Tagalog Christian Songs With Lyrics Non Stop

[Victorino Eagle]

Icaught up with Eddie Espinosa, by way of his cell phone while he strolled the aisles of a Target store in the Los Angeles area, shopping for a Mothers Day present for his mother-in-law. You can imagine the background sounds on the tape of the interview. Eddie is currently an assistant principal at Canyon High School in Anaheim, California.

"The year was 1982. I had been a Christian since 1969, but I saw a lot of things in my life that needed to be discarded. I had slowly become very complacent. I acknowledged my complacency, and I prayed to the Lord, 'The only way that I can follow you is for you to change my appetite, the things that draw me away. You must change my heart!'"

Eddie continued, "Shortly thereafter I was in my car on the way to my work, feeling a desire to draw near to God and with the wrestling still going on in my heart. Suddenly, a melody and some words began to flood through my mind. As I stopped at a stop sign I reached for something to write on. The first thing I found was a small piece of yellow paper, which, by the way, I still have, and began to write as rapidly as I could. It was like taking dictation. I wrote the words on the paper, and kept the melody in my mind."

"Our church home was the Vineyard Christian Fellowship in Anaheim, California, and someone told the pastor that I had written a song that would be good for the congregation to sing. The pastor asked me to play it for him, and afterwards asked if I would share it with the congregation. From that point on, I began to get reports that my song was being taught in San Diego, Los Angeles and in many other places."

At the time of this interview, Eddie is a counselor at Orange High School in Orange, California. He also oversees a federally funded program for children. He has written scores of songs with 38 of them being published. As his other duties will allow, Eddie and his wife Else often travel as a team, leading worship music in conferences and special services. They have two children.

With the release of new songs weekly and the increased birthing of locally-written songs, worship leaders are providing a steady diet of the latest, greatest worship songs. Indeed, we should be singing new songs, but too high a rate of new song inclusion in worship can kill our participation rate and turn the congregation into spectators. I see this all the time. I advocate doing no more than one new song in a worship service, and then repeating the song on and off for several weeks until it becomes known by the congregation. People worship best with songs they know, so we need to teach and reinforce the new expressions of worship. (more)

The people we are leading in worship generally have a limited range and do not have a high range. When we pitch songs in keys that are too high, the congregation will stop singing, tire out, and eventually quit, becoming spectators. Remember that our responsibility is to enable the congregation to sing their praises, not to showcase our great platform voices by pitching songs in our power ranges. The basic range of the average singer is an octave and a fourth from A to D (more).

As worship leaders, we often get so involved in our professional production of worship that we fail to be authentic, invite the congregation into the journey of worship, and then do all we can to facilitate that experience in singing familiar songs, new songs introduced properly, and all sung in the proper congregational range. (more)

With the availability of so many new songs, we often become haphazard in our worship planning, pulling songs from so many sources without reinforcing the songs and helping the congregation to take them on as a regular expression of their worship. In the old days, the hymnal was that repository. Today, we need to create song lists to use in planning our times of worship. (more)

We often get caught up in our world of amazing music production and lose sight of our purpose of helping the congregation to voice their worship. Let them know you expect them to sing. Quote the Bible to promote their expressions of worship. Stay alert to how well the congregation is tracking with you and alter course as needed. (more)

God made men to be leaders, and women to be responders, see the creation story. If you want men to sing, have male leaders who can fit their songs inside a congregationally singable range, from a C at the bottom to a D above middle C.

I appreciate how you explored various factors that may contribute to this issue, such as unfamiliar songs, technical difficulties, and a lack of musical training. By identifying these barriers, you help create awareness and open up conversations that can lead to meaningful solutions.

Moreover, I found it insightful how you emphasized the role of leadership in fostering a conducive environment for congregational singing. It is crucial for worship leaders and pastors to cultivate a culture of participation, where congregants feel comfortable and encouraged to engage in worship through singing.

I particularly resonated with your emphasis on the importance of authenticity and intentionality in worship. When worship leaders genuinely express their own worship and lead with passion, it can inspire and encourage the congregation to join in wholeheartedly.

Your article serves as a valuable resource for worship leaders, pastors, and congregations who are seeking to enhance the worship experience and promote active participation. It encourages us to reflect on our practices and consider practical strategies to overcome the barriers that hinder congregational singing.

Thank you for addressing this pertinent issue and providing practical insights and suggestions. I believe that by raising awareness and fostering intentional change, we can create worship experiences that inspire and unite congregations in heartfelt praise.

But, your article is mistaken on one major point. The PreReformation Church did NOT have professional singers sing for the PEOPLE. They had skilled singers (professional or not) sing for GOD. The belief was and is that only our best should be offered to God. Modern Greek & Russian Orthodox Churches still follow this model. The congregation may join in the singing if they desire, but it is not expected.

When you stray from the New Testament design these nine problems and many more arise. New Testament only mentions singing for a reason, no mention of praise bands or choirs, spectacle or production quality. Just singing.

I lead smaller congregations and groups in worship each week. I have noticed an incredible and intriguing phenomenon. As an artist, I often find myself singing short spontaneous choruses and experts from scripture (usually over the same chord progression of a familiar praise and worship song).

Perhaps if the service gad a sacrament at the heart of it rather than a guitar, music would be relegated back to its original purpose as an adornment rather than as a chief feature of the event. All the music in the cosmos cannot the sacrifice of the Eucharist.

Most of all, the pastor needs to get out of the way of good music. Pastors tend to be very immature in their musical knowledge and taste. Let the professional musicians do their jobs. Let the singers do their jobs. Let the organist and/or orchestra players do their jobs.

That depends on the church. Episcopal Church hymnal? I totally agree. Baptist and/or Methodist Church? I totally disagree. I think people need to keep in mind their own personal experiences when trying to paint with a very broad brush the entire Christian church regarding music.

I totally agree with the points discussed here. As a member of one of the Christian Churches in Houston, I really think that there is a need to inspire others during worship. Singing is an honest way of showing devotion and respect to God. Our efforts here is really important so we can pour our hears into prayer.

King David said that the Hand of God was upon him when designing the temple. 1 Ch 28:19. What was so important about this design for God to get involved. If the temple was so sacred, then why did God allow it to be destroyed? Perhaps it was because there was a second purpose for it. Why are there so many details about it, which if they had no purpose, how did they get preserved all this time?

Thank you for this distinction. When a contemporary worship service was added at the local church, my sense was it is something totally different from liturgical worship and that the two should not be viewed as interchangeable.

In response to Charles comment, coming from a worship leader perspective, all I can say is as leaders we try to make the music easy to remember in order to sing along and participate as a whole in the congregation. There are lyrical and musical master pieces that will move you to tear up or fall on your knees and praise God from the likes of Casting Crowns, Chris Tomlin and such. Although music, just like social economic status is all relative to the individuals own perception. Not everyone is musical, but they are capable of following hymns that repeat themselves. We are not on the stage to bring attention to ourselves but to help facilitate the congregation to sing and praise together as one from the heart. God bless, and may you find the beauty in music that shakes your soul, tears you up, and moves you to understand the power and glory that is Jesus Christ.

Exactly! An awful lot of what is released sounds to me as if the lyricist just dashed off a series of thoughts, usually stringing together some Christian catchphrases, and then the composer wrote something that sort of fit the rhythm of the words. Third rate poetry set to second rate music.

And, it can be worse than that! Often it takes three or four lyricists credited to a song of religious cliches. I think this because the songwriters are under contract to record companies to push out quantity over quality.

I guess you could label me as old fashioned. Fine. But l had to teach history for 15 years and when I did research on the hymns from the good old days, I found out why there was so much depth to that music.

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