Primary Governing Principle of Harp & Bowl

Jonathan Baldwin

August 18, 2008

Living Grace City Church

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Mike Bickle's Notes:

 

The Primary Governing Principle of the Harp and Bowl Model- Mike Bickle

(September 2002 Version)- There is an updated version available from the bookstore at www.IHOP.org

I.               Introduction

A.            There is one primary “governing principle” in the Harp and Bowl model. It is the principle of “developing a Biblical passage by antiphonal praying (singing).”
Note – four terms related to this principle: 1) the biblical stanza; 2) developing a “biblical sentence;” 3)“developing a theme;” and, 4) “isolating a phrase.” These terms will be defined throughout this handout and summarized on the last page.

B.             The one “governing principle” expresses three values that relate to flowing in one accord as we lead the congregation in worship and prayer. The team ministry (we go farther together in the symphony of God), inclusiveness (everyone can participate even the weak – transferable in an easy way) and the centrality of the Scripture (God’s language unifies our heart with His and others).

C.             We recognize in God’s wisdom the principle of combining structure with spontaneity as seen in our solar system as well as in the human body. For example, precise scientific order that is predictable exists in our solar system alongside spontaneous air currents that are unpredictable. Also, human life itself flows in context to our human skeletal structure supporting the spontaneous functions of air and blood flow, etc. In other words, in God’s creative order spontaneity is enhanced and benefited by right structure.

D.            In developing the governing principle of the Harp and Bowl model, we are seeking a simple structure that facilitates diversity and spontaneity as we flow in team ministry on the platform and in one accord in the congregation in worship and prayer. The challenge is between free expression from the platform leadership and the ability of the congregation to fully participate with engaged hearts.

E.             Why “develop a passage” by developing the themes within a biblical passage?

1.              It provides opportunity for team ministry in worship and Holy Spirit ministry to the congregation.

2.              It provides opportunity for diversity and creativity which is so necessary for 24-hour-a-day prayer.

3.              It provides opportunity for a “crescendo” in the Holy Spirit to be released to us through worship.

4.              It is a way to function as a “singing seminary” (Col. 3:16).

II.             Worship cycle – 3 stages (in sequence)

A.            Corporate worship songs – that all may engage and experience God’s presence together in one accord. The worship leader’s role is to lead the people into a God-ward focus. Therefore, as a rule, we choose songs that direct us to sing to God instead of only about God. This is stage 1 of the worship cycle.

B.             Spontaneous singing – devotional singing both from the Scripture and singing with our spirit (1 Cor. 14:15; Col. 3:16; Eph. 5:19). This is the most difficult and powerful part of the model. Stage 2 of the worship cycle.

C.             Developing a passage (stanza) by antiphonal praying (singing) – This is stage 3 of the worship cycle and has 4 parts. It is the “heart” of the Harp and Bowl model. We want to develop a biblical passage so that the meaning of the key points are drawn out in a fuller way

1.              “Praying (singing) through a biblical sentence” that is formed from a stanza (biblical passage) of 2-4 Bible verses (see the Scripture handouts).

2.              “Isolating a phrase” – The prayer leader designates (echoes) one phrase (simply by speaking it for 1-3 seconds) from the “biblical sentence” that the prophetic singers develop by singing “around it.”

3.              “Developing themes through antiphonal praying (singing)” – The prophetic singers and prayer leader seek to “develop themes” from the isolated phrase. The prophetic singers sing short (5-10 seconds) songs to enhance the theme of the isolated phrase. Usually we develop 2-3 isolated phrases (totaling 2-3 minutes) per “biblical sentence” that is developed.

4.              “Spontaneous choruses” – The chorus leader and/or worship leader establishes “spontaneous choruses” for all to sing (8-10 times) at any time. The chorus leader signifies the last time to sing the chorus by ending it with a name of God.

III.           corporate worship songs

A.            This is stage 1 of the worship cycle. The worship leader’s role is to lead the people into a God-ward focus so the whole room engages in God’s presence together in one accord. Therefore, as a rule, we choose songs that direct us to sing to God instead of only about God.

B.             King David sang three types of songs to God – rejoicing, trembling, kissing. (Ps. 2:11-12) Rejoicing with celebration, Trembling before God’s Majesty, Kissing speaks of intimacy with God as a tender Father and passionate Bridegroom.

C.             Select worship songs that the majority of the people present are familiar with. Do not introduce more then one new song per worship set. Make sure that the words of the new song are on the overhead transparency so that all can engage easily.

IV.           Spontaneous singing

A.            This is stage 2 of the worship cycle. This is done in a devotional focus singing from the Scripture and singing with our spirit (1 Cor. 14:15; Col. 3:16; Eph. 5:19).

B.             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 (not complex) and in an easy vocal range (not high notes outside their range) for non-gifted singers in the congregation. Occasionally, it works to start spontaneous singing with high notes overflowing from a time of High Praise. However, most often, start on lower notes with the option to move toward higher notes.

C.             The prophetic singers should all engage boldly in order to lead the room. They should 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 within their own range.

D.            The prayer leader is not to sing on the mic (unless they are an approved prophetic singer). Why? The prayer leader is at a sound volume of “5” while the prophetic singers are at a “3” so that the prayer leader can be heard above the singers. Thus, the prayer leader dominates the voices of the prophetic singers in spontaneous singing.

E.             Spontaneous singing and/or spontaneous choruses may occur before, after or during the process of developing a passage

V.             Developing a passage by antiphonal praying (singing)
(stage three of the worship cycle)

Defining the Stanza (biblical passage) – an IHOP-KC stanza is comprised of 2-4 Bible verse as seen in the IHOP-KC handouts (i.e. Song of Solomon, Psalms, apostolic prayers, hymns of Revelation, etc.).

For example, Rev. 1:5-8 “Jesus Christ, the faithful witness…the ruler over the kings of the earth. To Him who loved us and washed us from our sins in His own blood, and made us kings and priests to His God and Father, to Him be glory and dominion forever and ever. Amen. Behold, He is coming with clouds, and every eye will see Him. ‘I am the Alpha and the Omega, the Beginning and the End,’ says THE LORD, THE ALMIGHTY.”

A.            Praying (singing) through a “biblical sentence” (part one of developing a passage)

Pray (sing) through a “biblical sentence” that is made from 1-3 Bible verses from the stanza (biblical passage). Sometimes, we make the “biblical sentence” from 1 verse and other times we make the “biblical sentence” by merging 2 or 3 verses. We may “edit the verses” by omitting phrases that are difficult to sing and/or that make the sentence too long. We pray it nearly word for word. The “biblical sentence” is made up from the very language of verses in the stanza.

Examples of praying through a “biblical sentence” from the stanza in Rev. 1:5-8.

Example A

1:5 “Jesus Christ, the faithful witness…the ruler over the kings of the earth. To Him who loved us and washed us from our sins in His own blood,”

Example C

1:5 “Jesus Christ, the faithful witness…(7) Behold, He is coming with clouds, and every eye will see Him. (8) ‘I am the Alpha and the Omega…’”

B.             Choose “biblical sentences” that have “language” that is easy to express “heart responses” to God. In other words, use heart response phrases like, “Lord I love You.” Passages with good heart response language are Ps. 145:8-9; 103:8-9, etc.

C.             Who prays (sings) through a “biblical sentence”? The worship leader, prayer leader or any of the prophetic singers may initiate this. The worship leader should sing through it only once instead of singing around it for a longer period. We want to begin the antiphonal singing immediately.

D.            Announce the text (prayer leader) so that the people in the room know 1) what you are singing/praying is actually in the Bible 2) so they can open to it and follow along 3) so the prophetic singers know intent to develop a passage during ministry time.

VI.           Isolating a phrase (part two of developing a passage)

A.            “Isolated phrases” are taken from the “biblical sentences.” The prayer leader clearly designates (echoes) one key phrase (simply by speaking it for 1-2 seconds) from the “biblical sentence.” Then the prophetic singers develop that phrase by singing “around it.” In other words, “isolating a phrase” signifies to the prophetic singers which phrase is to be developed. The premise is that each “isolated phrase” has a “theme to develop.”

B.             Using the example of a “biblical sentence” made from the stanza in Rev. 1:5-8.

Example A

1:5 “Jesus Christ, the faithful witness…the ruler over the kings of the earth. To Him who loved us and washed us from our sins in His own blood.”

C.             Examples of “isolated phrases” taken from this “biblical sentence” in Rev. 1:5.

 

Example A – Jesus Christ…the ruler over the kings of the earth.

Example B – Jesus Christ, the faithful witness…

Example C – To Him who loved us…

Example D – To Him who…washed us from our sins in His own blood…

D.            The prayer leader isolates the phrase. Their objective is to make one phrase obvious to the prophetic singers as “the phrase” to develop a theme from. The prayer leader makes the isolated phrase a “big target” (clearly recognizable) for the prophetic singers. Often an untrained prayer leader will neglect to isolate a phrase. Thus, the prophetic singers do not know which phrase to develop.

E.             How long do we stay on the same isolated phrase? Usually we do not stay on the same “isolated phrase” for more than 30-60 seconds, unless the Holy Spirit is moving on it in a special way.

F.             How many isolated phrases do we develop in each “biblical sentence”? One to three isolated phrases is usually the limit. The prayer leader may keep the antiphonal singing going, by “isolating” another key phrase within the stanza.

G.            Due to time, we usually limit ourselves to isolating 2-3 phrases per “biblical sentence.” Limit the antiphonal singing of each “biblical sentence” as a rule to approximately 1-3 minutes, unless the Lord is blessing it. Why? So that the congregation does not disengage. Usually after about 1-3 minutes of antiphonal singing the congregation begins to disengage. However, more choruses can help keep the congregation involved a little longer.

VII.         Developing themes through antiphonal praying (singing)
(part three of developing a passage)

A.            The prophetic singers and prayer leader seek to “develop themes” from the “isolated phrases” so that clear themes emerge and have opportunity to crescendo.

B.             Three ways the prophetic singers develop a theme antiphonally (responsive singing).

1.              Echo the phrase back with exact language.

2.              Paraphrase the phrase with similar words from Scripture.

3.              Develop the phrase with different words (Scripture) that enhance the idea.

C.             Using Example A – Jesus Christ…the ruler over the kings of the earth.

1.              Echo it back – “Jesus Christ…the ruler of the kings of the earth.”

2.              Paraphrase it – “Jesus Christ is king over all the nations.”

3.              Develop the idea – “Jesus, Your government will prevail over darkness.”

D.            Conversational antiphonal praying (singing) – two ways. First, by asking and answering a question. This conversation may go from God to the Church or vice versa. Second, by making a declaration. This declaration may go from God to the Church or vice versa.

Example A (from Rev. 1: 5-8) – Jesus Christ…the ruler over the kings of the earth.

1.              One prophetic singer asks a question from God’s point of view. For example, “Who is the great king of all the nations?” or “Who do you want to rule over you?” Another singer answers back from the Church’s point of view. For example, “Jesus, you are the king over all the earth.”

2.              One prophetic singer makes a declaration from God’s point of view. For example, “I alone am the great king over all the earth” Another singer answers back from the Church’s point of view. For example, “Jesus, You alone are my God and King.”

VIII.       basic principles in antiphonal singing

A.            The role of the prophetic singers is to develop themes through antiphonal praying (singing). The following are the most basic principles in antiphonal singing.

1.              Sing short songs of 2-10 seconds.

2.              Sing short songs that stay on the same theme that the prayer leader selects when isolating a phrase. Prophetic singers should stay within the subject matter of the isolated phrase. In other words, sing short songs to enhance the theme of the isolated phrase. Since we desire to see clear themes emerge and have opportunity to “crescendo,” the singer does not sing multiple themes in one song. We are seeking to unfold the meaning of biblical passages so that we admonish and teach one another with psalms and hymns and spiritual songs (Col. 3:16).

3.              Sing one at a time.

4.              Sing one after the other- the energy builds when there is about a “1/4 inch” overlap between each song rather than leaving a 1-3 second gap between each singer.

5.              Sing loudly or not at all when on the microphone. If singers sing personal songs softly, then the other prophetic singers are not sure if that soft song is meant to contribute to the corporate prayer or is meant to be private singing to God.

6.              Signal one another in any way that works with your team. Examples of how some signal each other – by looking at each other to nod or to subtly lift a finger. Sometimes prophetic singers hum to signify that they have a song ready to sing next.

7.              Sequence of singing – if two singers start singing at the same time – first, the worship leader, second, the assistant worship leader, third, prophetic singer #1 (the one nearest to the back of the platform), then prophetic singer #2, then prophetic singer #3, etc., then singers on instruments and then the prayer leader, is last.

IX.           Spontaneous choruses (part four of developing a passage)

A.            ONLY the chorus leader and/or worship leader establish “spontaneous choruses” for all to sing (8-10 times). They can make choruses at any time.

B.             All the singers must help lead by singing the 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 in these choruses and avoid all else (ornamentation, private songs, etc.)

C.             Easy choruses – spontaneous choruses need to be easy to follow for non-musically gifted people in the congregation. We seek to establish an easy flowing melody instead of prophetic singers singing syncopated, militant or up and down scales. Try to keep the choruses simple musically and with not too many words forced into a small amount of time so that everyone can join in quickly. Keep in mind phrases need to be easy to remember with a melody and vocal range easy for ungifted singers. The purpose of the choruses is to engage the room.

D.            Corporate Prayer Choruses – choruses that help the room cry out to God with one voice. For example, “Send Your Spirit Lord,” or “We must have more,” or “Let us burn with Your fire” or “Come and deliver me” or “break through….”

E.             Ending a chorus – the chorus leader signifies the last time to sing the chorus by ending it with a name of God.

F.             Sing anytime – Spontaneous singing and/or spontaneous choruses may occur before, after or during the process of developing a passage.

G.            Contrasting choruses – the worship leader or chorus leader should occasionally establish contrasting choruses that echo back and forth answering each other. Limit to two choruses at one time (three is too many at this time in our development).

H.            Using the same chorus many times – if a chorus is one that the room responds to in a strong way, then the chorus leader (or worship leader) may use the same chorus at several different times throughout the prayer meeting.

I.               Pray during the gap – prayer leaders should only make proclamations during the gaps in the choruses rather than shouting over and during the chorus. When one does that no one can really understand what is being said and you hurt your voice.

X.             The role of the prayer leader (in worship formats)

A.            If a prayer leader first learned to lead in intercessory prayer formats, then it is easy to mistake leading worship formats in the same way as an intercessory format. The prayer leader’s role in the intercessory prayer format is to lead as the worship leader supports. The prayer leader’s role in the worship prayer format is to be supportive to the worship leader. To be overly verbal is to hinder the worship flow in the worship formats. The prayer leader aims at a 1:5 or 1:10 ration with the singers in worship formats as opposed to a 1:2 ration in the intercessory formats.

B.             The prayer leader’s main job is to keep the isolated phrase obvious to the prophetic singers. In other words, to give the singers a big target at which to aim.

C.             The prayer leader’s second job is to watch the involvement of the room. The goal is to see the room in one accord. They watch to see if the antiphonal singing is inspiring the room to engage with God. If the antiphonal singing goes too long then the room disengages.

D.            Thirdly, the prayer leader helps to “develop the theme” by continuing to speak phrases related to the theme that are usually only 3-5 words. (This is different from the role of the prayer leader in an intercessory prayer format) Don’t pastor, teach, exhort or explain.

E.             Praying through a “biblical sentence” – (part 1). Select a Scripture for example, Rev. 1:5-7, to form a “biblical sentence” from. The worship leader, prayer leader or any of the singers may initiate this after the spontaneous singing.

F.             The prayer leader’s goal is to make one phrase obvious to the prophetic singers as “the phrase” to develop. The isolated phrase must be clearly recognizable to the singers. We stay on an “isolated phrase” for less than 60 seconds, unless the Spirit is moving on it in a special way. We usually only isolate 2-3 phrases per “biblical sentence,” unless the Lord is blessing it so the congregation does not disengage. If the Lord is blessing the time, then continue by praying another biblical sentence.

G.            Indicate that you have a passage to develop by holding up your Bible. End the sentence by saying a name of God.

H.            The prayer leaders are not to sing on the mic during spontaneous singing. Why? The prayer leader is at a sound volume of “5” while the prophetic singers are at a “3” so that the prayer leader can be heard above the singers. Thus, the prayer leader dominates the voices of the prophetic singers in spontaneous singing, which hinders the flow in the room.

XI.           The role of the prayer leader in intercessory formats

A.            In the intercessory prayer formats, the prayer leader initiates by speaking the “biblical sentence” and also “isolating phrases.”

B.             The prayer leader adds one additional dimension not used in the worship prayer formats. They pray the apostolic prayer or prophetic promise for 1-2 minutes to get the room into the flow of the biblical prayer. For example, they read Eph. 3:16-17, then pray it for a 1-2 minutes and, then they isolate a phrase.

C.             The prayer leader starts by selecting a prayer or prophetic promise from the Scriptures (OT or NT). See the handout for a list of suggested prayers and prophetic promises (turned into prophetic decrees). The New Testament apostolic prayers are the foundational prayers (not the only prayers) used at IHOP. Old Testament prayers or prophetic promises as well as New Testament prophetic promises (especially in the Book of Revelation) are good to use in intercession.

D.            The intercessor has the option to use the singers or not. If the prayer leader wants to involve the singers, then they simply pause to make room for the singers, then they continue to offer short 3-5 second prayers that flow in an antiphonal way with the singers. If the prayer leader chooses not to involve the singers, then they can pray the passage for up to five minutes. The five-minute limitation is only to give other intercessors opportunity to pray on the mic.

E.             If the intercessor wants to use the prophetic singers. Start by reading the prayer then pray it for 1-2 minutes (to get the room into the flow of the prayer). Then form a biblical sentence from the passage you intend to focus on.

“…that He would grant you, according to the riches of His glory, to be strengthened with might through His Spirit in the inner man, that Christ may dwell in your hearts through faith; that you, being rooted and grounded in love, may be able to comprehend with all the saints what is the width and length and depth and height-- to know the love of Christ which passes knowledge; that you may be filled with all the fullness of God.” (Eph. 3:16-19)

F.             Pray through a “biblical sentence” made from this passage to focus on.

Example A – Eph. 3:16-17 “…that He would grant you, according to the riches of His glory, to be strengthened with might through His Spirit in the inner man, that Christ may dwell in your hearts through faith; that you, being rooted and grounded in love…”

G.            “Isolated phrases” are taken from the “biblical sentences.” The prayer leader clearly designates (echoes) one key phrase from the “biblical sentence” that the prophetic singers develop. Isolating a phrase signifies to the prophetic singers which phrase is to be developed. It is best to isolate the phrase, pray the ideas of the phrase for about a minute or two and then clearly isolate the phrase again. I often say, “in the name of Jesus” immediately before I isolate the phrase.

Example B – “…that you, being rooted and grounded in love…”

Example C– “that you,…know the love of Christ which passes knowledge...”

H.            Limit exhortations – give as few as possible and make them as short as possible. Make them to God as much as possible as well. Instead of giving a long exhortation about pressing in declare to God, “we stir ourselves up to press” or simply “we press in” or say simple “continue” or “together”

XII.         reviewing the terminology

A.            Antiphonal singing means responsive singing. This is an expression of team ministry. Conversational antiphonal praying (singing) refers to creating dialogue to sing (speak) with the prophetic singers in order to express a conversational dynamics between the Church and the Lord.

B.             Worship cycle – the three activities that worship leaders use in a re-occurring pattern throughout the 2 hour prayer meeting. The three stages are: 1) singing corporate worship songs; 2) spontaneous singing; and 3) developing a theme through antiphonal praying;.

C.             Developing a Passage by antiphonal praying (singing) – this is stage 3 of the worship cycle and it has 4 parts. This is the “heart” of the Harp and Bowl model. We do this by developing a “biblical sentence” within a stanza. How? Four ways: 1) praying (singing) through a biblical sentence that is formed from a stanza of 1-3 Bible verses; 2) isolating a phrase; 3) developing themes through antiphonal praying (singing); and, 4) spontaneous choruses.

D.            Developing a Biblical Sentence – praying through a “biblical sentence” that is formed from a stanza of 2-4 Bible verses, and then developing the themes within the isolated phrases in that biblical sentence. There are 3-5 potential isolated phrases in a “biblical sentence.”

E.             Isolating a phrase – the prayer leader designates (echoes) one phrase from the “biblical sentence” that the prophetic singers develop by singing “around it.”

F.             Spontaneous choruses – the chorus leader and/or worship leader establishes “spontaneous choruses” for all to sing (8-10 times) at any time. The chorus leader signifies the last time to sing the chorus by ending it with a name of God.