When you play, you pray twice!
This saying comes from a banner that hangs next to the band set-up at our church. It’s absolutely true. What you play and what you sing are your prayer as well as your witness. What you convey when you play church guitar says more about you than words could ever say.
Whether you are learning to play church guitar right now, or if you are adapting “secular” guitar playing to fit into sacred music, you are not very far away from performing the music you love. Many of the old Spirituals, such as “Michael Row the Boat Ashore”, as well as the hymns, such as “Amazing Grace” have very easy chord structures and the music is simple to play and/or sing. There is not a lot of adapting that needs to take place with these old and simple songs; if you have played Folk, Rhythm and Blues, or early Rock and Roll, you have played variations of these songs for years.
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There’s no greater honor than to stand before your congregation and play guitar for worshipers of Christianity! Singing praises to the Lord with your fellow church members is one of the most awesome experiences any one can have.
God has given us talents to sing his praises and playing guitar for the church is one of the greatest ways to glorify God. There are several well known duets, solo artists and even bands that go from church to church playing gospel music for God’s glory. You too can learn guitar for god praising.
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Liturgy of Peace (De Angelis) -Chants from the Divine Liturgy of St. John Chrysostom, were first sung by Archbishop Ionafan in the melodious style of ancient Gregorian surroundings. Gregorian singing (choral) and its ancient melodies were sung without the inclusion of musical instruments, song. Melodious sources and origins of Gregorian chorals derive from synagogical (antiphonal) psalm melodies, Byzantine hymns and ancient world music.
Several types of Chorale Church Music exist. Specific notice is deserved to the ancient-Roman songs of the VII-VIII centuries. Information from the Lorana Institute and Greek research into choral traditions of L. Anhelopulocs show a united modal, rhythmic and ornamental basis. These actual chants were placed into the foundation of Gregorian chorals until the VIII-IX centuries until the systematic Gregorian eight-toned foundational singing arose. In the East this process ceased a century earlier (Eight Tones of St. John Damascene), in time the Gregorian chorale became the basis of all European professional music and its rightful name should be “The Musical Teacher of Europe”.
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