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Praise and Worship Training Material by Duta Music Ministry Bogor - Indonesia

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Published by GBI Rayon 7, 2017-04-23 22:38:38

Praise and Worship Training

Praise and Worship Training Material by Duta Music Ministry Bogor - Indonesia

Worship Training Material

Trainer: Ps. Paulus Daniel Santo

I. Restoration of The Tabernacle of David

Background.

A new and fresh movement of the Holy Spirit is happening within the Church
nowadays. The restoration of Pray, Praise and Worships. This movements is an
important aspect of “The Restoration of the Tabernacle of David” that God is doing in
these end of time.

The word “Restore” is translated into Afokathistema in Greek. Which means:

1. To return something to its original.
2. To return moments or something missing
3. To Reset, Refresh, Equip and made into Perfection.

The Restoration of the Tabernacle of David.

Amos 9: 11 – 15 : Acts 15: 16 – 18.

Meanings:

1. Church services that are influence mostly by Pray, Praise and Worships to God
just like that of David’s Era (2 Chronicles 29:5).

2. Church of the New Testaments. People who are seeking God are like those of
David’s era. Church that are in restoration in their services.

The Purpose of The Restoration of the Tabernacle of David.

Amos 9: 12 - 15.

1. Harvesting of the Souls:
- Christians that are not yet born again.
- People that have not receive Jesus as their personal Savior.

2. Fast Spiritual Growth.
3. God’s Presence in their personal pray time and as corporate in the church

services
4. God’s abundant blessings.
5. Security of Salvation.

5 Aspects of Praise and Worships within the church services that God will restore.

1. Restoration of The Heart of Worships. The core of worships is the first love.
2. Restoration of the Holiness in Worships.
3. Restoration of Worships in Unity.
4. Restoration of Focus in Worships

a. Praise and Worships will the main focus during services.

Page 1

b. The active involvements of the congregation is crucial.
c. Simple chosen songs, so that the newest members of the congregation

can follow and the lowest skilled member of the Praise and Worships
Team can play.
d. Choose songs with lyrics that focuses more vertically, such that which
we want to say to God the Almighty.
e. The Joy of the Holy Spirit can be expressed through clap of hands,
dancing and spontaneous in mannered shouts or response.
f. Worships and Prayers using the language of the Tongue are freely used
without boundaries.
g. The main usage of facilities and other supporting tools are only to make
the Congregations to focus more on God.
5. Restoration of the 24 hours 7days a week Pray, Praise and Worships.

Why do we need to start services with Worships and Music?

a. To renew and calm our soul which resulted in better focus towards God.
b. Giving the opportunity to the manifestation of God’s Presence to slay us.
c. God is in Throne of the Praises of His People.

3 Points behind the making of Praise and Worships.
1. To get to know God (John 4:22). There is relationship between us and The
Father.
2. To Worship in the Spirit (John 4: 23 - 24).
 To worship in the renewed Spirit.
 To worship in the guidance of the Holy Spirit.
 To worship using the language of the Tongue.
 Filled with the Holy Spirit.
3. To Worship in the Truth.
 To worship in the stage of being truthful:
- Made true by the God Almighty.
- Living in Repentance.
- No sins or hidden sins.
 To worship correctly.
- Exaltation.
- Expression.
- Experience

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II. Building the Praise and Worship Team

Worship Team are those that help and serve with the congregations to ready the Praise
and Worships that is acceptable in God’s eyes.

Worship Teams Consisted of:
1. Worship Leader.
2. Musicians.
3. Singers, Backing Vocals, Choirs.
4. Coordinator and Secretary in charge of Schedules and Trainings.

Straighten The Concepts!
Worship Team are not “Musicians and Singers” such as those who are in performance
and entertainment industries. Worship Team are chosen men and women of God,
equipped with God given talents to Praise and Worship Him. “Priest of Praise and
Worship”.

Criteria of Individuals accepted in the Worship Teams.

Spiritually:
a. New Born and Baptized.
b. Possesses the fruit of Repentance.
c. Filled with the Holy Spirit.
d. Living a life filled with Pray, Praise and Worships.
e. Doer of His Words.
f. Possesses High standard of Purity.
g. Understands the concept of submissions.
h. Planted in local church.
i. God’s bold witnesses.
j. Pure in words and actions.
k. Anointed with the Prophetic Anointing.

Physical and Technical:
a. Possesses good vocal and musical skills.
b. Have a good knowledge of basic vocal and musical technics.
c. Possesses good ear training skills.
d. Well mannered.
e. Team player.
f. Creative and possesses Initiative
g. Discipline, keen and have the heart to serve God.
h. Plenty of knowledge of songs
i. Humble, have the willingness to study and learn.
j. Mentally and physically ready.
k. Able to receive and be received by others.

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How to Build an Anointed Worship Team.

5 areas of life that needs to be prepared:
1. Anointed by the Holy Spirit.
2. Sanctify with repentance and purity (Exodus 30: 18-21)
3. Chosen to Serve (Exodus 29:20).
4. Given the Garment of Praises (Isaiah 61:3)
5. Dedication of life to God (2 Chronicles 29:27).

A. Building our personal Spiritual life for starter.
 Choose and select those who are born again, filled with the Holy Spirit and have
the heart and willingness to give back their God given talent to serve and glorify
God.
 Guide and lead them through the understandings of basics serving God with the
heart of a servant.
 Give time to see their involvement and growth in the local church.
 Gather them at least once in a month in “Gathering/Fellowship of Worships
Teams” to do impartation of vision, anointing and study the basics of Praise and
Worships.
 Mentor and guide them to continue to living a life producing the fruits of the
Spirit. A Praise and Worshipper must possess Godly morals and characters.

B. Talented, Skillful and Discipline in Practicing.
 Talented, Skillful and Discipline in Practicing are all important aspects that a
Praise and Worshippers should have.
 Choose a “Key Instrumentalist” (Guitarist or Pianist/Keyboardist) to bridge the
gap of vocalist and musicians.
 Learn:
 New songs
 Worahip
 Adjustments with worship leader
 Back up vocalist
 Learning to sing kind of song with different chord

 Individual practice needed for instrumentalist with his instrument for serve
Holy spirit in you. Make a time to worship His Name with your talent

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Anointed Servant

The meaning of an anointed servant is given talent by God to do the assignment and by
the call. Therefore, needs spiritual prepare until you can be an anointed servant. 2 things
to make anointed lifestyle:

1. Come near to God ( James 4:8)
2. Make a religious lifestyle and be a model for people

Talented servant

A servant in Praise and Worship need to spread their talent according their expertise.
Several things that we can do:

 Increase individual talent
 Increase team talent.

Prepare Before Serving

1. Repair communicate between God and human

With God :
 Pray and read the Bible everyday
 Self Introspection
 Resolve all the sin that hindering
 Descend while fasting

With human:
 Resolve the problem with fellowman

2. Life of prayer
 Pray for all the people, specially as a worship leader
 Thankful for tendency which God believe for us
 Pray for His honor fall down n church where you serve
 Anointed of Holy Spirit on His servant
 Pray to God that answer our problem and people who come to church

3. Preparation of Mental
 Self control and be the light
 Prepare for handling unexpected moment
 Prepare for receive critics or commend
- Keep humble if we succeed
- Do not hopeless if fail, learn from the failure

4. Physical Preparation

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As a Praise and worship servant, we must keep our healthy, specially towards
the day. Adage world says “in a strong body there is a healthy soul”
5. Preparation Technique

 Practice with music team literally
 Learn the new song
 Compile the song will be sung
 Test the songs arrangement
 Rehearse with the team music and singers
 Learn key and tempo
 Check for the support tools
 Communicating with the operator
 Check sound
 Confirmation with Pastor
 Have a quality rest
 Good looking

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III. Flowing Concept

The purpose establishing of flowing conception praise and worship:

 Know the liturgyy
 Understand how to sing a song appropriately
 Understand how to merge in music and singers
 Understand how to connect flowing song to another song

3 Elements Flowing :

 Focus
 Keep our eyes focused for God, through our expression
 Selection of song which is easy to make people focused to God
 Motivating not teaching, persuade not, persuade not commanding
 Make the right decision as guidance of Holy spirit

 Interpretation
 Memorize the song lyrics and understanding per sentence
 Quickly caught on the dynamics in a song
 Delicate the right moment for„add lip“ and short commend

 Harmony
 The real Harmony started from spiritual unity and unity of motivation
 Mixed with intersrestation of music, specially rhythm and beat of the
song
 Knowing the intro, interlude and coda
 Good compost of vocal with singers

Prepare Flowing

 Appropriate as Holy Spirit Guidance

The one who understand God’s heart just holy spirit. If holy spirit guidance
us, and we follow it, this moment called flowing in spirit. There are 3
important things to get guidance of holy spirit:

 New anointing every leading worship.
 Spiritual ear always opens and heedful. Get rid of any kind of noises.
 Religiously follow holy spirit in everything started from trinket.

Several benefit that we leading worship in guidance of Holy Spirit:

 Holy spirit will always praise Jesus, thereover our worship focus always
directs to Jesus

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 There will be manifestfrom holy spirit.People who have sins were
borught to repentance, miracle, peace prospereusand happiness, there
will be a prophecy and God’s word which strengthens..

 Peolpe will very blessedwith special way
 Pastor will be helpful by the moment moreover obtain revelation from

God
 All servant in praise and worship team will statisfied and blessed
 Physicly, we are not tired, but the freshness instead.
 Increasingly awake that not our strong do that, than every our praises

that we returnto God.

 Have a clear direction

The right catch the guidance of Holy Spirit will give clear directional in
praise and worship. The clean direction will seen when worship leader
starting with opening prayer, singing the right songs, right comments, or
praise which will sing by. The clear direction will give effect like:

 Relax forworship leader
 Not causing incident in worship team and people
 Will open the deep worship

 Setting the good groove until “Climax”

Climax mostly translated by the worship leaders as the top moment for
people to receive God’s word. Setting the climax started from the
beginning of worship and increase gradually. The following is level
expected levels to get the climax:

1. Starting condition, is level readiness people when the worship starting.
Several things below are affect the starting condition:
 The time of preparation prayer away before the worship
starting, included individual pray with sincere heart.
 Flowing love from all the servant since the people come
in.
 Unity and one heart from all God’s servant.
 Calm condition when people come
 Good opening prayers.

2. Climax 1
Started with praise, increase the starting condition until people have
relief and get the freedom to praise and worship. In this moment,
allow Holy spirit to recovery, release, self consecration and renewal
love to God.

3. Joyful Moment

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This Moment can be accomplished in Celebration Part with
motivating people for fellowship, expressive, and responsive for
praising God.
4. Climax 2
Prepare the people for listen His word. Deep worship moment can be
enjoy in this moment. Prepare the fertile soil for His word.
 Follow the Music
Need to note called musically flow. The magnificent will flows in
worship moment and make it perfect when the leader pay attention to
rules of the music, such: cheat sheets, tempo, and arrangement

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IV. 40 Things for Worship Leader

Started to worship :

1. Make sure that you are good looking.
2. Keep calm, relax and polite when walk to podium
3. Standing with a good gesture
4. Keep smile
5. Watch the people from all the angle, while smiling ramah with a warm

greetings for take the attention from audience
6. Greetings with sincerely, not a chit-chat
7. Say in short, polite, and clearly, when there is a briefing
8. Do not comment moreover judging people who come late, let the announcer

submit in the end of worship time.
9. Apologize if delayed. Try to on time
10. Mostly in public in church started with pray, sometimes, with their pastor,

sexton or the worship leader. When we were leading a prayer, pray with
clearly and not rambling. The most important of pray must directional in
guidance of holy spirit until people involved in pray. Show off the fighting
spirit we give with not overreact. The goals is to transfer the fighting spirit to
people and they can see your strength and dynamic.

Sing praise and worship song:

11. Hold the microphone with the right position. The right position of
microphone will bring:
 Clear and good voice
 Face clearly visible from the front
 Attractive in our hold hand and we felt that heavy

12. Singing with the right technique :
 Good technique in breathing
 Good and clear sounding
 Follow the right beat.

13. Do not be very stiff and quiet when sing ballad
14. Do not overreact
15.Do not close your eyes too much when singing
16.Do not hit the microphone when give applause
17.Familiarized the clap hand with snare drum stroke.
18.If you make an error, be nature and keep it go on.
19.Give clue with your hand to music instrument player at the right moment. If an,

error come out, keep smile and not affected by the error
20.Watch the singers and music instrument player occasionally when singing.

Smile and give them spirit to worship God.
21.Do not modify the cheat sheets and stopping in the middle.

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22.Sing the modulation :
 Let the music instrumental player know the cheat sheets
 Give the clear clue at the right moment to overtone
 Defining the music instrument player saw the clue
 Sing the modulation without any doubts

23.Do not modify the tempo with weird hand gesture and continuously.
24.Do not let the people standing over long
25.Tell the people to sing together.
26.Do not affected by people who are not join when singing or do not give respond

Handling the Problem :

27.If your worship incomplete, be a wise leader
28.If there are a noise from the outside which is interrupted the moment (noise,

child’s voice or run, etc) keep humble and cooperate with other servant to
resolve the problem.
29.If the power outage :

 Keep singing in „acapella“
 Make the decision quickly with guidance of holy spirit keputusan

dengan pimpinan Roh Kudus
 Pray in battle spirit
 Assure that God take the part to bring in kindness
30.If there long evidence:
 Preparing for “throw out “one or two songs because of the time.
 Be brave for make decision to stop if accepted by Pastor or Worship

Coordinator considering by the moment where starting to “get down”.
If not accepted yet, act to wise.
31.If pastor delayed or not come:
 Do not nervous, keep calm, and believe the pastor orsexton who
managing the schedule
 Be prepare with alternative song as an addition

Some of good habits:

32.On time when started, and finish at the right time
33.Being hospitable as a „habit“.
34.Take a quality break every day.
35.Do not eat or drink “ too spicy, too hot, too frost, too oily, too much, etc.”
36.Do not talk to much for outside. It is for :

 Avoid carelessness in words
 Save anointing
 Take a break for the cord
37.Doing sport literally specially for supporting organ vocal like jogging,
swimming,andaerobic
38.Spare time for learning vocal everyday
39.Complete the praise and worship team in the end of liturgy to pray and give prize
together.
40.Always return every commend just for God.

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Keyboard Training Material

Trainer: Deni Arieswiyono

- Introduce the Instrument
- Note Position
- Finger Position on Scale
- Fingering in Major Scale : C, F, G (Ascending & Descending)
- Beat: beat 4, beat 2, beat 1
- Basic sight reading technique ( Schmitt & Beyer )
- Basic simple song while reading
- Chord basic :C, F, G
- Song
Note Position
The meaning of note position is for introduce to every notes on the piano, so when you
play piano, you may play it very well.
For more information, you may see the picture below:

Interval
Interval is space between two notes.
The picture below will be explain space between a note to antoher notes:

Accidental Sign
The function of Accidental sign is a note of a pitch (or pitch class) that is not a
member of the scale or mode indicated by the most recently applied key signature
The picture below is signs on accidental signs:

Page 12

Fingering in Scale
Doing this in the right way gives a foundation for a development of good technique.
Sometimes you will see instructions that tell you which fingers to use by the numbers 1-
5 on piano sheets. The picture below is how to do the right fingering :

C D E F G A BC
12312345

Fingering Exercise
Fingering Exercise is for exercising our fingers to tap the notes which we will use after

we can play piano very well.
For the fingering, below is the kind of the exercise:

 Ascending = Ascending is going upwards in the keys (Ie: C D E
F G A B C).

 Descending = Descending is going down (Ie: C B A G F D E C)
That was a bit obvious

 Contrary = melodic motion in which one part rises in pitch
while the other descends

 Arpeggio = Like a chord, it is made up of only certain notes
from that set. So an arpeggio is a chord played like a scale.

Note

Note which we learn in basic 1 on instrument piano is :

- 4 Note - 2 Note - 1 Note

The picture below explain the signs of notes :

Page 13

Chord
Chord is a several notes played together which is have harmonization. The Chord is
very important in song, because chord to escort the melodies.
The picture below is the example of chords:

For piano basic 1 note we will learn is C, F, and G. In scale F and G, if we count in
interval, it will be a sign of sharp (#) on G scale and a sign flat (b) on F scale.

F Major Scale
G Major Scale

Page 14

 Fingering Exercise on scale D, A, E (ascending & descending)
 Arpeggio (ascending & descending)
 ½ Note
 Sight-reading (Schmitt &Beyer)
 Simple song with reading
 Chord progression (D, A, E)
 Application on song
There are scale we will learn are D, A, E. The picture below is the signs of notes :

A Major Scale

E Major Scale
Arpeggio
For arpeggio exercise usually use the broken chord. The function of arpeggio is for
exercising the right fingering to tab the notes on piano.
Quaver
The eighth note is worth ½ of a Quarter note. It may also be considered as a one beat
note in 3/8 and similar timings, the 8 on the bottom of the time signature giving the clue
that you are counting in eighth notes. This is the first note in the rhythm tree to have
a flag. The flag is the name for the 'tail' added to the eighth note. Eighth notes may be a
single as shown on the left, or joined together with beams.

Page 15

Sight-reading
In sight-reading used Schmitt and Beyer book. For basic 1 use Beyer book start from
no.3 until 50, for basic 2 no.50 s/d 100. In Schmitt Book start from no.1 s/d 100
Chord Progression
Chord progression is as a series of chord changes that are played throughout a piece of
music. The picture below explain how the chord progression signs :

Page 16

 Fingering Exercise in F, Bb, Eb Scale (ascending & descending)
 Arpeggio (ascending & descending)
 Semiquaver
 Sight-reading (Schmitt & Beyer)
 Simple song and reading
 Chord Progression (F, Bb, Eb)
 Application in Song
We will learn about how to play F, Bb, and Eb Major scale. For F Major have a flat (b)
which is in 4th position, Bb. Bb Major have 2 flats (b) in 4th position and first position, Bb
and Eb.
Eb Major have 3 flats (b) the first is Eb, second is Ab, and the last is Bb.

F Major Scale

Eb Major Scale

Arpeggio
Like a chord, it is made up of only certain notes from that set. So an arpeggio is a chord
played like a scale. Usually like broken chord.

Page 17

Page 18

Semiquaver

Semiquaver is The Sixteenth note is worth ¼ of a Quarter note. It may be beamed
together in the same way as the eighth note. It changes from the eighth note by having
an additional flag. Look at the picture and you see a double flag at the top of the stem.
This is how you tell a note is a sixteenth note

Semiquaver

Chord Progression
Chord Progression can be seen in the material before.

Page 19

 Major Scale (Bb, Eb, Ab) = ascending & descending
 Minor Scales (12 scales) = ascending & descending
 Sight-reading (Beyer & Schmitt)
 Chord progression (Bb, Eb, Ab)
 Application in Song

We will learn new scale, there is Ab. Ab Scale have 4 signs chromatic, there are Ab in
first position, Bb in second position, Db third position, and Eb in fourth position.

Ab Major Scale

for Bb and Ebcan read in the material before.

Minor scales
The natural minor scale, also known as Aeolian scale, taken by itself. When a
major scale and a natural minor scale have the same key signature, they are relative
keys. A natural minor scale has the same notes as its relative major scale, but is built
starting from the sixth note of the relative major scale., :

Minor Scale have 3 pattern of scales:

- natural minor -minor melodic

- minor harmonic

Page 20

The picture below is scale of nature minor, minor harmonic, and minor melodic :
Page 21

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 Learn all of the scale Major (12 scale)
 Learn progressive chord in all scales
 Learn to escort song in all scale
 Minor Scale
 Learn Latin Rhythm

Advance in music is rank where student can play piano very well, from the start until
advance. In advance we will learn how to escort band or solo piano. And we will learn
rhythm music Latin.

12 Scales
In this material, we will learn all the scales in one simple song for exercising the
sensitivity of note when escort the singer or solo.

Learn Progressive Chord Progression in 12 Scales
Learn progressive chord progression in 12 scales is play songs while use all the
progressive chord which we learned.

Learn Escort Song in All Scales
In this material, student will learn how to escort a song in all scale. This is very
important to exercising the sensitivity of scale and the progressive chord.

 Swing Rhythm
 8 Beat Rhythm
 16 Beat Rhythm
 Pentatonic Scale ( 5 Position ) on C Major
 Blues Rhythm
 Slow Rock Rhythm
 Shuffle Rhythm
 Rock Rhythm

You may see the Latin rhythm below

Bossa Nova
Cha-Cha

Page 23

Salsa
Samba
Songo

Page 24

Building an atmosphere for worship with music
We can build an atmosphere for worship using Progressive Chords
Progressive Chord is basically the progressive movement from chord to chord in a
song composition or what we normally call a chord circle. It is very important for any
church musician to master this.

Progressive Chord formula :

I ii iii IV V vi vii
M m m M M m dim

Diminished (dim) Chord Formula:

1 - 3b - 5b

To create an atmosphere for worship, aside from good understanding of how to use
chords, there needs to also be good understanding of rythmics and scales.
Below are some examples how to use progressive chords (in all keys) to support
worship:
1. Thanksgiving

Example of 'thanksgiving' song are I am here, give thanks,etc.
the worship progressive chord would be:
|:1...|1/3...|4...|5...:|, |:4...|1/3...|2...|5...:|
2. Intimacy

Example of songs that characterize as songs of intimacy with God are as a deer,
deeper in love with You, etc.
the worship progressive chord would be:
|:1...|6...|2...|5...:|
3. Majestic
Example of songs of God's Majesty are You deserve the glory, Shout to the Lord, etc,
the worship progressive chord would be:
|:2...|1/3...|4...|5.6.:|

Page 25

Vocal Training Material

Trainer: Ketura Anggina

Though your vocal cords are not the only part of your body that affects your singing
voice, it’s a good place to start the discussion. When you hear words like acoustics and
resonance, you may not necessarily think of vocal cords. But your vocal cords are part
of a system that includes:

 Lungs that inhale and exhale air
 Vocal folds that vibrate
 Pharynx and mouth which make up your resonator

Acoustics refers to the principles and properties of sound. Just think of all thetimes
you have heard teenagers talk about the “great acoustics” of their stereo systems. What
they are talking about is the quality of sound that is achieved through sound frequency
(number of vibrations), amplitude (sound volume and intensity), duration (how long
the sound lasts) and form (structure of the sound). Your lungs, vocal folds, mouth, air
passageway and the diaphragm all play a part in sound production. Another term you
need to know is tone. Tone is the quality of the sound. To get good quality, which is
one of the singing goals, you need to control your breathing in a way that produces the
best human acoustics and tone. That same type of connectedness applies to your
breathing system.

 Diaphragm – large muscle that separates the abdomen and the lungs and its
contractions contributes to the inhalation and exhalation of air

 Lungs – air sacs that expand and contract as air is drawn in or expelled
 Trachea – the channel of your human wind instrument through which air

passes
 Vocal cords – vibrating folds that create sound as air passes through and

causes changes in air pressure
 Voice Box (larynx) – cartilage box that contains the vocal cords
 Pharynx – the throat or the tube that runs from the top of the larynx to the

nose and includes the hard and soft palates
 Mouth – oral cavity that includes your lips, tongue, and teeth
 Resonating chambers – the facial bones around the cheeks next to the nose

and the hollow sinus cavities over the eyes

In general, the parts just mentioned serve the following purposes in sound production.

 Diaphragm – affects sound strength
 Lungs – healthy lungs can assist with clearer sound

Trachea – fully open it will enable unimpeded air flow for better sound

Vocal cords – the characteristics of the vocal cords affect the pitch and
quality of sound produced
Larynx – where resonance is created
Pharynx – critical to creating rich sounds that do not have a nasal
quality

Page 26

Mouth – used to articulate words in a song

Resonators – creates amplified sounds with full tone

Breathing

There are two sides to breathing – inhaling and exhaling – and both play an important
role in singing. Breathing is a natural biological function, but you can control how you
breathe in order to develop your best singing voice. Inhalation is when you draw in
breath. You want to inhale using your diaphragm and not your chest. When you
breathe from your chest, it means you are taking shallow breaths. You want to learn
how to take deep breaths. The diaphragm, as described earlier, is an important muscle
that separates the abdomen and rib cage. But many beginning singers don’t realize the
diaphragm muscle is also connected to other abdominal and back muscles. To breathe
deeply you need relaxed back muscles that don’t limit your diaphragm movements.

To practice breathing:

 Loosen the back and diaphragm
muscles with stretching exercises

 Stand with good singing posture
 Lift your rib cage first
 Breathe deeply so that your
diaphragm expands and contracts, and not your
rib cage
 Take many deep breaths and
practice while feeling for expansion in your diaphragm muscle, side
and back muscles

Posture

Posture is critical to becoming a good singer. It has been
mentioned several times already that singing involves the
whole body, and not just vocal cords or breathing apparatus.
Anytime you are singing you want proper alignment of the
body. Notice you need to align the whole body and not just the
spine. Good posture enables the diaphragm muscles to work
properly and air to flow smoothly from the lungs, and then up
and out of the mouth after passing through the vocal cords.

Proper posture requires alignment from your neck all the way
down to your feet:

 Keep your neck straight so your ears are aligned
over your shoulders. Don’t jut your head out
 Keep your shoulders back and down - and don’t lift them up
 Keep your spine straight and not curved
 Keep your chest lifted so that the diaphragm works properly
 Keep your hips slightly tucked so that the spine stays straight
 Keep your knees flexible and don’t lock them
 Keep your feet separated by shoulder width

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Don’t: Thrust the chin forward or up
Throw the head back
 Clench the teeth
 Push the tongue against the teeth
 Clench the hands or toe
 Round the shoulders
 Slump the spine
 Lean excessively forwards or sidewards
 Tilt the pelvis excessively
 Hold a rigid posture
 Try to keep the spine straight

 Lock the knees

 Keep thigh muscles braced
 Raise or hunch the shoulders
 Narrow the back
 Stand or sit with an asymmetrical

posture

Mouth

Hard Palate help singer to amplifies sound or make our voice sonorous (forward
direction). It very useful to make our voice strong and powerful, and sing in the stable
note or tone. We used this room to make a clearly consonant when sing.

Soft Palate help singer to make the voice more flexible and warm. It very useful to
make fully voice and help singer to reach the higher notes.

The tongue is a strong muscle that needs to be tamed for singing. It can cause
tension/damage in vocal cords and larynx.

It should lay relaxed and limp in the mouth

The tongue will move as a unit with the jaw

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Vowels

A…E…I…O…U! In a continuous flow of air you create vowel sounds. It is vowels
that play the most important role in tone production. That is because it is the vowels
that linger on to produce the longer sounds that separate normal speech from singing.
Vowels are pronounced by controlling the shape of your mouth and tongue, and the
position of the soft palate at the back of your throat. The soft palate should be lifted in
order to allow clear air flow into the resonators in the face. You don’t want to open
your mouth too wide horizontally, and you want to keep the jaw relaxed.

Consonants

A vowel requires continuous air flow but a consonant needs air flow to be interrupted
for correct pronunciation. Though the lips, tongue and palate affect air flow and thus
vowel sounds, they are called tone articulators when pronouncing consonants. To
become a better singer you will need to learn to control the hard and soft palates, the
shape of the lips, the placement of the tongue in the mouth and against the teeth, and
the position of the lower jaw to produce crisp clear consonants. All of these physical
components are called articulators.

Placement

There are three voice placement : Chest Voice, Middle Voice, and Head Voice. They
are really important when we are sing.

 Chest Voice is place to sing more heavy, thick and fully. When we use
that place, we will feel a wave or vibration in our chest.

 Middle voice or Passagio is the transition between chest and head
voice. It used many room at our face like nasal cavity.

 Head Voice is the place when we sing a higher tone. It used our head
cavity and the sound more light. When we use that place, we will feel
a wave or vibration in our head.

To make a tunable voice, singer must really know how to use that
placement and how to combine it very well. To combine three
placement of voice, need many practices.

How to use a microphone?

Learning how to use a microphone is also important. The microphone can be a handy
tool for enhancing your singing, or an impediment that blasts your singing faults.

There are different types of microphones including the
dynamic microphone, the condenser microphone, and the
wireless microphone. The dynamic microphone is a good
choice for beginning singers who need to work on
microphone technique.

It’s important to realize that a microphone does not fix your
singing problems. It is only for projecting volume so the
people in the back of the audience can hear too. Learning to

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handle the microphone on stage is critical. We have all witnessed a singer struggle with
a microphone that won’t fit back into the stand or who holds it too close or too far.
Following are some suggestions for mastering microphone techniques.

 Hold your mouth within 3 inches of the microphone so it picks up the
whole sound range of your voice

 Keep the microphone at your mouth while turning your head or
moving your body on stage

 Keep the microphone balanced in your hand so you never lose control
 Practice articulation at home using a microphone so you can learn to

avoid making loud popping noises using certain letters like “d” or “p”
 Never let the microphone block your face

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Keep your voice prima

As related to singing, vocal cord damage can result from:

 Singing or talking outside the comfortable note range for your voice
(too high or too low pitch)

 Singing too loudly at almost a scream (think of rockers where you
read they had to take time off to let their vocal cords heal)

 Singing for long periods of time without a rest
 Strain or overuse
 Nodules forming due to repeated excessive pressure on the same vocal

cord locations
 Failing to do vocal cord warm-up exercises
 Speaking in a voice too low that forces muscles and the vocal cords to

work unnaturally

When vocal cords are damaged, the voice can become gravelly sounding or raspy. You
might get hoarse or have trouble singing notes with consistency. Sometimes people with
strained vocal cords have voices that suddenly cut out on particular notes.

Following are some more suggestions for maintaining vocal cord health:

 Drink plenty of water so the vocal cords stay hydrated and work
smoothly

 Maintain a healthy weight
 Do regular cardiovascular exercises to maintain healthy lungs and

healthy cardiovascular system
 Give your vocal cords regular rest to avoid overuse
 Don’t try to sing outside your normal pitch range
 If you feel any larynx aching, detect cracks or missing in your singing

then stop and rest for at least a day or two
 Get plenty of sleep because sleep restores all of the body’s systems

from the day’s stresses including the stress on your vocal cords
 Do drink warm soothing and refreshing herbal teas, but avoid caffeine

which will dry out vocal cords
 Avoid alcohol because it too will dry out vocal cords
 Avoid foods that cause even mild allergic reactions or phlegm

production
 Don’t try to frequently talk over noises like air conditioners or car

engines, because loud talking will strain your vocal cords
 Be careful about the type of medications you take because

antihistamines are drying and can cause vocal cords to dry out also

Page 31

Guitar Training Material

Trainers: Andries &Yohanes S.

Parts of a Guitar
Electric Acoustic Generally speaking, there are two types of guitars: acoustic and
electric. The acoustic guitars are built so they can be played without amplification.
Electric guitars require an amplifier to produce a sound loud enough to hear well.
Despite their differences, electric and acoustic guitars are played the same way.

 String Numbering & Tuning
Strings are numbered from the thinnest string (1st string) to
the thickest string (6th string). The tuning is given from the
6th string to the 1st string: E-A-D-G-B-E.

 Fret Numbering
Frets are numbered from the headstock toward the body starting with 1.
Sometimes the number 0 or letter O is used to denote an open string, or one that
is played without fretting a note. Fretting a note is executed by pressing the
string down behind a fret (on the headstock side of the fret)

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Fret board Note Locations 2nd String Notes (B String)
1st String Notes (High E String) 4th String Notes (D String)
6th String Notes (E String)
3rd String Notes (G String)

5th String Notes (A String)

Scale

A scale is simply a set of notes arranged in order of pitch. They are named by the first note of
the sequence. This is called the root note. Scales can ascend in pitch or descend in pitch. There
are many scales you can learn, but we are going to give you the first two scales, the major and
minor scale.

 Major Scale
The major scale is an important scale. It contains a repeating pattern of seven
notes at specified intervals of whole and half steps. Numbers are often used to
designate the degree of the scale in the repeating pattern. The degrees are given
in numbers or roman numerals (as shown).

Major Scale Intervals:

(W = Whole Step, H = Half Step)

Major Scale Pattern
In the picture on the next page you can see and learn 7 patterns of the "CAGED
Patterns" in C major scale and G major scale. In another keys (for example: A),
you just have to move the exactly same position to another fret to make it pitch.

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 Minor Scale
There are three kinds of minor scale: Natural, Harmonic, and Melodic. We
will explain it later in Reading Music
The intervals: I ii iii IV V vi vii I

The pictures below will show you the pattern of E minor scale &A minor scale
on the fret board. In another keys (for example: B minor),you just have to move
the exactly same position to another fret to make it pitch.
Chords

Page 34

When musicians play three or more different notes at the same time, this creates a
chord. In Western music, including classical music, pop music, rock music and many
related styles, the most common chords are triads– three notes usually played at the
same time. The most commonly used chords are the major chord and the minor chord.
An example of a major chord is the three pitches C, E and G. An example of a minor
chord is the three pitches A, C and E. The table below will show you the chord
belonging to each key. Roman numeral indicate each chord's position relative to the
scale.

Page 35

 Slash Chords

Slash chords are normal chords that specify a bass note other than the root.
Many chords have a bass note other than the root, but the bass is only specified
when it matters. The note may or may not be a chord tone. These chords are
common in many genres, but I find them a lot in solo guitar arrangements. This
makes sense because you are the only instrument. When you play with a group,
the bass player will often play the bass note, which frees you from the obligation
in most cases. When playing slash chords, remember that you should play the
bass note unless it is impractical or your bass player is playing the note instead.
Slash chords are notated with a chord, slash, and a bass note. For example, G/B
is pronounced G over B. G major is the chord, B is the bass note.

In a praise and worship service, the most commonly used slash chords are the
IV/I, IV/V, V/VII. The table below will show you the three slash chords
belonging to each key (C, D, E, F, G, A, Bb).

Major Keys IV/I IV/V V/VII
C

D

E

F

G
A

Bb

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Strumming
Everyone who plays a guitar learns how to strum, which is simply playing multiple
strings with one downward or upward movement. Although this seems like a simple
movement, it takes time for a beginner to learn. The upstroke is especially hard because
of how the hand wants to move. Beginners often struggle with playing all the strings
cleanly. Later, they struggle with strumming only some strings. This takes some time.
There are a lot of strumming patterns, but we are going to learn 3of them. They are 3 of
the most commonly used patterns in praise and worship music although they are used
frequently in genres ranging from folk to metal too, so it really is essential that you
learn them.



The first strum pattern uses a combination of quarter and 8th notes, so make sure you
have a good understanding of these and are comfortable playing them before attempting
the strum pattern. It is an incredibly popular pattern to strum on the guitar. It makes a
good substitute for other more complex strumming patterns and is also a good `go to`
strum pattern that all you guitarists can call on frequently when in doubt.



The second strumming pattern uses a combination of quarter, 8th and 16th notes,
so make sure you have a good understanding of these and are comfortable
playing them before attempting this strum pattern. The accents on the 2nd and
4th beats are integral to this pattern. Loads of modern worship songs use this
pattern to great effect.



Page 37

The third pattern used to be called The Modern Strum Pattern. It uses a
combination of quarter, 8th and 16th notes, so make sure you have a good
understanding of these and are comfortable playing them before attempting the
strum pattern.

Reading Music

Staff
Music may be written on 5 lines and 4 space between lines, the 5 lines called STAFF

Treble Clef
Treble clef or G clef on Staff may be written by symbol:

Ledger Line

Ledger line is A ledger line is simply an extension of the staff written either below or
above it, and is used when the tonal range exceeds the staff itself.

Notes and Notes Value

Page 38

Time Signature
Time signature is to be as comfortable playing in other meters as you are already in. For
example: 4/4, 3/4, 6/8, etc. Time signature 4/4 means there are 4 Quarter-notes in one
BAR, 6/8 means in one BAR there are 6 Eight-notes.

Rest
Rest notation is the same as rhythm notation except instead of a period of sound, it is
replaced by a period of silence or a break which have same note value.

Tied Notes
The meaning of Tied Notes is held the first note until the next note.

Page 39

Dotted Note
Dotted notes is note which have dot, the meaning is make the sound longer with a half
of that note.

Scale
Scale made by Half Step interval and Whole Step.
Half Step is interval the most close between 2 notes. In piano there is an interval Half
Step, between the white chord and black chord or between note B-C and E-F
Whole Step is in piano there are 3 white chords in sequence. Except for B-C and E-F.
Symbol of half step is H
Symbol of whole step is W
Symbol of step and half is 1½

Minor Scale
There are 3 minor scale:

1. Natural minor or Relative Minor is minor scale made in Major Scale.
2. Melodic minor is minor scale made by different formula in ascending scale and

be a Natural Minor for descending scale.
3. Harmonic minor scale formula is: W – H – W – W – H – 1½ -H

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A Melodic Minor Scale

Accidental
Accidentals is a note of a pitch (or pitch class) that is not a member of
the scale or mode indicated by the most recently applied key signature. There are the
signs:
Sharp #
Flat b

Page 41

Enharmonic
is a note interval, or key signature that is equivalent to some other note, interval, or key
signature but "spelled", or named differently.

For example:

Chord

Chord or harmony is several notes played together which is have harmonization. The
most simple chord called TRIAD

Major Chord Triad :135
Minor Chord Triad : 1 3b 5
Diminish Chord Triad : 1 3b 5b
Augmented Chord Triad : 1 3 5#

Page 42

Bass Training Material

Trainer: Andy Setiawan

 Fingering Exercise on C Major ( 7 Position )

 Interval

I-III : C D E F GA B C
I
II II II I E
BC D
EF G A C
I
I-IV : C D E FG AB F

I I I II II C
F G A BC DE I
G
I-V : C D E F GAB
C
II I III I I
A
GA B C DE F

I-VI : C D E FG AB

I I I II II
A B C DE FG

 Ear Training
 TRIAD:

CDE F GABC
IIIIIIII
E F GABCDE
IIIIIIII
GABCDE F G

Maj Min Min Maj Maj Min Dim Maj

 Arpeggio
Arpeggio is chord which played by push it one by one or broken chord

C D EF GAB
I I II III

E F GA BCD
I I II III

G A BC DEF
I I II III

B C DE F GA
Maj7 Min7 Min7 Maj7 Dom7 Min7 Half Dim

Page 43

 Circle
 II ( Two ) - V ( Five ) – I ( One) , II ( Min7) – V ( Dom7 ) – I (Maj7)
 Circle of Fourth ( II – V – I )

 Swing Rhythm
 8 Beat Rhythm
 16 Beat Rhythm
 Pentanonic Scale ( 5 Position ) on C Major
 Blues Rhythm
 Slow Rock Rhythm
 Shuffle Rhythm
 Rock Rhythm

 Modes Scale

 Ionian
1-1-1/2-1-1-1-1/2 (1-2-3-4-5-6-7-8)

 Dorian
1-1/2-1-1-1-1/2-1 (1-2-3b-4-5-6-7b-8)

 Phrygian
½-1-1-1-1/2-1-1 (1-2b-3b-4-5-6b-7b-8)

 Lydian
1-1-1-1/2-1-1-1/2-1 (1-2-3-4#-5-6-7-8)

 Mixolidyan
1-1-1/2-1-1-1/2-1 (1-2-3-4-5-6-7b-8)

 Aeolian
1-1/2-1-1-1/2-1-1 (1-2-3b-4-5-6b-7b-8)

 Lockrian
½-1-1-1/2-1-1-1 (1-2b-3b-4-5b-6b-7b-8)

 Fill in Bass
 Walkin Bass
 Latin Rhythm

 Cha-cha
 Samba
 Bossa Nova
 Salsa
 Songo

Page 44

Position I: 7 Fingering Position on Bass

G AB
D EF
A BC
EF
G
Position II:
BC
A F aG
E CD
B GA

3

Page 45


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