Harp and Bowl Model
Kampala House of Prayer 
The 24 elders fell down before the Lamb, each having a HARP, and GOLDEN BOWLS full of incense, which are the prayers of the saints.” (Rev. 5:8) 

1.       The HARP speaks of worshipping God with musical instruments.
2.       The BOWLS speak of the intercessory prayers of the church. 
1)                  The Harp and Bowl model is one model used for different prayer formats
2)                  Prayer Formats
a)      Intercessory prayer format — this prayer format is designed to pray for either a general breakthrough or outpouring of the Holy Spirit (historical visitation of the Spirit) on the church across a city (region) or specific needs in society (government) the Holy Spirit highlights. The prayers of the NT apostles or prophetic decrees can be used for either of these prayer directions.
b)      Prophetic worship prayer format — this prayer format is designed to facilitate united corporate participation in worship so as to reach the highest experience of worship, including ministry times for healing and deliverance.
c)       Worship with the Word prayer format — this prayer format is designed to function as a discipleship program that provides training in the Word as we function as a “singing seminary.” Our desire is to raise up singing theologians or “theologian worship leaders.” This prayer format is an excellent way for worship teams to discover new passages that they will enjoy singing many times in the future. Therefore, we sing through an entire passage of scripture (for example Psalm 145). We focus on singing through large portions of Scripture rather than trying to discern specific Holy Spirit themes for ministry.
d)      Devotional worship prayer format — this prayer format is designed to provide an anointed atmosphere for individuals to meditate on the Scriptures as they linger in God’s presence. The songs and music style are devotional in focus so that we may sit at the feet- of Jesus as Mary of Bethany did. This is the place to release the “prophetic soloist” or the “worship concert.”

3)                  12 COMPONENTS INCLUDED IN THESE MODELS:
a)      Scripture - the foundation of all expressions of worship.
b)      Team Ministry - the model provides clear communication lines that facilitates bold, confident, inclusive team flow.
c)       Antiphonal singing - responsive singing (praying) of the word functioning in team ministry and the Holy
Spirit.
d)      Prophetic oracles - are explosive individual prophetic songs.
e)      Spontaneous singing - devotional singing from scripture and in the Spirit that uses simple chord progressions and easy vocal ranges to include all ungifted singers.
f)       Spontaneous choruses - are “mini worship songs” sung by the whole room. (simple chord progressions and easy vocal ranges)
g)      Warring in the Spirit (optional) - a more militant praying in tongues.
h)      Spoken prayers - intercession
i)        Ministry time - a time for individuals to receive prayer ministry.
j)        Choirs - provide diversity with a corporate dynamic.
k)      Song selection - should primarily be God-ward focused songs.
l)        Musical Selahs - brief creative jam sessions.
Notes:
       Spontaneous singing is mandated by this model, all our teams must learn to flow in this greatly neglected dimension in the worship movement today worldwide.
       Biblical language — we ask that much of the spontaneous singing (especially the antiphonal singing) use scriptural terminology instead of merely what flows from the heart.

The Primary Principle of the Harp and Bowl Model
      
1)        A Worship Cycle Has 4 Stages:
a)      Corporate worship songs — that all may engage in God’s 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.
c)       Developing a passage (stanza) by antiphonal praying (singing).
i)        Praying (singing) through a biblical passage of 2-4 Bible verses.
ii)       Isolating a phrase - the prayer leader designates one phrase (by speaking it out) from the “biblical passage” that the singers develop by singing around.
iii)     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.
iv)     Spontaneous choruses - the chorus leader and/or worship leader establishes “spontaneous choruses” for all to sing (8-10 times) at any time.
d) Warring in the Spirit (OPTIONAL) by praying / singing in the Spirit.  The prayer leader speaks (not sings) in tongues on the mic to lead the room in warring intercession.

2)                  Stage 1 - Corporate Worship Songs:
a)      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 not only about God.
b)      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 overhead so that all can engage easily. 
c)       Principle of maintaining a dominate melody.  A common mistake is failing to distinguish between a corporate worship set (in which the goal is helping all to participate in singing with unity) and a worship concert (in which the goal is inspiring those listening without necessarily helping them participate in the singing). The worship leader and prophetic singers must maintaining a dominate melody line for corporate worship sets because the goal is to lead a room of mostly un-gifted singers into unified corporate worship before God.

3)                  Stage 2 - Spontaneous Singing:
a)      This is done in a devotional manner and is done in two ways. First, by singing with our spirit in tongues and secondly, singing with our understanding from Scripture. 
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.
c)       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.
d)      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 in their range.
e)      The prayer leader is not to sing on the mic (unless they are an approved prophetic singer) during spontaneous singing. Why? The prayer leader is at a higher sound volume than the prophetic singers, thus, dominating the voices of the prophetic singers in spontaneous singing.
f)       Spontaneous singing and/or spontaneous choruses may occur before, after or during the process of developing a passage.

4)                  Stage 3 - Developing A Passage By Antiphonal Praying/Singing:
a)      The intercessor selects a prayer or prophetic promise from the Scriptures (OT or NT). The NT apostolic prayers are foundational prayers used in Harp & Bowl, (but are not the only prayers used). OT prayers or prophetic promises are good to use in intercession.
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 intercession chooses not to involve the singers, then they can pray the passage for up to 5 minutes.
c)       Pray through a “biblical sentence” - in an intercessory prayer format, start by reading the biblical prayer/prophetic decree. For example, Eph. 3:14-19. 
I bow my knees to the Father of our Lord Jesus... 15 from whom the whole family in heaven and earth is named, 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. 3:14-1 9)
i) 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. ii) Example of a ‘biblical sentence’  “...that He would grant you, to be strengthened with might through His Spirit in the inner man, that Christ may dwell in your hearts . . .that being rooted and grounded in love...” (Eph. 3:16-17) 
d)      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. 
i)                    Example A  “strengthen with might through Your Spirit in the inner man” 
ii)             Example B  “rooted and grounded in love”
e)      When the prayer leader is finished praying for 1-3 minutes and is ready to isolate a passage, he will often surround the phrase with, “in the Name of Jesus” to make the phrase clear to the singers and indicate that my 1-3 minute prayer is over. The prayer leader’s goal is to make the phrase obvious to the prophetic singers as “the phrase to develop”. Often an untrained intercessor will neglect to clearly isolate a phrase. (teams may stay on one isolated phrase for 60 seconds or so).
f)       Developing themes through antiphonal or responsive praying (singing).
i)                    3 Steps the singers take to develop a theme antiphonally.
(1)                Echo the phrase back with exact language.
(2)                Paraphrase the phrase with similar words from Scripture.
(3)                Develop the phrase with different words that enhance the meaning.
ii)                   For Example:
(1)                “Strengthen with might through Your Spirit in the inner man”
(2)                Echo Back: “Strengthen with might through Your Spirit in the inner man”
(3)                Paraphrase it:  “Release Your power to our inner man”
(4)                Develop the idea:  “Impart grace and cause our heart to flow in love and holiness” iii) 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 clear themes to  emerge. The singers must not sing multiple themes in one short song.
iv)     Sing one at a time.
v)      Sing loudly or not at all when on the microphone. If singers sing personal songs softly, then the other singers are not sure if that soft song is meant to contribute to developing the passage.
vi)     Sequence of singing - if two singers are singing at the same time, yield to the one above you.  First is the worship leader, second is the chorus leader, or prophetic singer #1 then, prophetic singer #2, then prophetic singer #3, then singers on instruments and then the prayer leader is last. 
vii)   Antiphonal singers continue to sing through this process, one to another in the pre-determined order until a phrase is found that the Holy Spirit has “breathed  upon” (given life) g) Spontaneous Choruses
i) Once the phrase or chorus has been settled upon the chorus leader or worship leader establishes this “spontaneous choruses” for everyone to sing (8-10 times). These chorus can be sung at any time. ii) 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, harmonies etc.)
iii)     Sing 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.
iv)     When the worship leader senses it is time to stop, he gives control back to the prayer leader by ending the chorus with the phrase “Oh God”.
v)      Using the same chorus many times - if a chorus is one that the room responds to in a strong way, then use it at other times through the entire prayer meeting. The chorus leader (or worship leader) may use the same chorus at several different times throughout the passage.

5)         Stage 4 - Warring in the Spirit (OPTIONAL) by praying in the Spirit.
I) The prayer leader speaks (not sings) in tongues on the mic to lead the room in warring intercession. Every few moments the intercessor may proclaim the theme (3-5 words only) we are warring for to help others focus.

1)                  THE ROLE OF THE PRAYER LEADER (in worship formats)
a)      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.)
i)        If a prayer leader is used to the intercessory prayer format, then it is easy for them to make the mistake of leading the worship prayer format in the same way. In other words, by speaking too long (more than 3-5 words).
ii)       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 prayer formats.
iii)     The prayer leader aims at a 1:5-1:10 ratio with the prophetic singers, as opposed to a 1:1-1:2 ratio in the intercessory prayer format.
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 the room disengages.
d)      The prayer leaders are not to sing on the mic during spontaneous singing.  The prayer leader’s mic is much louder than the prophetic singers so that they 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.

2)                  THE ROLE OF THE PRAYER LEADER (in intercessory formats)
a)      In the intercessory prayer formats, the prayer leader initiates by speaking the “biblical passages” 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, pray it for 1-2 minutes, and then they isolate a phrase.
c)       Rapid Fire prayer - The prayer leader will choose a prayer focus and then invites intercessors to come up and pray for 10-15 seconds each. It allows for participation of intercessors in a non-threatening manner. 
d)      In intercessory formats, the intercessor has the option to use the singers or not. If the prayer leader wants to involve the singers, then they simply pauses to make room for the singers, and then continues to offer short 5-10 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.



Outline for Intercessory Prayer Format
In this prayer format we use the prayers of the apostles and of prophetic promises to engage in intercession.  We use the apostolic prayers to intercede for revival (general outpouring) on the whole church across the city.  We use the prophetic promises to pray for specific needs that the Holy Spirit highlights.  We focus on specific targets locally, nationally, or internationally according to the following themes: cultural strongholds, crisis events, political issues, church issues, salvation of Israel, economic issues, family issues, etc.

Typical Worship Cycle
1)                  15-20 minutes of worship (2-3 worship songs)
2)                  5 minutes of spontaneous singing (for all, in Spirit or understanding)
3)                  10-15 minutes of intercession, this can include:
a)                   Prayer leader prays through text, and isolates a phrase.
b)                  Antiphonal singers develop phrase into spontaneous songs/choruses/prayers
The intercession can also include:
a)       Rapid fire prayer, warring in the Spirit, and open prayer ministry.
4)               Repeat Step 3 - This can be handed back to the Prayer leader to pray another text and begin again until a new worship cycle is started.
Subsequent worship cycles may have less worship time and spontaneous singing if the room is fully engaged.  If the room is not engaged worship time may be longer.
When the prayer leader senses it is time to go back to worship he will signal to the worship leader and they will start a new cycle.
During times of intercession, if the Prayer leader senses the room is not engaged, or if he just feels it is called for he can have the room break up into small groups to pray for a specific topic or he can begin “rapid fire prayer”.  During rapid fire prayer the prayer leader is responsible for holding the mic and cueing the intercessors.
Notes:
1)                  Worship prepares our hearts for engaging with the Lord
2)                  Spontaneous singing (particularly in the Spirit), adds the extra spiritual “boost” to hear from the Lord for hearts that have been engaged.  This time can really  stir hearts that have been engaged in worship and it can help further sir hearts that are still “waking up”
3)                  Intercession focuses on what the Lord is wanting us to partner with Him
4)                  Antiphonal singing is prophetically singing prayer phrases to God.  This engages the whole room to sing together.  The entire room is singing this prayer.  It is certainly one application of Matthew 18:19 - prayer of agreement.
5)                  Prayer leaders - pray with your eyes open.  You need to be able to watch the room and sense engagement.  You also need to watch the worship leader to communicate with him.
6)                  Worship leaders try to keep your eyes open most of the time.  You need to be able to communicate with the prayer leader and singers, musicians.
7)                  The model gives great flexibility as it is used repeatedly.  Rather than being a rigid legalistic form, its structure provides the capacity for much spontaneity as the team is led by the Holy Spirit and flows together as one.

 Do not hesitate to contact me for any questions and additions.
trust@vccntinda.org
256 791 881 042