Harp & Bowl

GLOBAL PRAYER HOUSE

I. FOUR PRAYER FORMATS

A. Intercessory prayer format - is designed to pray for a general breakthrough of Gods justice, i.e., the outpouring of the Spirit (revival) on the church in a city or for a specific need in society or the government that the Spirit highlights. (i.e., revival, abortion, the church, the lost, government, specific countries, etc.) B. Prophetic worship prayer format - is designed to facilitate corporate participation in worship so as to experience God together in worship, including ministry times for healing and deliverance. C. Worship with the Word prayer format - is designed as a discipleship program that provides training in the Word as we function as a singing seminary. We desire to raise up singing theologians. In this prayer format, worship teams discover new passages to sing many times in the future. We focus on singing through large portions of Scripture, like an entire Psalm in one prayer meeting. D. Devotional worship prayer format -is designed as a sort of worship concert to provide an anointed atmosphere for individuals to meditate on the Scriptures as they linger in Gods presence. The songs and music style aim for the heart that we may sit at the feet of Jesus as Mary of Bethany did.

II. COMBINING PROPHETIC (SPONTANEITY) AND STRUCTURE (COMMUNICATION)

A. Prophetic - speaks of worshipping with spontaneous fresh new expressions and creativity. B. Structure - a communication system and a permission-giving mechanism to facilitate team ministry. We believe we can experience a more consistent flow of the Holy Spirit within the boundaries of a structured model. We want to have as much creativity and spontaneity within the model as possible. C. Every ministry has a specific revelation for the Lord - that expresses a specific dimension of His personality. That revelation/mandate is not the best or the only revelation in the Kingdom of God, but it is what a particular ministry is to be faithful with before God. No one ministry can carry and express every dimension of Gods personality and should NOT be pressured to by others to try (insecurity and pride push people to go beyond their God given mandate). D. Spiritual and practical goals within the model 1. Spiritual goals - entering into the prophetic flow and power of the Holy Spirit 2. Ministry goals - to help engage a congregation in unified worship that is the condition to receiving the commanded blessing of Ps. 133. 3. Team goals - communication (boldness) in team ministry without fear (timidity)

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GLOBAL PRAYER HOUSE E. The 11 key components of our model include - Scripture (foundation of all expressions of worship); Team ministry (clear communication lines that facilitates bold, confident, inclusive team flow); Antiphonal singing (going further in team ministry in prophetic singing); Prophetic oracles (explosive individual prophetic songs); Spontaneous singing (the only part of the model not allowing full expression of all music styles since it must be easy for ungifted singers in the congregation); Spontaneous choruses (congregation participating in mini-worship song); Spoken prayers (intercession); Ministry time (focus on individuals receiving ministry); Choirs (corporate dynamic with diversity); Song selection (God-ward focused songs); Musical Selahs (brief creative jam sessions). F. All music styles are welcome and encouraged - The model does not suggest a music style nor a certain sound, but is a communication tool that can be expressed within context to all music styles (except spontaneous singing).

III. WHY A MODEL?

A. Communication tool that produces boldness and confidence - harp and bowl is primarily a communication tool that enables a worship team to flow boldly with clear communication. Timidity (hesitation) hinders a worship team flowing in the Spirit. It is mainly about communication between singers, musicians, worship leader, and prayer leaders. If the team leading the room is bold and confident then the room will feel much more at ease to engage. B. Transferable between teams - A unified model makes it easy for people to change between teams without confusion. in C. Sustainable flow - in creativity, team ministry and in the Holy Spirit. We can go higher and longer spontaneous creativity with structure. Launch and land: we can launch out in spontaneity then land back within the structure to get ready to launch again. Our goal with having a model is not to quench the Holy Spirit but rather to give us a flow to stay within where spontaneous creativity from the Holy Spirit is completely welcomed.

D. Easier engagement for the room - The model gives the people in the room a place to engage. It gives them many different components such as corporate worship songs, praying/singing in tongues, praying for specific topics, diving deep in the word through praying/singing. With all of these components in one prayer meeting, it makes it easier to stay focused and engaged with the Holy Spirit.

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GLOBAL PRAYER HOUSE

Introducing the Primary Governing Principle of the Harp & Bowl Model developing a passage by antiphonal praying (singing)
I. INTRODUCTION
by A. There is one primary governing principle in the Harp and Bowl model: developing a passage antiphonal praying (singing). All musical styles may work in this model.

B. This principle expresses 3 values: team ministry (we go farther together), inclusiveness (everyone can participate) and the centrality of the Word (Gods language unifies our heart with His and others). In this principle, we seek simplicity that releases diversity with structure that releases spontaneity. Why? 1. It provides a context for team ministry in worship and ministry. 2. It provides a context for a crescendoin the Spirit during worship. 3. It is a way to function as a singing seminary (Col. 3:16) 4. It provides diversity and creativity necessary for 24-hour-a-day prayer.

II. WORSHIP CYCLE - 3 STAGES

A. Corporate worship songs - that all may engage in Gods presence together in one accord. We value songs that direct us to sing to God instead of only about God. B. Spontaneous singing - devotional singing both from the Scripture and singing in the Spirit (1 Cor. 14:15; Col. 3:16) C. Developing a passage by antiphonal praying (singing) - 4 parts 1. Praying (singing) through a biblical sentence in the Spirit (1 2. Spontaneous singing - devotional singing both from the Scripture and singing Cor. 14:15; Col. 3:16)

3. Developing themes through antiphonal praying (singing) - the singers develop themes from the isolated phrase by singing short (5-10 seconds) songs to enhance the theme of the isolated phrase. spontaneous 4. Spontaneous choruses - the chorus leader and/or worship leader establishes choruses for all to sing (8-10 times) at any time.

III. CORPORATE WORSHIP SONGS

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GLOBAL PRAYER HOUSE A. This is stage 1 of the worship cycle. The worship leaders role is to lead the people into a Godward focus so the whole room engages in Gods presence together in one accord. Therefore, as a rule, we choose songs that direct us to sing to God not only about God. with and B. King David sang 3 types of songs to God -rejoicing, trembling, and kissing (Ps. 2:11-12). Rejoicing celebration, Trembling before Gods Majesty, Kissing speaks of intimacy with God as a tender Father passionate Bridegroom. C. Select worship songs that the majority of the people present are familiar with. Do not introduce more than one new song per worship set. Make sure that the words of the new song are on the screen so that can engage easily.

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D. Principle of maintaining a dominate melody. A common mistake is failing to distinguish between a corporate worship set (goal of helping all participate: singing with unity) and a worship concert (goal of inspiring those listening without necessarily helping them participate in the singing). The worship leader and prophetic singers must maintain a dominate melody line for corporate worship sets because the goal is to lead the room of mostly ungifted singers into unified corporate worship before God. E. Transitioning from stage 1 to stage 2 it is best to keep the same chord progression to make it easy for the singers on stage and in the room.

IV. SPONTANEOUS SINGING

A. This is stage 2 of the worship cycle. This is done in a devotional focus both from the Scripture and singing in the Spirit. For he who speaks in a tongue does not speak to men but to God, for no one understands him; however, in the spirit he speaks mysteries. 4 He who speaks in a tongue edifies himself...5 I wish you all spoke with tongues...14 For if I pray in a tongue, my spirit prays, but my understanding is unfruitful. 15 What is the conclusion then? I will pray with the spirit, and I will also pray with the understanding. I will sing with the spirit, and I will also sing with the understanding. 16 If you bless with the spirit, how will...the uninformed say Amen at your giving of thanks, since he does not understand what you? 17 For you indeed give thanks well...18 I thank my God I speak with tongues more than you all... (1 Cor 14: 2-5, 14-18) B. Singing spontaneously releases faith and intensity to encounter the manifest presence of God. This opens the human spirit to the Holy Spirit in an enhanced way. Beloved, building yourselves up on your most holy faith, praying in the Holy Spirit...(Jude 20) C. There are two ways to sing spontaneously, first by singing with our spirit in tongues and secondly, singing with our understanding from Scripture. 2

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GLOBAL PRAYER HOUSE D. The purpose of the worship team is to lead so that the whole room engages with God. Thus, it is important to have simple and basic chord progressions and in an easy vocal range (not high notes outside their range) for non-gifted singers in the congregation. E. The prophetic singers should all engage boldly on the mic in order to lead the room. They should all sing long notes in flowing melodies and harmonies instead of short syncopated notes going quickly up and down the scale. The worship leader should start with extended lower notes to give the congregation easy melody lines that help them find their own easy melody lines in their range. If the music gets softer than you also need to get softer but yet sing into the mic. If the people in the room only hear the worship leader singing spontaneously then they are more likely to stop singing than if there were four or more singers on the mic singing. It is important to engage the room. F. The prayer leader is not to sing on the mic during spontaneous singing. Why? The prayer leader is generally at a higher volume than the prophetic singers, thus, dominating the voices of the prophetic singers in spontaneous singing. G. Spontaneous singing and/or spontaneous choruses may occur before, after or during the process of developing a passage. H. During this 2nd stage musicians may be asking what their role is. It is normally best to keep the music at a louder scale during spontaneous singing. This helps the singers sing louder and with more intensity so that the room will also continue singing. We always want the room to continue to engage with the Holy Spirit instead of just sitting and watching what we are doing. J. It is also important that all musicians sing during spontaneous singing. It does not matter how talented a singer you are, you are leading the room in engaging their hearts with the Holy Spirit. This is not a time to zone out, but rather to tune into the Holy Spirit through singing spontaneously and also asking Him to reveal prophetic melodies to play on your instrument. for all K. During the transition between the 2nd and 3rd cycle, it is a good time to switch chord progressions the singers. This should be planned out ahead of time by the worship leader so that everyone (singers included) are comfortable with the progression. It is also an option to stay on the same progression for three stages. Sometimes this can get a little redundant but it is the worship leaders call on what to do.

V. DEVELOPING A PASSAGE BY ANTIPHONAL PRAYING/SINGING (INTERCESSION) - 4 PARTS A. This is stage 3 of the worship cycle. The intercessor selects a prayer or prophetic promise from the Scriptures (OT or NT). The NT apostolic prayers are the foundational prayers generally used, (but are not the only prayers used). OT prayers or prophetic promises are good to use in intercession. See handout. B. The intercessor has the option to use the singers or not. If they want to involve the singers, they simply pause to make room for the singers, then continue to offer short 3-5 second prayers that flow in an antiphonal (responsive) way with the singers. If the intercessor chooses not to involve the singers, then they can pray the passage for up to 5 minutes. The 5 minute limitations is only to give other intercessors opportunity to pray on the mic. 1

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GLOBAL PRAYER HOUSE C. PART 1 - Pray through a biblical sentence - in an intercessory prayer format, start by reading the biblical prayer/prophetic decree. For example, Eph. 3:16-19. 16 That He would grant you, according to the riches of His glory, to be strengthened with might through His Spirit in the inner man, 17 that Christ may dwell in your hearts through faith; that you, being rooted and grounded in love, 18 may be able to comprehend with all the saints what is the width and length and depth and height-- 19 to know the love of Christ which passes knowledge...filled with all the fullness of God. (Eph. 3:16-19) 1. After reading the biblical prayer/prophetic decree then pray it for 1-3 minutes (to get the room into the flow of that prayer). End this 1-3 minutes initial part of the prayer by focusing on the part of the passage you have chosen as the key sentence that you want to develop with the prophetic singers. might rooted and 2. Example of a biblical sentence ...that He would grant you, to be strengthened with through His Spirit in the inner man, that Christ may dwell in your hearts...that being grounded in love to comprehend... (Eph. 3:16-17)

D. PART 2 - Isolating a phrase - the intercessor designates one phrase (by speaking it with 3-10 words) from the passage that the singers are to sing around. Isolating a phrase clearly designates or signifies to the singers which phrase is meant to be developed with short 3-5 second songs. Examples are from Eph. 3:16-18 Example A that you may be strengthened with might through Your Spirit in the inner man Example B that you may be rooted and grounded in love...able to comprehend the love of Christ After praying for 1-3 minutes and am ready to isolate a passage, I will say, in the name of Jesus immediately before the phrase I am isolating to make it clear to the singers that my 1-3 minute prayer is over. The prayer leaders goal is to make one phrase obvious to the prophetic singers as the phrase to develop. Often an untrained intercessor will neglect to clearly isolate a phrase. The singers can then stay on this phrase for up to a minute or so. E. PART 3 - Developing themes through antiphonal or responsive praying (singing) the Rs. a. Repeat - with exact language. b. Rephrase - with different words that enhance the meaning. 2 1. The prophetic singers and intercessor develop themes by bringing out the meaning of biblical passage that is being focused on. 2. Three ways the singers develop a theme antiphonally (responsive singing). Three

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GLOBAL PRAYER HOUSE c. Reference - with similar words from Scripture. 3. For example, strengthen with might through Your Spirit in the inner man a. Repeat: strengthen with might through Your Spirit in the inner man b. Rephrase: release Your power to our inner man c. Reference: impart grace to cause our heart to flow in love and holiness F. Basic principles in antiphonal singing 1. Sing short songs of 3-5 seconds that stay on the same theme of the isolated phrase so as to enhance its meaning in order for us to have clear themes. The singers must not sing multiple themes in one short song. We want to unfold the meaning of biblical passages so that we teach on another with psalms, hymns, and spiritual songs (Col. 3:16). 2. Sing one at a time. then the other passage. 3. Sing loudly or not at all when on the mic. If singers sing personal songs softly, singers are not sure if that soft song is meant to contribute to developing the

4. Sequence of singing - if two singers are singing at the same time - first, the worship leader, second, the associate worship leader, third, prophetic singer #1 (chorus leader), then, prophetic singer #2, then, prophetic singer #3, then, singers on instruments. G. PART 4 - Spontaneous choruses 1. Only the chorus leader and worship leader establish spontaneous choruses for all to sing (8-10) times. They make choruses at any time. If the chorus leader makes up a chorus during a worship song or during spontaneous singing, they should always look at the worship leader to see if that is where the worship leader is wanting to take the team to that chorus. If not, jump back in to spontaneous singing or the worship song. 2. All the singers must help lead by singing to chorus together boldly to help establish it so all in the room can quickly join in. All the prophetic singers on the mics should help carry the melody line for the most part in these choruses. There should be more singers singing melody during this time than harmony. Avoid ornamentation and private songs. The goal is to lead the room in these short songs. Simple is better. 1

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GLOBAL PRAYER HOUSE 3. Easy choruses - so the non-musically gifted people in the congregation can join in quickly. In other words, seek easy melodies, with phrases easy to remember, in an easy vocal range and without forcing too many words so that it is easy for ungifted singers to participate quickly. the chorus is 4. End by singing a name of God to signal to the team and the prayer leader that ending.

5. Corporate prayer choruses - that help the whole room intercede with one voice. For example, choruses like Send Your Spirit Lord, or We must have more, or Let us burn with Your fire or Come and deliver me. 6. Double choruses -the worship leader or chorus leader should occasionally establish choruses that echo back and forth answering each other or creating a contrast with each other. Limit to 2 choruses at one time. If the first chorus that is being sung is staccato (choppy) then the second chorus should be legato (smooth, longer held out notes). to in a strong way, or worship leader may passage. choruses may 7. Using the same chorus many times - if a chorus is one that the room responds then use it at other times throughout the prayer meeting. The chorus leader use the same chorus at several different ties throughout the 8. When to sing a spontaneous chorus - spontaneous singing and/or spontaneous occur before, after, or during the process of developing a passage.

H. Musicians: For the 2nd and 3rd stage, you should be listening to the Holy Spirit for melodies. I. When making melodies, it is good to consider the singers. If you start playing a really high or low melody, it is going to be difficult for the singers to sing. It is a good idea to hum the melody in your head while playing it to see if it is singable. Not all melodies have to be singable but most should. J. When making melodies, BE BOLD and CONFIDENT to step out! If you have a melody go ahead and play it. The rest of the band may or may not jump in with you but that is ok. At some point the entire and singers will hear one of your melodies and go along with your lead. However, it is important not to offended if this does not happen. K. When there is a melody that is a hit with the entire team, you should try to remember that melody and bring it back later during the progression if it is appropriate. L. During the 3rd stage (developing a passage by antiphonal praying/singing) musicians should be paying attention to the prayer leader, worship leader, and chorus leader.

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GLOBAL PRAYER HOUSE M. While the prayer leader is praying, pay attention to them to hear if they are praying with intensity or more softly. You want to try to match how you are playing with how they are praying. It is important to support the prayer leader as they are praying. If it is a worship with the word set then you will need to focus on the singer that is developing the passage at the beginning of the 3rd stage to hear what intensity to play at. This applies to the entire 3rd cycle. Play according to what is going on. The worship leader may ask the band to build or get softer to add more dynamic. N. For an intercession set (depending on what the prayer topic is) you will generally want the music to be a bit more intense. This can mean an upbeat tempo or a minor chord progression. It does not have to necessarily be either of these but it does help the prayer leader, singers, and the room to engage in prayer. The worship leader has the final say on the chord progression and the tempo. VI. DEVELOPING A PASSAGE BY ANTIPHONAL PRAYING/SINGING(Worship With the Word) 4
Parts

A. The 1st and 2nd stage of a worship with the Word cycle is the exact same as an intercession cycle. The 3rd stage is completely different, however. So we will only go over the 3rd stage for worship with the Word. B. In the first part of the 3rd stage, one of the singers will sing through a biblical sentence that is established from 1-3 versus (or however many the worship leader chooses). When singing through these versus, sing primarily the text in the verse. You can add additional sentences to flow better with the text but we want to keep it primarily Scripture. For example, when singing Rev. 4:8, Holy, Holy, Holy, is the Lord God almighty, who was, and is, and is to come... we may add, You alone are the Holy God, who we adore. End the biblical sentence with a name of God (Oh God, Lord God Almighty, etc.) The worship leader sings through the first biblical sentence, followed by singer #1, then singer #2, etc. unless otherwise assigned by the worship leader. The prayer leader DOES NOT introduce the passage in worship with the Word. C. Isolating the phrase - The prayer leader clearly designates (echoes) one key phrase from the biblical sentence that the prophetic singers may develop by singing around it. The prayer leaders goal is to make one phrase obvious to the prophetic singers from which to develop a theme. This makes an easy target for the singers to that we reach a swell or crescendo in singing the Word. Only the worship leader is allowed to sing past the phrase that the prayer leader says. This keeps structure in the verse so that all the singers arent all singing their own thing. D. Developing themes through antiphonal singing (10-15 minutes unless life is on it). The prayer leader is to speak only short phrases (3-7 words), not sentences and paragraphs. The prayer leader may isolate phrases that cause us to branch out into other themes within the cycle. They may emphasize this by exactly repeating a phrase that a singer just sang, or by repeating their own phrase twice or by saying, In the name of Jesus before a phrase. Often there will be more energy in the worship cycle if we do not linger too long in developing a passage. E.Spontaneous Choruses - the chorus leader and/or worship leader establishes spontaneous choruses for all to sing (8-10 times) at any time. Choruses are the most effective way to engage a room in any prayer format. 1

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GLOBAL PRAYER HOUSE

VII. TRANSITION
A. It is important to know how to transition smoothly going on and coming off the set. 1. The worship leader always goes out first, (5 minutes before the set starts) 2. As the worship leader is transitioning on, the rest of the team should keep

VIII. BRIEFING & DEBRIEFINGS

A. Briefings - Before the set starts, everyone who is involved in the set (worship team, prayer leader, sound person, screen person) should all come to briefing. 1. This is a time where the worship leader can share what songs the team is going to do and any specific instructions. 2. Also, the worship leader should go over the chord progressions for the 3rd stage to make sure the whole team is on the same page. Discuss who is going to be starting the chord progression. If a piano or guitar is available for briefing, it would be useful to play the progression so that everyone can get a feel for it beforehand. focus is and on what to sing 3. If it is an Intercession cycle, the prayer leader should tell the team what the prayer also what scripture they will be praying out of. This helps the singers have an idea ahead of time.

4. If it is a Worship with the Word cycle, the worship leader should tell the team what chapter of Scripture they will be singing out of. It is important to discuss for singers what person they are singing from. Are you singing from the perspective of God to us or from us to God etc. Also, discuss what part of the passage you want to focus on. If the worship leader does not discuss this in briefing with the singers and prayer leader, it can make the 3rd stage very messy with everyone doing their own thing. We want to stay away from this. double and chorus strong. Then when 5. The worship leader should split the singers up in to two groups so that when there are choruses there is no confusion. I suggest the worship leader and singer #2 sing together leader and singer #3 sing together. This way, both choruses can be heard and are you want to switch back and forth between choruses, it doesnt get weak. 6. Always pray with your team before the set starts. B. Debriefings - After the set is over, everyone should meet again to discuss the set. 1. The worship leader should start off the debriefing by sharing the things that they really liked in the set. The beginning focus should never be corrective or critical. It is important to always start off with the positive. Your team will be much more responsive to the correction if you run your debriefings this way. After the worship leader has shared, then the team can start sharing the things they liked about the set. 2

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GLOBAL PRAYER HOUSE positive is just plain did not go 2. There are normally many things during a set that do not go according to play. After the shared, this is a good time to discuss between miscommunications or things that well during the set.

IX. PROPHETIC ORACLES

is A. Prophetic oracles are longer songs of 1-5 minutes. This element should be used sparingly -this tool dynamic when not overused. B. There are 3 types: 1. Expressing the burden of the Lord 2. Duets - two singers carrying the burden of the Lord for a longer period 3. Proclamations - prophetic exhortations C. Any singer can do an oracle, but before doing one, they need to hold up their Bible to the worship leader to let them know they have an oracle to sing. If the worship leader nods yes, then that singer can then start their oracle. Sometimes the worship leader is about to transition into something different and does not 2want an oracle at that time. The singer then reengages in wherever the team is going.

X. SELAHS
A. Selahs are 3-5 minute jam sessions that spring out of one of the musicians coming up with a new melody. It can even be one of the singers who comes up with a melody that Holy Spirit has given them that the whole team jumps on. It can start either way. B. One thing to be careful of when doing Selahs is to make sure that it does not become a concert like feel. Selahs should draw the peoples attention to the throne room of heaven and not to the stage of people.