Music Ministry Handbook

 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 loving presence of God through
praise and worship. Worship is presence (small “p”) encountering Presence (big “P”). Worship
is a time wherein we come to acknowledge that God is God. Our goal is to facilitate the
assembly in responding to God’s Presence as a result of carefully discerned songs that are
attuned to the Holy Spirit’s leading. Thus, in real essence, the music ministry 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, he brings newness - God
always brings newness -, and demands our complete trust.” -Homily of Pope Francis,
SOLEMNITY OF PENTECOST HOLY MASS WITH 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 the Spirit, there is always a sense of
newness.

Newness is freshness. The Lord wants to nourish and cultivate us. For the past years, He has
been preparing us, asking us to proclaim His greatness through the great things He has done for
us. He also asks each of us to be His 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 effect on the worshipper
should be fresh and relevant – new. Often, due to a lack of preparation and prayer, we choose
songs that do not bring out the enthusiasm in people. Enthusiasm comes from two greek

words: En (within) and Theos (God). Therefore, enthusiasm means to be in God, and if we are
in the Lord there is vibrancy in worship!

Newness, in the praise and worship experience, does not pertain to choosing new 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 our anchor verse from
Psalms 33:3. We want to put an end to “lifeless” worship and usher in a newness that is in true
character of the Holy Spirit working through 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’s plan of loving God
with all our heart mind and strength, and loving others as ourselves. Perhaps we may have
focused too much on ourselves, our works, our preferences and ideas. If we are to be a
ministry of renewal, we ourselves must be renewed – in our thinking, in our ways, in our actions
and in our service. If we are to bring others to the loving presence of God, we must be ready to
bend down and humble ourselves. We must be willing to decrease so that He might increase.
As we elevate our perspective of the music 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 of the Church has an
expression which I love: the Holy Spirit himself is harmony – “Ipse harmonia est”. Homily of Pope
Francis, May 19, 2013

The musical instruments---including voice---represent diversity in sound, in appearance, and in
function. Yet, when played in beautiful unison through a worship song, produces harmony that
aids our imagination to be able to relate the feeling of being one with the angels and saints in
worship to the Trinity.

Harmony is important. Technically, we have to strive to sound pleasing to God and man. Thus
the implication of the second part of the anchor verse of this year’s Music Ministry Conference:
“skillfully play with joyful chant.” As a ministry of worship, we strive for excellence by playing
harmoniously for the 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 -- to be attuned to Him
and not on ourselves. There’s a very thin line between worship and performance. What
distracts us are the “idols” that deviate us from true worship – including tendency to
“perform”. We can say that the opposite of worship is idolatry. Pope Francis said in his homily
of Oct 15, that in the world today “there are many idols and many idolaters. Quoting from St.
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,” preferring instead to worship “the creature
rather than the Creator.”

Music ministry is God-centered and we do not discriminate those who are willing 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 our relationship---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 our group, or do we let the
Holy Spirit open us to mission?” Homily of Pope Francis, May 19, 2013

We are musicians on mission. Whenever there is a new area to be conquered, the music
ministry is always at the forefront of the battle. A CLP is not without the music ministry. If we
are to be effective evangelizers, music as an instrument for evangelization, should attract and
be a gateway to the Church for the non-believer and to the “unchurched.” ("Unchurched"
alternatively, "The Unchurched" or "unchurched people") means, in the broad sense, people
who are not connected with a church.)

As a worship ministry of CFC, we must fulfill our three fold mission strategy of growing in
personal holiness, building the Church of the Home and the Church of the Poor. As
missionaries, we pursue global evangelization and total Christian liberation. How can a worship
ministry fulfill this mission? We strive 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 alone cannot fulfill the mission. There must be

sacrifice and selflessness. If people are attracted only to the music, this would be superficial and
temporary. Therefore, our mission must be to attract people not just to the music but more
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 New Evangelization. A major
part of our mission is to help people open up to an intimate encounter with God through
worship. If people continue to experience 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 also to be concerned of
the following:

a. Be knowledgeable and capable to render service as music ministry for the Holy
Eucharist.

b. Be open to other expressions of worship, specifically in coordination with Dance.
c. Modelling and Training of worship leaders
d. Be vanguards of CFC worship culture especially in our worship format, correct way of

singing the songs, and the excellence of our service.

We are not here to just “play well”. We are here to be an example of how it is to truly Worship
the Lord. This is a PARADIGM SHIFT from the current idea of many music ministries who merely
“play” and do not “pray”. By pray, we mean that we are to be persons of prayer -- of worship.
And that posture of being true worshippers, emanates in how we render our service in front of
the 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 the community. Like in the
Psalms, our songs also convey how we relate to the Lord as a people. Our community songs,
especially the original ones, also reveal our own CFC Spirituality.

Now, many “young” music ministries and community leaders tend to discard the use of “old
songs.” (old songs pertain mostly to ones that were practiced during 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 do not welcome the
“new songs” (new songs generally refer to originally composed praise and worship music that
are products of Liveloud, Songs introduced during the Mission Core Weekend, and adapted
Popular gospel music).

These are two extremes, and we are to practice prudence, for both “new and old” songs are
workings of the Holy Spirit. Here are some principles that will help us in the use of our song
treasures:

a. As much as possible, use only the songs prescribed in the Glory Songbook.

We do not deny that Hillsong songs are very powerful and inspiring. In fact, if
there are occasions that call for a strong leading of some of the Hillsong songs to
be used, then who are we to stifle the Spirit? Yet, Hillsong prescribes to a
different type of Spirituality and we in CFC are called to our own unique
expressions. This is besides the fact that we are not legally authorized to print
their songs in our Glory Songbook. Anybody with an internet access can pick up
an inspiring song from Youtube, and be self-led to use it in corporate worship.
We are to refrain from introducing this song to our own chapters, for we strive
to be in Harmony with the whole CFC community and its Family Ministries. This
principle also applies to original songs. The Music Ministry Core is the official
“clearing house” for new songs 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 well as embrace new
expressions. Make sure to teach the unfamiliar songs prior to the praise and
worship.

c. The songs chosen, whether “old or new” should lead the congregation to a vibrant
and Spirit-filled worship experience.
We do not choose songs, only for the sake of personal preference. We must also
keep in mind the corporate nature of the worship. Remember that it is the
community that is worshipping and not you alone.

Conclusion:

Let us take a second look at our own music ministries. Is our way of playing music,
leading people closer to the Lord? Does each member of our music ministry embody a true
worshipper? Are we ready to expand our capacity as a music ministry by embracing the idea of
the ministry of worship? These are some things to ponder.

Let us be one in the Holy Spirit in pursuing Newness, Harmony, and Mission as 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 and patient learning -- fueled by the
desire to serve. It demands much of our time and effort. Nobody was born with a guitar in his
hands or a good singing voice. Therefore, skill is not in-born but can be developed. Although
we acknowledge that there are those who are more inclined to a certain talent. For some,
having a good singing voice comes naturally or understanding the dynamics of guitar playing is
easier. For others, hard work and dedication is needed to acquire a certain skill. There can be a
long discussion 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 of service to the Lord.

*St. Augustine has accurately written: "Music, that is the science or the sense of proper
modulation, is likewise given by God's generosity to mortals having rational souls in order to
lead them to higher things." –MUSICAE SACRAE 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 the workshops with
highly improved skills. Our hope is that the workshops become a jump-off point for the
participant to pursue excellence in his chosen instrument of service. Through the
speakers and the input of other workshop attendees, you will get tips that will shorten
your learning curve and inspire you to improve.

b. To find optimal answers to lingering questions regarding our chosen field of music
service

It is a time to raise queries that may also be similar to the concern of other music
ministers. Especially in the areas of liturgical music, manner of strumming, harmony
issues, worship leading issues, correct tune of songs, and etc. We are using the word
“optimal” since music is an art. There can really be no absolute answers, but we will
rely more on sound principles.

c. To expand our knowledge on topics and skills of interest.

We are given the opportunity to register to two workshops (except worship leading).
Perhaps you’ve always wanted to learn how to write songs or curious to try out a crash
course in acoustic guitar. You may want to gain insight on the dynamics of the Technical
team that ensures good acoustics. The workshops also help us discover more of our
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 the workshop situation
wherein you will meet others who are equally passionate with your musical inclinations.
Just to hear others “speak in the same language” can already encourage a striving music
minister.

Conclusion:

The spirit of the LORD had departed from Saul, and he was tormented by an evil spirit from the
LORD. So the servants of Saul said to him: “Look! An evil spirit from God is tormenting you. If
your lordship will order it, we, your servants here attending to you, will look for a man skilled
in playing the harp. When the evil spirit from God comes upon you, he will play and you will
feel better.” Saul then told his servants, “Find me a good harpist and bring him to me.” One of
the servants spoke up: “I have observed that a son of Jesse of Bethlehem is a skillful harpist. He
is also a brave warrior, an able 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 our praise and worship calm
conflicting hearts and revive hopeless spirits.

Whenever the spirit from God came upon Saul, David would take the harp and play, and Saul
would be relieved and feel better, for the evil spirit would leave him. 1 Samuel 16: 23

Let us strive to play like David and use our talents to battle the evil in this world. 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 songs of praise and
worship. The ways of showcasing the community’s charism for songwriting has evolved from
the Glory Song Writing Festivals in the past and all the way to a free flow of song submissions
through Liveloud. The original or “home-grown songs” speaks of the very Spirituality of CFC
and its members. We can fully relate to the message for the songs spring from cry of 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 revelation to 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 the habit of listening to
Him--- he/she will be led to explore different expressions to 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 Own Heart”--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. Once the 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 faith
The 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 has to 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 procrastination
g. 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. Bible
b. Notes or Reflections
c. Life Experiences
d. Catchy Phrases
e. Inspired Readings
f. Instrument – guitar, piano
g. Dictionary
h. Thesaurus
i. Pen & a Paper
j. 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. Do not 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 topic
Love, 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 23:4
Even 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 be evident 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 guard your hearts and your minds in Christ Jesus.“

1 Thessalonians 5:16-18
Be joyful always; pray continually; give thanks in all circumstances, for this is God's will for you
in Christ Jesus.

Psalm 73:26
My 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 vocal sound

Just as an instrumentalist has his musical instrument, a singer’s singing apparatus is his
body. Instrumentalists try to know how their musical instruments work and master the skills to
make it produce beautiful sound. The same is true for singers. In order for the singer to
produce beautiful sound from his singing apparatus, he needs to understand how it works,
learn to use it properly, and master the techniques for producing beautiful sound 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 the sound or tune, the rest is the work of
coordinating the different muscles of the body such as the diaphragm, the lungs, the throat,
tongue, palate and mouth, nose, as well as the jaw. Even our feet and hips play a part in
singing!

Singing is a strenuous physical activity that involves our whole body. Just like playing any
sports activity, one’s body must be conditioned for it before engaging 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 in singing and cannot be
separated from each other. If one is impaired, singing properly cannot take place and may even
lead to vocal health problems in the future. Singing is an intelligent process, and singers are to
be mindful always of these 4 physical processes that takes place in the body while singing. For
those who constantly practice singing the correct way, these processes comes automatically
and may in fact come across to the observer as 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 resonance chambers. If standing, he
must stand straight with his feet slightly apart to support himself well. Hands should be
on the side, except when holding a microphone, and with the head straight and aligned

with the shoulders. Chest should be comfortably forward and the abdomen should be
flat. If seated, he should be sitting straight, on the edge of the seat so that his abdomen
is not being pressed upon and his hands should be relaxed on his lap.

Breath Support
Before producing any sound, one is to breath in air, enough to fill one’s lung
cavity. When our lungs are full our stomach becomes distended due to the pressure of
the diaphragm on it.

The action of breathing should be done unnoticeably in a relaxed manner. There should
be no movement of the shoulders and the neck area should be relaxed. Inhalation
should be silent.
Breathing should never be done through the mouth as it will dry the mouth and throat
and can lead to coughing.

Role of the Lungs and Diaphragm in Breath Support
If one observes how an accordion works and produces sound, one will note that
it simulates the work of the lungs and diaphragm as one sings. The diaphragm is a
muscle between the lungs and the stomach that plays an important part in breath
support. When we breath in air, the diaphragm lowers and air fills our lungs. In normal
breathing, this muscle pops out involuntarily so that air is exhaled out of our lungs
unnoticeably before we breath in, while the larynx is open to let air flow freely. When
we sing, the larynx constricts so that the air pressure from the lungs vibrates the vocal
cords in the larynx. Singing involves controlling the movement of the diaphragm so
that air pressure in our lungs is just enough to produce vibration in our larynx or voice
box. This air flow that sustains the phonated sound from the voice box should be
smooth and even.

2. PHONATION
Phonation is the process of producing sound in the voice box through the vibration

of the vocal folds. The vocal folds, also known commonly as vocal cords or voice reeds,
are composed of twin infoldings of mucous membrane stretched horizontally across
the larynx. When one sings, they vibrate, modulating the flow of air being expelled from
the lungs. (Wikipedia) The physical characteristics of our vocal folds give the specific
character to our voices. Men generally have longer and thicker vocal folds that give
them a lower pitch while women have thinner and shorter vocal folds.

3. VOCAL RESONATION

Vocal resonation is the process by which the basic product of phonation is enhanced in
timbre and/or intensity by the air-filled cavities through which it passes on its way to the

outside air. (Wikipedia). The main point of resonation is to make a better sound with
our singing voice thru 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 of resonances in a spectrum, from dark
or heavy (chest) to bright or light (head). These may correspond to pitches from low to
high. A singer must be able to have command of these four in order to have the full
range of emotional expression. (Wikipedia)
These four resonances are produced in the 7 resonating chambers of the human body.
In sequence from the lowest within the body to the highest, 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 vibratory sensations may be
experienced in the upper chest, and although numerous voice books refer to chest
resonance, the chest, by virtue of its design and location, can make no significant
contribution to the resonance system of the voice. The chest is on the wrong side of
the vocal folds and there is nothing in the design of the lungs that could 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 through which 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 project and enhance one’s singing voice.
Opening one’s throat is the simplest way 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 of the 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 PITFALLS
1. Concentrating all effort from the throat – many singers do not use breath support
and instead strain to reach high notes using only the muscles 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 emotionless singing. 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 in the 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 singing
2. 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 throat
5. Avoid peanuts and chocolate since it tends to irritate the throat lining and can lead

to coughing
6. 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 daily
9. 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 the assembly in worship during a
CFC activity or event.

Introduction. The CFC Worship Leading Workshop, while aiming to provide basic teaching and
training on worship leading for CFC members, emphasizes on the importance of having the
right attitude and proper condition of the heart on the part of a worship leader in order for
him/her to be effective in carrying out the assigned task. The success and effectiveness of the
program on the individual is therefore heavily grounded on his/her spiritual maturity.

The module is not exhaustive as it simply aims to present Christian principles and guidelines on
effective worship leading that can be applied in CFC assemblies and meetings. Rather than hard
and fast rules, the principles and guidelines presented shall be based on Scripture, teachings of
the Church and on accepted communal worship practices of CFC.

As Scripture and church liturgy do not directly speak to most of the practical aspects of being a
worship leader, much material included in the module shall be based on experience and best-
practice knowledge with Scripture, Church and CFC culture still serving as foundation. This is
important in the process of addressing issues regarding the actual praxis of worship leading in
CFC assemblies and meetings.

The knowledge and skills training that the module aims to provide coupled with values it aims
to promote should not only prove useful to worship leaders of big assemblies and gatherings.
Small group leaders who head household prayer meetings should benefit in the preparation
and conduct of their worship and prayer. The clear prime objective for the participant in
attending the workshop is to become an effective worship leader.

Program Outline. The module is divided into two sessions (morning and afternoon) with each
session having a basic talk followed by the workshop. Average run for a session is three hours

more or less. The workshop portion is 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 Exhortation Leading to

Worship
a. 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 CFC

Expanded Outline

Objective: Present a background on worship and how CFC as a community worships in a typical
gathering; it can be a small group as in a household meeting 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, whose name 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 a frame 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 one priority as
Christians. [Also we, Catholics, believe that the Holy Mass is the highest form of
worship.]

B. Why worship God?

We worship God because –

1) He commands us to worship Him. Clearly He wants us to worship Him because He is very
specific in His command. And being His creation it is 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 You if You will fall
down and worship me.’ Then Jesus said to him, ‘Away with you, Satan! For it is
written, “You shall worship the LORD your God, and Him only you shall serve.”’

Think of this: God has to command us because after all He created us having the
freedom to choose whether we will obey or not.

2) He deserves it. We worship God for who He is – His nature and qualities, for His works –
all He has done, all He is doing and for all he is about to do in our lives.

3) We need to worship Him. We have this strong desire to worship that if we do not give it
to God, we will probably bring it elsewhere. Therefore, anyone who does not worship

God and Him alone is by default worshipping 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 be manifested. Praise and worship songs and music (usually
contemporary), clapping and raising of hands, spontaneous praising, singing and praying
in tongues, and non-formal prayer leading are commonly seen in a CFC worship.

2) The Worship Leader. Session 2 Talk 2 is devoted to the worship leader.

3) The Music Ministry (including the music ministry head, (musical director), singers,
instrumentalists and technical staff).

4) The Worship Pattern (Order). In CFC worship assemblies there is a basic worship
pattern. This is important because the pattern puts order in the sequence and flow of
the worship segments. The general pattern in a typical CFC worship is given below.
These are the parts of a typical CFC worship service with an estimated duration 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. [No longer 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. [About 10 minutes; Cf.
Appendix 2]

d. Worship/slow song to be followed by praising and singing in tongues. The change of
tempo from the second fast song to the slow, solemn song can be preceded by a
short exhortation just to prepare the people for the high worship part. [5+ minutes;
Cf. Appendix 2]

e. A brief period of silence followed by inspired readings and revelations. [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, business meeting, special event in the
community, a church event or service, etc.) depending on the event, the common
pattern is emphasized here.

5) The Worship Setting.
a. Event. Worship is held in the household prayer meeting, monthly prayer assembly,
Lord’s Day Celebration, teaching, conference, and some event where the common
pattern is used. Again other worship patterns can be used depending on the event
b. Venue. On-site physical conditions may become considerations in the conduct of the
worship service. The ambience and atmosphere may be affected by the area or
volume of space, lighting, air, room temperature, acoustics, humidity, etc.

[End of Talk]

Session 1: Workshop

Preparing to Lead: Selecting the Songs

Objective of the Workshops: In giving the participants specific tasks in the preparation for
leading a worship service,
1. make clear to them the role of the worship leader in a worship service by allowing 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 good for worship
leaders to know more about music. Some reasons why music is 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 to God. [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. Through music, we are
used by God to minister to His people. Music is a ministry in the truest sense of the
word. God can move and wherever and 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 of God 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 reverent love and devotion to
God and addressed Him in the second person, directly speaking to Him through the
song. Examples: Lord Jesus We Enthrone You, Glorify Thy Name, You Alone Are Holy,
You Are My Delight, As The Deer, Thine O Lord.

2) Praise Songs. Songs having lyrics describing God, proclaiming and extolling God’s
nature, qualities, His works and deeds and mostly referring to Him in the third person.
Examples: God Is My Refuge, Let The Saints Be Joyful, God Is Enough.

3) Songs of Supplication/Petition. This type of songs express a certain purpose on the part
of those singing them. It can speak of repentance, offering, healing, blessing, etc. As
these songs may acknowledge God’s might, His capacity to provide and His power over
our lives, they can also be used to praise God. Care, however, must be taken in using
these songs in worship because, although these songs may be prayerful and solemn, the
lyrics may not be worshipful. Not all slow songs are appropriate for worship.

Examples: Create In Me, Let The Fire Fall, I Offer My Life, The Prayer of St. Francis. While
Make My Heart Your Dwelling Place is a song of supplication, adding the song My God
and My All makes the sequence appropriate for worship. A New Commandment,
although solemn and slow, is not a worship song but a fellowship song.

4) Fellowship Songs. These songs contain lyrics that edify, encourage and inspire the
community of believers and therefore are directed to people. Although they may be
sung as gathering songs, these songs are 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, the worship leader
selects the songs to be used in the worship service. Along with the selection of songs the
worship leader might well have ideas as to the sequence and arrangement of the songs.

1) Basis for Selecting Songs. Discernment is required on the worship leader in searching for
God’s message, perhaps spoken through an inspired Scripture reading or a revelation,
by which he may take the people to the point of worship where God meets them.
Through this message God can also point the worship leader to which particular need
the people might have at the time of worship so that He may respond to fill that need.
This discernment serves as basis by which the worship leader not only develops his
exhortation and prayer but also in the choice of songs in the worship service.

2) Preparing the Music Program.

a. The worship leader prays for guidance and inspiration as to which direction God
wants the worship service to be brought. Only through prayer can discernment be
possible.

b. Looking at the lyrics, the worship leader chooses the songs that best fit the message
or theme. He/She checks the songs for consistency of message with the exhortation
and prayer, the purpose of the activity or event, or a particular need of the people at
the time as discerned.

c. The worship leader coordinates with the music ministry and practices the run of the
worship service with them.

d. The worship leader is open to revising the song list if improvements can be done or
there is a change in the direction and flow of worship as led by the Holy Spirit.

D. The Workshop

1) Developing a theme. Assume that this theme is based on a message which was
previously discerned through prayer. This message in turn serves as basis for the choice
of songs, and the development of the exhortation and prayer. From the list of verses
listed below, the participant may choose one that will serve as Biblical handle of the
theme for the worship service he/she will be leading. A participant may prefer to give
his/her own theme also although he/she will have to give a Biblical handle verse with it.

- Psalm 16:11: In Your presence is fullness of joy. (Example: Joy in the Knowledge
of God’s Love)

- Isaiah 43:2: ‘When you pass through the waters I will be with you.’ (Example:
Faith Through Trials)

- Psalm 71:5: You are my hope, O Lord God; You are my trust from my youth.
(Example: Strength and Hope in the Lord)

- Psalm 55:17: Evening and morning and at noon I will pray, and cry aloud, and He
shall hear my voice. (Example: God Is Always 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 in Weakness; 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 new every morning;
great is Your faithfulness. (Example: God’s Faithfulness; 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 while keeping in mind the theme selected for
the worship service. Check the lyrics 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 short critique can be held
after each presentation.

4) Open Forum and Wrap-up. Observations are presented capped by a short summary.

[End of Session 1]

Session 2: Talk

The Effective Worship Leader

Expanded Outline

Objective of the Talk: Discuss the elements that define an effective worship leader 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 name implies, the worship leader
is the person tasked to lead the worship service in a gathering or an assembly. The two
major elements in a CFC worship service are music and prayer.

b. The word effective qualifies how the worship leader carries out the tasks. ‘Effective’ is
an adjective which means ‘producing a definite or desired result’. Its synonyms are
‘productive’, ‘persuasive’, ‘efficient’, ‘competent’, ‘useful’, and ‘powerful’ among others.
In order to be an effective worship leader, a person should have certain qualities along
with 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 for himself/herself
and others in the worship team (= music ministry and 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 and takes the lead in
the selection of songs. He/She learns and familiarizes himself/herself with the songs.

c. During the service, he/she goes first and “ushers in” the people to that place where
they encounter God and where God makes His presence with them. He/She takes
lead in the singing for which he/she prepared for in B.1.b above.

2) He/She develops, with the Holy Spirit leading him/her, an atmosphere of 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 or reading 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 and flow of the
worship service. His tasks involve:
a. He/She prompts the music ministry and the people in the assembly during the
worship service.
b. He/She keeps the course of the worship service within its intended duration (=
length of time).

C. Qualities of the Effective Worship Leader. Being a leader is about relationships: first,
his/her relationship with the Lord; and, second, his/her relationship with people. It is easy
to say that a worship leader has to be spiritually mature, But what does this really mean?

1) The effective worship leader maintains a strong relationship with 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 a worshipper who delights
in the presence of God.

b. is disciplined in prayer, study, service and fellowship; having a sound knowledge of
the word of God.

c. is sensitive to the voice of God and the prompting/leading of the Holy 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 a Levitical heart while
fully accepting the anointing of being the worship leader and being an evangelizer.
b. He/She has a firm understanding of the people that he/she leads in worship: the
music ministry and the congregation.
c. He/She always has a thankful heart.

3) The effective worship leader is skilled in communication and in music. This pertains to
his/her relationship with the music ministry and with the congregation. Acquiring these
skills will require preparation on the part of the worship leader.

[End of Session 2: Talk]

Session 2: Workshop

Preparing to Lead:
Developing the Exhortation Leading to
Worship

Objective of the Workshops: After giving some instruction and guidance the participants are
given specific tasks in preparation for leading a worship service.
Secondary Objectives of the Workshops:
1. Make clear to the participants the role and tasks of the worship leader in a worship service

by allowing them to experience specific skill-building activities.
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 be worshipped.
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 present condition and
needs.

c. Appropriate and practical applications that the people need or will respond to.
d. The time allotted for the worship service.

2) Elements of an Exhortation
a. 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 for wisdom and power.
b. Choose a reference passage from the Bible. (While other sources can be used like an
inspired quotation, a reading or a revelation; the Biblical verse is an authoritative
reference of a message coming from God.)
c. Choose examples of the practical application of the verse; a personal experience is
good and preferable.
d. Relate the example to the practical application and message of the verse.
e. Always end by making the invitation to worship.
f. Do not pre-empt the main speaker in a teaching or event by touching on subjects
which will be discussed in the meeting proper. Care ought to be observed that an
exhortation will not turn to preaching. Remember that the primary role of the
worship leader is to 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 people present do you want
to touch on? Are there concerns that need to be addressed? How do you want the
people to respond? What do you want the people to experience during worship?

b. Introduction. Does the people need to be reminded about a basic truth about God or
their relationship with Him? Is there an area of difficulty that can be used to lead
you to the verse handle and example?

c. Bible verse handle and example. Reference Scripture passage followed by the
example. The example can be an analogy or a personal sharing which illustrates the
message.

d. The message. Relate the example to the practical application or lesson.
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 chosen theme and the
selected verse used to prepare the song list (Workshop I), make a draft of your
exhortation following the guidelines, structure and sequence of elements as discussed.
Devote 20-30 minutes for this.

2) Presentation: Delivering the Exhortation. Allow the participants to deliver their five-
minute long exhortation. They can be allowed to read their draft while the critique can
focus on the delivery (posture, voice projection, clarity, etc.), content and time
management. A short critique can be held after each presentation.

3) Open Forum and Wrap-up. Observations are presented capped by a short summary.

[End of Session 2]

Wrap-Up

Pursuing Excellence in the CFC Worship Service

A Summary. Give a general assessment of the talks and the conduct of the workshops. A
feedback form can be distributed and collected here.

B. Open Forum. Entertain questions from the participants. Allow them to share their
experience and give suggestions. Duration of this portion depends on available time.

C. Conclusion. Reiterate the goals of the module and conclude by encouraging the participants
to pursue excellence in serving as worship leaders by improving their worship leading skills
and assuming the proper posture 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 rousing song, one
which naturally propels the assembly to loud and vibrant praise.
b. The music ministry continues to make a joyful noise with its
instruments during the times of verbal praising.

c. As the praising is toning down, another praise song is sung. The
continuity should not be broken by allowing the praising to stop
before starting the second song. Also, the momentum should not
be inhibited by pausing to make an announcement as to what
song is to be sung.

d. If the praising is still very vibrant, the music ministry leader (or
upon signal from the prayer meeting leader) may decide to have
still a third fast song.

e. As the praising tones down, a slow worship song is played.

f. The worship song leads automatically to singing in tongues.

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 a time of
silence. This is a time of waiting on the Lord to speak. This can last
from just a few seconds to a minute or so.

c. During this time, those with prophecies, visions and inspired
Scripture readings can come forward and present 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 words
from the Lord. For example, a call to repent; or a call to pray for
one another; or a time for those present to go to others to be
reconciled.

b. Normally, the leader would just say a prayer on behalf of the
assembly, which prayer would close the time of worship.

c. There are to be no individual prayers of thanksgiving and petition
(as is done in a household 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 but

were not afforded the opportunity during the time of worship, the
leader can still call on them 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 worship the 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 and shout 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 we are 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, the role of music in the
liturgy, and how the ministers of music should participate in 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 reflecting praise, thanksgiving, supplication, or
repentance. Ritualization may be associated with life events such as birth, coming of
age, marriage and death. It thus forms the basis for establishing a relationship with a
divine agency, as well as with other participants in the liturgy. (Wikipedia)

In the Catholic tradition, which holds the liturgy in the highest regard as the summit of
it’s worship life, the Sacrosanctum Concilium ( Constitution on the Sacred Liturgy) was
drafted during the Second Vatican Council in a spirit of reform, to establish and
safeguard the norms, practices and it’s principles, in order to faithfully accomplish the
commandment of Jesus to celebrate the memorial of His sacrifice for 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 is accomplished," [1] most of all in the divine
sacrifice of the Eucharist, is the outstanding means whereby the faithful may express in their
lives, and manifest to others, the mystery of Christ and the real nature of the true Church. It is of
the essence of the Church that she be both human and divine, visible and yet invisibly equipped,
eager to act and yet intent on contemplation, present in this world and yet not at home in it;
and she is all these things in such wise that in her the human is directed and subordinated to 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 the liturgy 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 the fullness of Christ [4], at the same time it marvelously strengthens their power to
preach Christ, and thus shows forth the Church to those who are outside 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 sheepfold and 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 Eucharistic species, and in the Church (people)
when they pray and sing.

“…every liturgical celebration, because it is an action of Christ the priest and of His Body
which is the Church, is a sacred action surpassing all others; no other action of the Church can
equal its efficacy by the same title and to the same degree.” (No. 7 Introduction to the
Constitution on the Sacred Liturgy, 1963)

4. God’s Initiative

“People forget that the liturgy is supposed to be ‘Opus Dei’, God’s work, in which He
Himself acts first and we become the redeemed precisely because He is at work… For everyone,
liturgy is participation in something larger, which goes beyond the mere individual… It is rather
a response to an initiative from above, to a call and an act of love, which is mystery.” (Liturgy
and Church Music, Benedict VI, 1985)

“…the liturgy is the summit toward which the activity of the Church is directed; at the
same time it is the font from which all her power flows. For the aim and object of apostolic
works is that all who are made sons of God by faith and baptism should come together to praise
God in the midst of His Church, to take part in the sacrifice, and to eat the Lord's supper.” (No.
10 Introduction 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 sanctification of the faithful”
(Chap 6, Sacred Music, Constitution on Sacred Liturgy, 1963)

“ Wherefore, in the revision of the liturgy, the following general norms should be observed…
That the intimate connection between words and rites may be apparent in the liturgy” (No. 35,
II. The Promotion of Liturgical Instruction and Active Participation, Constitution on Sacred
Liturgy, 1963)

“ Liturgical worship is given a more noble form when the divine offices are celebrated solemnly
in song, with the assistance of sacred ministers and the active participation of the people.” (No.
113, Sacred Music, Constitution on Sacred Liturgy, 1963)

1. Promotion of Active Participation

“But in order that the liturgy may be able to produce its full effects, it is necessary that
the faithful come to it with proper dispositions, that their minds should be attuned to their
voices, and that they should cooperate with divine grace lest they receive it in vain” (No. 11
Introduction to the Constitution on the Sacred Liturgy, 1963)

“In the restoration and promotion of the sacred liturgy, this full and active participation
by all the people is the aim to be considered before all else; for it is the primary and
indispensable source from which the faithful are to derive the true Christian spirit;” (No. 14, II.
The Promotion of Liturgical Instruction and Active Participation, Constitution on Sacred Liturgy,
1963)

“To promote active participation, the people should be encouraged to take part by
means of acclamations, responses, psalmody, antiphons, and songs as well as by actions,
gestures, and bodily attitudes…” (No 30, II. The Promotion of Liturgical Instruction and Active
Participation, Constitution on Sacred Liturgy, 1963)

“The faithful fulfill their liturgical role by making that full, conscious and active
participation which is demanded by the nature of the liturgy itself and which is, by reason of
baptism, the right and duty of the Christian people.[13] This participation

(a) Should be above all internal, in the sense that by it the faithful join their mind 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 the internal 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 the ministers or choir
sing, so that by listening to them they may raise their minds to God.” (No. 15, Musicam Sacram,
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 of the 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 with its dialogue and the
Sanctus; the final doxology of the Canon, the Lord's prayer with its introduction and embolism;
the Pax Domini; the prayer after the 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, Musicam Sacram, 1967)

3. Spiritual Disposition Of Servers

“Servers, lectors commentators, and members of the choir also exercise a genuine
liturgical function. They ought, therefore, to discharge their office with the sincere piety and
decorum demanded by so exalted a ministry and rightly expected of them by God's people.

Consequently they must all be deeply imbued with the spirit of the liturgy, each in his
own measure, and they must be trained to perform their functions in a correct and orderly
manner. …” (No 29, II. The Promotion of Liturgical 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 truly contribute to the edification of the faithful."[43]

63. In permitting and using musical instruments, the culture and traditions of individual peoples
must be taken into account. However, those instruments which are, by common opinion and
use, suitable for secular music only, are to be altogether prohibited from every liturgical
celebration and from popular devotions.[44]

Any musical instrument permitted in divine worship should be used in such a way that it meets
the needs of the liturgical celebration, and is in the interests 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 a support to the voices,
render participation easier, and achieve a deeper union in the assembly. However, their sound
should not so overwhelm the voices that it is difficult to make out the text; and when some part
is proclaimed aloud by the priest or a minister by virtue of his role, they should be silent.

65. In sung or said Masses, the organ, or other instrument legitimately admitted, 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 the altar, at the Offertory, at the Communion, and at the end of Mass.

The same rule, with the necessary adaptations, can be applied to other sacred celebrations.

66. The playing of these same instruments as solos is not permitted in Advent, Lent, during the
Sacred Triduum and in the Offices and Masses of the Dead.

67. It is highly desirable that organists and other musicians should not only possess the skill to
play properly the instrument entrusted to them: they should also enter into and be thoroughly
aware of the spirit of the liturgy, so that even when playing ex tempore, they will enrich the
sacred celebration according to the true nature of each of its parts, and encourage the
participation of the faithful.[46] (Chap 6, Sacred Instrumental Music, Musicam Sacram, 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 the season 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 to God 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, I Offer My Life, or Panalangin sa Pagiging Bukas Palad are not appropriate
offertory songs.

Sanctus – For the English versions, it should say “Lord God of hosts” instead of “ 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 should be no extra humming sounds in the main melody of the
song. Lyrics should be clear and straightforward based on the wordings of the Lord’s Prayer.

Agnus Dei – 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 Musicam Sacram 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’
saving act 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 2nd or 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 be in 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 fretted instrument 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.