is often used to cap or end anniversaries, conferences and large gatherings. Since it is a celebration, it is a special form of worship that should not take the place of our “Assembly or Household type of worship”.
Unlike most we have in Couples for Christ, the Praisefest is more structured. Although it is still “Spirit led”, the Praisefest is a prepared worship – meaning the band or music ministry knows more or less what and how the songs are to be played. In other words, there is a “flow” or “story line” in the way the songs are arranged and rendered.
The Structure of a Praisefest
The common structure of a Praisefest can be divided into 5 main parts.
The “call to worship” or “exhortation song”. This song helps bring people into the mood or mindset of worship. This maybe joyful-exuberant
song that makes people want to dance for the Lord, or a song that brings people to a solemn stance before the greatness of the God.
The second portion is the “praise and worship”. It follows the format of the usual CFC worship of a few fast praise songs and one or two slow worshipsongs that lead into “singing in tongues/the Spirit”.
Once the congregation has been led into the singing of the Spirit, they are more aware of the presence of the Lord and are more likely to hear His word in their hearts and through the Praisefest leader.
The third portion is the “reflection”. Here the prayer leader may speak a bitmore to guide the people in listening to the Lord. He may ask them to sit or kneel, pray alone in silence or for each other while the reflection song is being sung.
The fourth part is the “build-up” where one or two semi-fast songs are usedas transition for the last most jubilant part of the worship.
The last portion or “jubilant end” ends the Praisefest in a victorious celebration of God’s healing and goodness. Two to four fast, jubilant worship songs are used in order to achieve this.
The Mini-Praisefest
The Mini-Praisefest is used to cap a major talk during conferences, anniversaries and special gatherings. Like the normal Praisefest, it is a celebration of God’s goodness and healing, but is more of a response to the message of the talk. As such, it does not include the first two parts of the normal Praisefest and picks up from the reflection song of the talk into the “build-up” and “jubilant ending”.
A normal Praisefest would therefore run for about 45 minutes to an hour, while a Mini-Praisefest would be 15-30 minutes. At the next page are examples of what a Praisefest line-up may look like.
PART EXAMPLE 1 EXAMPLE 2 MINI-PRAISEFEST
1 Fix My Eyes on Jesus
God Alone -
2
The Voice of One Calling
Oh Hallelujah -
Sure Foundation Let The Saints Be Joyful
-
Lord I Lift Your Name on High
Sure Foundation -
All My Days Let Us Exalt His Name Together
-
Abide Oh Lord Spirit Of The LivingGod
-
3
Be Messiah Strong Arm Amazing Grace
Spirit of The Living God
4God Is The Strength Of My Heart
Open The Eyes of My Heart
God Is TheStrength of My
Heart
5
My Life Is In You Lord
You Have Broken The Chains
You Have BrokenThe Chains
Sure Foundation (Reprise)
God Is Good (G. Kendrick)
Sure Foundation
Shine Jesus Shine We Will Fight We Will Fight
How To Prepare for A Praisefest
1. Determine what kind of Praisefest you are to do and the circumstancesurrounding it (Will it cap a talk? Is it an anniversary or conference?)
2. Pray. What songs will speak of God’s message (e.g. “The Voice”, “SureFoundation”’ and “Lord I Lift” will remind those participating that we areGod’s people. “All My Days” and “Abide” will reaffirm that especially asthey sing in the Spirit. “Be Messiah” will impress their need for God as Hispeople. Hopefully, this will lead them to listen to God’s worth for them.The rest of the songs will just make everyone even more thankful andvictorious).
3. Use the songs in your prayer time. See how they affect you. Mostprobably, they will have similar effect on the community. Note: Make surethat your “singing in the Spirit” chords are easy enough to follow. This isvery important, since it is easier to lead people in the Lord’s presence andlistening to His word after they have “sung in the Spirit”. This, in the end,touches and blesses people more than the more than the words of aprayer leader ever can. Two regular-metered chords )e.g. “D-G”, “C-F”,etc.) are the easiest and surest way to lead people into “singing in theSpirit”.
4. Musically arrange the songs according to the character you need for thatparticular portion of the Praisefest. (e.g. If “God Alone” should besolemn, then have it played at first just in “strings” or “solo piano”).
5. Practice the songs. (Leave enough room and flexibility; however, in thearrangements of the songs and in the number of times you repeat a songfor God’s Spirit to work during the actual Praisefest.)
Qualifications for a Praisefest Leader:
1. Prayerful – More than anything, he or she must be prayerful, since it isthe prayer leader who listens to the Lord where to bring the people.He/She articulates God’s word and should, in a sense, get into the Lord’spresence before anything else.
2. Has an understanding of music – to be able to interpret the Lord’sleading into music/song.
3. Understands the life and mission of our community in such a waythat he can reaffirm this as he/she leads the Praisefest.
Source:
CFC Red Glory Songbook.
ANNEX - B
CORPORATE WORSHIP (PRAYER ASSEMBLY)
As part of our regular life in CFC, the members come together once a monthfor a chapter prayer assembly. This activity is in lieu of household meetings.Attendance at these prayer assemblies is required for all members.
Purpose
The prayer assembly is important for the life of CFC for the following reasons:
1. The larger body (the chapter or cluster) has an opportunity to worshipthe Lord together, thus affirming that we are His people and we are one.
2. This is a time to allow the Lord to speak to us as a body, throughprophecies, inspired Scripture readings, exhortations and personal sharings.Through these words from the Lord, we receive guidance, encouragementand strength as a body.
3. This is an opportunity to fellowship and meet our brethren from otherhouseholds and units, and thus to develop and strengthen relationships.
4. It affords an opportunity for united and thus more effective action inthe areas of intercession and spiritual warfare.
5. It helps us be attuned to and appreciate what God is doing in andthrough CFC, thus sharpening our vision and our sense of mission.
Ingredients
The typical prayer assembly would have the following components:
1. Arrival, registration, fellowship.
2. Gathering song(s).
3. Call to order.
4. Introductory exhortation.
5. Worship.
6. Personal sharings.
7. Closing summary and exhortation.
8. Intercessory prayers.
9. Announcements.
10. Closing song.
The prayer assembly would be for the duration of from 1 1/2 to 2 hours.
Leadership
The chapter prayer assembly is usually led by the Chapter Head. TheChapter Head may also ask another CFC elder to lead or assign a senior UnitHead to lead. The latter would normally be a potential Chapter Head and hisleading the prayer assembly would be a part of his training and exposure.
The prayer assembly leader normally handles the following:
* Introductory exhortation.
* Worship.
* Closing summary and exhortation.
* Intercessory prayers.
It is possible to assign a different person as worship leader and anotherperson for the intercessory prayers. However, it is preferable to have thesame person handle all the elements stated above.
Resource persons needed
Conducting a chapter prayer assembly would require the following supportpersonnel:
1. Service team.
* Setting up the chairs.
* Setting up the sound system.
* Registration table, including tithe collector.
* Novelties table.
* Ushers to guide people if needed.
* Snacks, if any.
* Clean-up after the meeting.
2. Music ministry.
* While the music ministry could consist of one person playing guitaror keyboard, it is recommended that the chapter develop afullblown music ministry, with various instruments and a number ofsingers.
* The music ministry leader should be a gifted person who can choosethe right songs as the prayer assembly progresses. The musicministry leader chooses the songs, unless the prayer assemblyleader dictates his own choices.
* The songs to be sung should be the officially-approved songs inCFC.
Physical arrangement
The arrangement of those participating in the prayer assembly is importantand should be conducive to an atmosphere of intimacy and oneness.
1. The basic arrangement is to have people seated in somewhat circularor square rows radiating from the middle of the assembly.
* The middle (which is off center) should be an open space in theform of a square, roughly 3m x 3m.
* A first row of 3 or 4 chairs should be on each of the 4 sides of thesquare (thus totalling 12 to 16 chairs in the front rows). Thereshould be an aisle or adequate space for people to pass emanatingfrom the 4 corners of the square and outward.
* The prayer assembly leader positions himself at the front, at one ofthe sides of the middle square.
* Behind the front row where the prayer assembly leader sits, thereshould be a few more rows, say 3 to 5 rows.
* The rest of the chairs are to be positioned in rows behind the other3 front rows in the middle. Since the square gets bigger, each rowwould progressively have more seats. Additional aisles for people topass can be provided towards the rear rows of chairs.
2. The music ministry should be situated in a place where eye contactcan be made between the prayer assembly leader and the music ministryleader. The music ministry takes its cue as to when to play from the prayerassembly leader.
3. Aside from the front row on one side of the middle square where theprayer assembly leader sits, there is no particular seating arrangement to befollowed. The front places are not reserved only for leaders. Members maysit anywhere.
FORMAT
For good order in the prayer assembly, the following format should befollowed:
1. The start of the prayer assembly is signaled by a gathering song. Atthe end of this song, all should be seated and no longer engaged in anyconversation.
2. New songs may or may not be taught. If new songs are taught, thisshould not take more than 10 minutes or so.
3. Introductory exhortation.
* The purpose of this is to prepare the assembly to worship the Lord.It is not simply making opening remarks, but rather an attempt tofocus and attune the assembly to coming before the Lord in vibrantpraise and worship.
* This may be in the form of an inspired Scripture reading, a sharing,expounding on a theme, and the like, all followed by an exhortationto worship.
* This may be as brief as less than a minute or as long as 10 minutesor so.
* During this time, the assembly remains seated. After theexhortation, the leader asks all to stand.
4. Worship.
* Music.
- The music ministry usually starts off with a rousing song, onewhich naturally propels the assembly to loud and vibrant praise.
- The music ministry continues to make a joyful noise with itsinstruments during the times of verbal praising.
- As the praising is toning down, another praise song is sung. Thecontinuity should not be broken by allowing the praising to stopbefore starting the second song. Also, the momentum should notbe inhibited by pausing to make an announcement as to whatsong is to be sung.
- If the praising is still very vibrant, the music ministry leader (orupon signal from the prayer meeting leader) may decide to havestill a third fast song.
- As the praising tones down, a slow worship song is played.
- The worship song leads automatically to singing in tongues.
* Words from the Lord.
- One might be inspired to have a prophecy in song, which canblend into the singing in tongues.
- When the singing in tongues has stopped, there is a time ofsilence. This is a time of waiting on the Lord to speak. This canlast from just a few seconds to a minute or so.
- During this time, those with prophecies, visions and inspiredScripture readings can come forward and present themselves tothe prayer assembly leader, who decides on who will be allowedto speak out.
- It is possible but not necessary to have discerners who will"clear" what words are to be spoken to the body.
- The leader may allow a few to speak. Normally it should notnumber more than 5 persons or so, unless in his discernment theleader believes that the Lord would want to speak through morepeople.
* Prayers by the leader.
- The prayer assembly leader may respond to any specific wordsfrom the Lord. For example, a call to repent; or a call to pray forone another; or a time for those present to go to others to bereconciled.
- Normally, the leader would just say a prayer on behalf of theassembly, which prayer would close the time of worship.
- There are to be no individual prayers of thanksgiving and petition(as is done in a household meeting).
- After his prayers, the leader asks everyone to sit down.
- If there were others who wanted to speak a word from the Lordbut were not afforded the opportunity during the time of worship,the leader can still call on them at this time.
* The time of worship would normally be from 30 to 45 minutes.
5. Personal sharings.
* This is a time for calling upon individuals to come to the front andshare about something significant in their life in the Lord.
* It is suggested that those who want to share either inform theprayer assembly leader before the meeting, or if led to share as theprayer assembly is in progress, may pass on to the leader slips ofpaper with their name and a one-sentence description of thecontent of their sharing.
* The leader decides on whom he will call upon to share.
* The leader may insert a song after every few sharings.
* The total duration of this portion of personal sharings can be from30 minutes to one hour.
6. Closing remarks.
* Up to this time, the prayer assembly leader tries to discern what isGod's overall message for the assembly, from his own spiritualpreparation before the prayer assembly, to the time of worship, tothe words from the Lord, and through the personal sharings. Hethen puts everything together and gives a closing exhortation.
* This is not just a summary of what has already transpired, but aweaving together of the various elements into a clear overall wordof the Lord for the body.
* This may take anywhere from a few minutes to 15 or more minutes.
* After giving the message, the leader asks everyone to stand.
7. Intercessory prayers.
* These are prayers of petition and intercession made by the prayerassembly leader (or the one assigned) on behalf of the wholeassembly.
* This portion normally would be about 5 minutes.
* It can be ended by reciting or singing the Lord's prayer.
* The leader then asks everyone to sit down for the announcements.
8. Announcements.
* These can be about coming schedules, reports on activities,birthday and anniversary celebrants, and the like. There should notbe too many announcements since this portion should not take toomuch time.
* These are usually done by the chapter servant or other person(s)designated by the Chapter Head.
* After the announcements, the leader asks everyone to stand for theclosing song. This song must be vibrant and joyful.
Individual involvement
Every member should participate wholeheartedly and actively in the prayerassembly. More specifically, all should:
1. Prepare themselves spiritually prior to the start of the assembly.
2. Bring their Bible, songbooks and paper for notes.
3. Come early and take time to fellowship.
4. Come to order quickly at the end of the gathering song, and follow thedirections of the prayer assembly leader.
5. Participate actively in praise and worship.
* Singing with gusto.
* Raising hands, clapping, dancing.
* Loud vocal prayers of praise.
* Singing in tongues.
6. Be sensitive to the Spirit. If led to speak a word from the Lord or togive a personal testimony, they should boldly present themselves to theleader.
7. Enter into the prayers being made by the leader or other persons andmake these prayers their own.
8. Actively listen to the personal sharings and the exhortations.
Other important considerations
1. The prayer assembly may be held on any day of the month, to bedecided by the Chapter Head.
2. The chapter cluster may have a joint prayer meeting on occasion, asdecided by the Cluster Head.
3. It is not necessary to have a Mass prior to the prayer assembly,especially if this will result in the prayer assembly ending very late. If themembers become tired and hungry, it may not be too conducive to having avibrant prayer assembly.
4. This is not normally the time for a teaching, although a mini-teachingmay be an element during the prayer assembly. If the Chapter Head wantsto have a regular teaching, he should schedule a teaching night on anotheroccasion.
5. Punctuality.
* The prayer assembly should start promptly at the appointed time. Ifat all, the only permissible delay would be for not more than 10minutes or so.
* Obviously, the physical arrangements and the service and musicteams should be in place much earlier than the starting time.
6. Members are not allowed to smoke or eat during the entire length ofthe assembly.
7. Members are not allowed to sell items or solicit business for theirpersonal accounts, unless specifically authorized by the Chapter Head.
8. Members should not leave until the prayer assembly is over, i.e., afterthe closing song. If anyone has to leave earlier, he/she must seekpermission from the Chapter Head or Unit Head beforehand and sit at therear in order to be able to leave quietly.
9. The men should help in putting away the chairs and in the clean-up ofthe place, if this is requested by the leader or by the service team.
10. Guests may be invited to the prayer assembly.
Pastoral comments
1. It is important for us in CFC to have a similar or uniform way ofconducting our monthly chapter prayer assembly.
* It is a tangible evidence of our unity and our being a part of the oneCFC which is a worldwide family.
* It is a reflection of our unique culture in CFC.
* It enables any CFC member to attend a CFC prayer assemblyanywhere in the world and just easily enter into the proceedings.
* It makes CFC distinguishable anywhere. If Chapter Heads simplyconducted the prayer assembly in any way or manner they deemeddesirable, we would very quickly witness so many variations andpossibly cause confusion and division within the larger CFC.
* The "structure" of the prayer assembly is intended not to restrictthe Spirit, but in fact to have good order, which should enhance theworkings of the Spirit.
2. Even given the above, however, it certainly is possible that the prayerassembly leader would be led to deviate from the "structure" at a particularprayer assembly or portion of a prayer assembly. We do have this flexibilityto adjust to a genuine leading of the Spirit.
3. All CFC members ought to see the chapter prayer assembly as a gift tous from the Lord, intended to build up the body.
* We do not focus merely on the abilities of the leader or howinteresting the sharings are. We are not there to be entertained.
* We focus rather on the message of the Lord to us personally and toall of us corporately.
* We need to realize that it is the Lord himself who is present and isministering to each and every one, and that the Lord gives himselffully to the person who would accept him without preconditions.
* * *
"Be filled with the Spirit, addressing one another in psalms and hymns andinspired songs. Sings praise to the Lord with all your hearts. Give thanks toGod the Father always and for everything in the name of our Lord JesusChrist"
(Eph 5: 18-20)
ANNEX - C
