The Spiritual Song - Exploring Prophetic Worship by Mike Herron

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Unless stated, scripture quotes are New King James Version. THE NEW KING JAMES VERSION, (NKJV) Copyright © 1982, Thomas Nelson, Inc.

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Table of Contents

Prologue………………………………..………...…….5

Chapter 1……….The Song of the Lord……..........…9

Chapter 2… ..History of the Prophetic Song……17

Chapter 3… .Beginnings of the Spiritual Song…..31

Chapter 4….......….The Prophets………..…….…...41

Chapter 5………..….King David……………...……51

Chapte r 6…….Asaph, Jeduthun, Heman… . ……… 61

Chapter 7. ...Psalms, Hymns & Spiritual Songs….. .67

Chapter 8……….Sing with the Spirit… .. ……. .. …73

Chapter 9… ..The Corporate Spiritual Song……...83

Chapter 10…... Entering the Spiritual Song…….… 91

Epilogue…………………………………..…… ... …10 1

Prologue

THE SPIRITUAL SONG - A Guide to Prophetic Music in the Church

PROLOGUE

Some months ago I was driving in my automobile. I was praying about God’s provision for my life and the ministry to which He has called me. All of a sudden a melody came to my heart and the words started rolling through my mind. It was not a typical praise song sung to the Lord, it was a song I felt God was singing to me.

(Chorus) I will take care of you I’m watching over you My love never fails Do not worry You will receive Your daily bread And all that you need

Cast your burdens Upon me Let your heart Trust and believe

Look at the birds

Each one I feed I grow the flowers I’ll meet your needs

I will take care of you I’m watching over you My love never fails

It was unusual as I began singing the song because as I felt I was prophesying to myself!

Shortly afterwards I traveled to Italy to attend a conference and was met at the airport by a good friend. He told me that he was in a transition in his ministerial work and was facing some financial uncertainties. I told him that the Lord had a song for his life and began to sing ‘I Will Take Care of You.’ Within seconds his eyes were filled with tears as he absorbed the truth and love expressed from the Lord in song. The Spiritual Song was meant to have that effect. Recently I received an email from a young woman who had been in one of my meetings. ‘ When you began to sing this song that day I felt God cradle me in his arms and sing it to me. It felt like he was singing me a lullaby. I've never had that kind of experience with my earthly father.’ She was experiencing the Lord singing to her heart in a personal way.

This small book explores the ‘Spiritual Song’ as mentioned in Ephesians 5:19 and Colossians 3:16. I use the terms ‘Spiritual Song,’ ‘Song of the Lord,’ and ‘Prophetic Song,’ interchangeably in this work. I am also attempting to explain and promote both the corporate expression and the individual singing of the Spiritual Song. I attempt to describe the Spiritual Song from the perspectives of the Scriptures, the heritage of the Church and from personal experience and observation. I believe the Spiritual Song is Scriptural, effective and needed in the church and the world today. In many of the chapters I use bullet points to capsulate the teachings into usable concepts for those being led into this ministry. Come Holy Spirit and fill your church with fresh oil that we may hear the voice of the Lord singing over us, in us and through us. Amen!

Mike Herron Houston, Texas April, 2015

1 THE SONG OF THE LORD

We must be able to describe something in order to properly understand it. The Song of the Lord falls into the dual categories of Praise and Worship and the realm of Prophecy and the Gifts of the Holy Spirit. Here is my simple explanation:

‘Singing and/or playing a spontaneous song of praise or prophecy under the inspiration of the Holy Spirit. ‘

The song of the Lord can be done together in a corporate gathering where everyone is singing and playing simultaneously. There are a number of terms that describe the Spiritual Song in the Bible, each aids our understanding of the subject.

THE SONG OF THE LORD-

‘ Along with their relatives — all of them trained and skilled in ( the song of the Lord…NKJ) they numbered 288.’ 1 (1 Chron 25:7) For many years this was the most popular term for prophetic singing. The term is synonymous with the ‘spiritual song’ of prophecy as this was the command given to the musicians by David. ’ David,

1 The New International Version . 2011 (1 Ch 25:7). Grand Rapids, MI: Zondervan.

together with the commanders of the army, set apart some of the sons of Asaph, Heman and Jeduthun for the ministry of prophesying, accompanied by harps, lyres and cymbals.’ 2 (1 Chron 25:1) ‘The song of the Lord’ is singing and playing prophetically and most likely included the singing of prepared worship songs and psalms as well. Christian music at its core is prophetic in nature; it expresses what the Holy Spirit is currently saying to the church. The musicians were in captivity by the rivers of Babylon. They had hung their harps upon willow trees that were symbolic of weeping and sorrow. The Babylonians requested to hear some of the famed prophetic singers of Israel entertain them with their inspired songs. The descendants of Asaph, Jeduthun and Heman answered…’ how shall we sing the L ORD ’s song in a foreign land?’ 3 A person must have freedom in their heart in order to sing. The flowing of the Lord’s Song is evidence of the presence of the Holy Spirit: For the Lord is the Spirit, and wherever the Spirit of the Lord is, there is freedo m.’ 2 Cor 3:17 THE LORD’S SONG -

THE NEW SONG-

We are told repeatedly to sing a new song in the

2 NIV . 2011 (1 Ch 25:1). Grand Rapids, MI: Zondervan. 3 The Holy Bible: English Standard Version . 2001 (Ps 137:4). Wheaton: Standard Bible Society.

Scriptures. There are no commands to sing an old song, as people will do that naturally. Without new songs today there will be no old songs tomorrow. Ps. 33:3; 96:1; 98:1, 144:9; 149:1 all encourage us to ‘Sing a new song of praise to him; play skillfully on the harp, and sing with joy.’ Ps 33:3 The meaning of the Hebrew word ‘ hadas’ is something fresh and brand new. ‘Hadas’ is used to describe the ‘new’ mercies of God that come to us fresh each morning (Lam 3:23) and the ‘new’ things God has promised to do through the coming Messiah. (Isa 43:19) As the singers sang and played their music before the Lord it would have included ‘new’ prophetic songs of prophecy and praise. The ‘new’ song is found in the heavenly vision of Revelation 5:9 ‘and they sang a new song with these word; You are worthy…’ The new song is to be a vital part of our New Testament worship.

HIS SONG-

‘But no one says, ‘Where is God my Maker, who gives songs in the night,’ (Job 35:10) 4

The Lord has songs that he wants to ‘give’ to his people. Often they come in dark nights of the soul to bring hope and encouragement to the singer and

4 NIV . 2011 (Job 35:10). Grand Rapids, MI: Zondervan.

listener. To ‘give’ means ‘place an object or idea in the possession or control of another, implying… a purpose for the exchange.’ 5 The Lord is gracious and willingly gives ‘His Song’ to those who present their lives a living sacrifice to Him. ‘By day the L ORD directs his love, at night his song is with me —a prayer to the God of my life.’ 6 Ps 42:8. This psalm was written by Heman, one of the prophetic singers who had fled to the wilderness during the rebellion of David’s son, Absalom. He is depressed yet receives a prayer song from the Lord in the night of his greatest trials. It has encouraged countless generations of readers with its gentle light. ‘ And they sang a new song before the throne and before the four living creatures and the elders. No one could learn the song except the 144,000 who had been redeemed from the earth. ’ 7 Rev 14:3 Here the new song means ‘ recent in time, previously unknown, something different .‘ 8 It was not previously known to any of them as it had just come into being. When the passage says ‘no one could learn the THE UNLEARNED SONG-

5 Swanson, J. (1997). Dictionary of Biblical Languages with Semantic Domains: Hebrew (Old Testament) (electronic ed.). Oak Harbor: Logos Research Systems, Inc.

6 NIV . 2011 (Ps 42:8). Grand Rapids, MI: Zondervan. 7 NIV . 2011 (Re 14:3). Grand Rapids, MI: Zondervan. 8 Swanson, J. (1997).

song… they seemingly had never rehearsed the song but were singing it spontaneously. It was an entire choir accompanied with an equal amount of harps. The Holy Spirit was orchestrating a symphony of new song.

THE VOICE OF THE LORD-

‘The L ORD your God is with you, the Mighty Warrior who saves. He will… rejoice over you with singing.’ 9 (Zeph 3:17) This scripture tells us that God himself sings his love song to his people. The prophetic song becomes the vehicle for his voice to be heard. The direction of this song is ‘from God to man.’ Jesus sings his praise song to the Father through the spirit of musical prophecy ; ‘ I will proclaim your name to my brothers and sisters. I will praise you among your assembled people.’ (Heb 2:12) Jesus first sings ‘to us’ when he proclaims the Lord’s name and then sings towards heaven in praise. This is a prophetic song in the public gathering of God’s people .

MY TONGUE IS HIS PEN-

‘Beautiful words stir my heart. I will recite a lovely poem about the king, for my tongue is like the pen of a skillful poet.’

9 NIV . 2011 (Zep 3:17). Grand Rapids, MI: Zondervan.

(Ps 45:1)

This brief and artistic verse describes the heart of the musical-prophetic process. In the context of music being played (this is a Psalm) beautiful words and thoughts begin to stir strong, emotional, pleasurable feelings in the musician/singer. It takes place in the in ner man, both the heart and the mind. The ‘ lovely poem’ means that it is ‘good, desirable, pleasant, usable,’ it builds up the faith and courage of the hearers and causes them to love and trust the Lord. The ‘ tongue ’ is the Hebrew word for language and it becomes the ‘stylus’ or writing tool of the skillful scribe. The Holy Spi rit is the ‘poet/scribe/writer.’ This word describes a commander who keeps closely guarded secrets and teaches the meaning of private documents. Prophecy is a process of God revealing his thoughts to us. ‘Skillful’ means ‘quick, prompt, experienced.’ Holy Spirit inspiration usually comes quickly to the hearer. The entire message or song is not often revealed to the person who will prophesy. Usually the beginning words, thoughts and melody come to the singer’s mind as well as a strong inner prompting. At this point, the singer/musician must make the decision to all ow their tongue to be God’s pen.

SELAH-

Selah appears in the Psalms 71 times and in the Book of Habakkuk 3 times. It always appears in the Psalms of David, Asaph and Sons of Korah supporting the theory that it is a marginal note giving musical direction to the prophetic musicians in the Tabernacle of David. The meani ng of ‘Selah’ from its verbal stem, the root word from which it is der ived, is ‘lifting up, a ladder…an ascent or steps…a musical rise…the musical meaning amounts to a strengthening of some kind…the interlude, especially of the stringed instruments…an inte nsified playing … the joining in of the orchestra, or a reinforcement of the instruments, or even a transition from piano to forte (soft to loud) .’ 10 These definitions from Keil and Delitzsch tell us that during the Psalm,that was many times prophetic and spontaneous, the instruments would join the singers with greater intensity or play an interlude with increased emotional lift. If we can interpret the small data connected to this word, it would mean that the instruments themselves played prophetically or in concert with the voices. It would not be beyond the spirit of the psalms to ask the musicians to ‘Selah’, to prophesy on their instruments.

10 Keil and Delitzsch. Commentary on the Old Testament. 1982 William & Erdman’s Publishing Company. Vol. 5, pages 102, 103 Grand Rapids, Michigan

 Musicians and singers are called to the prophetic side of ministry  Freedom in Christ is expressed by the free flow of Spiritual Songs  We are encouraged to believe God for fresh, new spontaneous songs  God wants to give each of us one of ‘His songs’  We can’t learn the Spiritual Song beforehand but only follow it as the Holy Spirit leads  The Lord wants to use our prophetic voice to sing to the church  The singers can yield their tongues to be the Lord’s writing pen  The musicians need to be sensitive to the Selahs/interludes of the Holy Spirit and respond by playing prophetically

2 HISTORY OF THE PROPHETIC SONG

In the Ancient Church

When reading this history of ancient Greek music, we can see how the early church could easily fit into singing ‘spiritual songs’ both to God and prophetically from God to his people. “Although we do not know much about Greek music or its history, we can say that in three fundamental respects it was the same kind of music as that of the early Church. In the first place, it was primarily monophonic, that is, melody without harmony or counterpoint. In the second place, as far as we know, musical performances in the most flourishing period of Greek civilization were improvised. The performer was, to a certain extent, also the composer. This does not mean that what he did was completely spontaneous and unprepared; he had to keep within the universally accepted rules governing the forms and styles of music suitable for particular occasions, and he probably incorporated in his performance certain traditional musical formulas; but outside these restrictions he had considerable freedom. Improvisation, in this or some similar

sense, was characteristic of all ancient peoples. 11

 The spiritual song contains the elements of improvisation  Under the inspiration of the Holy Spirit the singer becomes the composer  The song can follow well established styles and formulas ‘ The early church flowed freely in the spiritual song as history testifies. “According to legend, at the moment when St. Ambrose baptized St. Augustine the two spontaneously improvised the Te Deum in alternate verses. This legend is thought to refer to what was undoubtedly a practice in the early Church, namely the creation of hymns under the inspiration of strong religious feeling, somewhat the way today new phrases of text and new melodic variations spontaneously arise during the enthusiasm of a revival meeting or a folk sing.”’ 12  The spiritual song can alternate verses between two or more singers  The established melody can be modified in the spiritual song  New phrases and text can be added spontaneously

11 Donald J. Grout: History of Music 12 “ “ “

“ “ ;page10

Jubilation- The Sound of Many Waters

Jubilation was practiced in the early church and was part of the corporate praise that was like ‘the sound of many waters.’ “ Numbers of music historians, in their attempts to understand the roots of Western music, have researched the common practice of congregations and individual Christians of the period using wordless singing as a means of praising God. Most of the Church Fathers laud this practice. Jubilation (Latin- jubili-shouts or sounds of joy) , “wordless praise,” “wordless psalms,” and the “singing of alleluia,” were some of the terms used to describe this singing of wordless hymns. Augustine, perhaps, defines it best. He states that Jubilation is a breaking forth into a singing of vowel sounds. He furthermore states: “What is jubilation? Joy that cannot be expressed in words; yet the voice expresses what is conceived within and cannot be explained in words: this is jubilation... He who sings a jubilus does not utter words: he pronounces a wordless sound of joy; the voice of his soul pours forth happiness as intensely as possible, expressing what he feels without reflecting on any particular meaning. To manifest his joy the man does not use words that can be pronounced and understood, but he simply lets his joy burst forth without words;

his voice then appears to express a happiness so intense that he cannot formulate it.”

 The spiritual song can include passages of just syllables sung to the melody  Perhaps this is describing a form of the corporate sound of praise where the congregation lifts their voices in syllables, tongues and various praises.

In the 20 th Century Church History

Chile

‘ In 1907, Minnie Abram s…sent an account of the Mukti, India revival to her friends, Willis C. and Mary Anne Hoover, Methodist missionaries to Chile. As they read their friend’s ey e-witness account of the remarkable outpouring of the Holy Spirit in India, they were stirred to seek God for a similar revival in Chile. ’ ‘ The following morning in Sunday School, at ten o’clock, a daze seemed to rest upon the people. Some were unable to rise after the opening prayer which had been like “the sound of many waters,” and all were filled with wonder. From that time on the atmosphere seemed charged by the Holy Spirit, and people fell on the floor, or broke out in other tongues, or singing in the Spirit, in a way impossible in the natural condition. On one occasion a woman, a young lady, and a girl of twelve were

lying on the floor in different parts of the prayer room, with eyes closed and silent. Suddenly, as with one voice, they burst forth into a song in a familiar tune but in unknown tongues, all speaking the same words. After a verse or two they became silent; then again suddenly, another tune, a verse or two, and silence. This was repeated until they had sung ten tunes, always using the same words and keeping in perfect time together as if led by some invisible chorister.’ 13 The end result of this Holy Spirit inspired revival was 600,000 people being converted and becoming members of the Pentecostal Methodist Church in Chile.  The corporate spiritual song is like the ‘sound of many waters.’  The corporate spiritual song incorporates songs in tongues as well as known languages.  The individual song of the Lord seems to arise out of the corporate atmosphere of praise  The Holy Spirit can inspire spiritual duets in tongues.

The Latter Rain

There was a great revival of worship and praise

13 Stanlye H. Frodsham, With Signs Following (Springfield, MO: Gospel Publ., 1946), 177-178.

that swept the world during the Latter Rain outpouring beginning in 1948. The ‘Spiritual Song’ is described in this ‘Wings of Healing’ magazine article published in Portland, Oregon: “Again! A Holy hush fell over the people. Not a sound broke this strange silence, and then! As if a host of angels had swept the strings of a thousand harps, the heavenly choir suddenly broke forth into singing- rising and falling with great sweeping motions that no human tongue can describe. Up, up, up the notes would rise, higher and higher and yet higher until it sounded like the voice of many waters, then tumbling down from the dizzy heights of transfiguration glory to the whispering breath of a summer breeze. Far over on the right of this awe-filled congregation a lady lifted her voice carrying the solo part, at intervals hundreds of both men and women joined in, all singing in the spirit-bass, alto, contralto, soprano all coming in at the proper time to create a masterpiece of harmony that could only have its origin in heaven. One day as the heavenly choir was singing everyone but two ladies suddenly stopped as if taking their cue from an unseen director. The two ladies continued to sing a duet, one sitting on the south side of the auditorium and the other in the back and to the north. They sang in the spirit, both singing the same song in perfect harmony

and as this glorified music filled the place and everyone worshiped, the lady sitting at the organ began to play in the spirit and furnished perfect accompaniment.” 14  The spiritual song has ‘selahs,’ moments of rest where there is silence.  There are acoustic dynamics of loud intensity and softness in the song.  There is responsorial singing in the spiritual song; a soloist ’ s verse is responded to by the congregational choir  The spiritual song can be acapello, unaccompanied by instruments  Once again the spiritual song is expressed in a duet in tongues  The instruments can supply harmonic support to the song Ernest Gentile is a respected teacher, author and prophet. As a young preacher he ministered during the time of the Latter Rain revival and the reemergence of the spiritual song of the Lord. Here are his observations about the early days of this form of worship. ‘ I have always thought of prophetic song as a special type of prophetic utterance that adds the dimension of music to the spoken

14 April, 1949 issue of ‘Wings of Healing’ magazine publishe d in Portland, Oregon

word, also giving a special boost to prophetic insight. It can be presented as a single spoken prophetic word so that it can heard by others in the congregation, or the musical, verbal expression of many can be given at the same time, causing a corporate atmosphere of praise to fill the sanctuary like a heavenly incense. Such an atmosphere, I believe, is the ideal environment for the gifts of the Spirit to function best. My introduction to such song was in Pastor Reg Layzell’s camp meetings and church. (Glad Tidings Tabernacle, Vancouver, B.C. early 1960s) We were instructed to use scriptural portions in our audible praise, and then to take it a notch higher by singing such portions with the inspiration of the Holy Spirit upon us. I have also known people to have been gifted with instantaneous piano ability to play and accompany praise in a melodious way, although I have never actually seen that happen. It seems natural for people to start using scriptural song in their personal prayer times, before venturing out in a corporate meeting. ’  Music enhances prophetic inspiration both individually and corporately  The individual prophetic song carries a message to the public gathering

 The corporate sound of praise is like ‘incense’, filling the atmosphere  The gifts of the Spirit function more freely in an atmosphere of praise  Singing scripture increases the power of corporate praise  The instruments can be a part of the creative process  The spiritual song can be practiced individually before singing publically My experience with the prophetic song began as a member and later as the worship leader of ‘City Bible Church’ (formerly Bible Temple) in Portland, Oregon in 1971. My pastor was K.R. ‘Dick’ Iverson who loved the presence of God and encouraged and taught the church about worship. He had instructed us on how to corporately lift our vocal praises to the Lord after singing prepared songs. There was a powerful sense of the Lord’s presence as we fulfilled the scripture in Psalm 22:3 ‘ But You are holy, Who inhabit the praises of Israel.’ Most of the previous historical examples of prophetic song in this chapter were super supernatural, highly unusual manifestations of the Holy Spirit’s presence. Our experience at Bible Temple was an ‘everyday’ version of the outpouring of worship. We were not in an ecstatic state beyond ourselves, we were naturally responding to the word Bible Temple: My Personal Experience

and the Spirit each time we met and the results were supernatural. Worship was not for the artistic or the sensitive, it was for all of the church. The single chord without any musical accompaniment can best be described as the ‘C hant of the Lord.’ A chant is more mono or one toned without melodic movement or chord changes and has no discernible rhythm. Even the individual expressions of prophetic song were in the chant style, a person singing in the single harmony of the chord without melodic variety or rhythmic flow. It was quite beautiful and unlocked the sincerity of the congregation’s heart but it did have a sense of confinement to it. As our understanding of the Song of the Lord grew from scripture so did its expression in the public meetings. We began to add simple chord movement to the swelling praises of the voices. Often we would repeat some of the chords of the previous song continuing the rhythm as well. The Chant of the Lord became the ‘ Song of the Lord ’ with more melodic direction, changing harmony and pulsating rhythms. We had a 70 voice choir and 30 piece worship orchestra. We would ‘practice’ the prophetic song of the Lord encouraging people to sing their praises and thanks to the Lord as well as prophecies from the Holy Spirit. The choir was taught to back up the song sometimes wi th humming, syllables (‘oo’ and ‘ah’ etc.)

and at other times repeating a chorus. We taught the orchestra an ‘order of entry’ into the song; first the piano would set the pattern, the bass guitar would follow, then Don Fleming, our orchestra director would encourage different sections to enter and exit as was appropriate for the song. We could crescendo and decrescendo using this method as well as just being sensitive to the Holy Spirit’s direction. The ‘ Chant of the Lord ’ became the ‘ Song of the Lord ’ and finally the ‘ Symphony of the Lord! ’ We experienced times of inspired prophetic songs from the instruments as well as the voices. No one knew for sure what was going to happen as we began the worship service with our song lists. We became aware of the Hol y Spirit’s desire to move into this realm and would make an attempt to follow. Pastor Iverson taught us to be aware that we were to support the praises of the congregation, not overwhelm them or be a substitute for their voices in worship. I personally experienced highly prophetic musical moments when I would be describing biblical events or prophesying with musical accompaniment on my piano, the orchestra playing and the choir backing up with words and praise. Different singers would add other verses. Sometimes it was slow and worshipful; other songs were fast, rhythmic and powerful. God’s variety is unending, it doesn’t always have to sound the same!

 The Lord inhabits the praises of His people  The Spiritual Song is expressed through our normal, human nature, we are not in an ‘ecstatic state’ beyond ourselves  The ‘chant of the Lord’ is praising with one chord without rhythm and melody  The ‘Song of the Lord’ is spontaneous praise with melody, harmony and rhythm  The ‘Symphony of the Lord’ is when multiple instruments and/or voices join in to the prophetic song  The Spiritual Song can be practiced  The instruments and worship team is to support, not overwhelm or be a substitute for the people’s voices in worship  While preparation is important, we must learn to follow the Spirit I have learned over the course of my life to recognize the ‘prophetic wells’ of song that God establishes around the world. These ‘wells’ spring up because a church or group of churches pursues the Lord and allows the Holy Spirit to have freedom in their worship. Wherever the Holy Spirit is moving in a sovereign way, there will be fresh songs of praise for the rest of the church to sing. You can always tell where the Holy Spirit is moving, you will hear Him singing in His church! Current Events in Prophetic Song-

Today is both the most exciting and confusing time in regards to the Spiritual Song. It is exciting in that there are many people and churches ministering in prophetic songs. It is exciting in that there are entire prophetic song albums and downloads available and prophetic seminars to attend. It is exciting in that the sound of praise has flooded the church services of many denominations heightening the sense the Holy Spiri t’s presence. It is exciting that the ‘ voice of the bridegroom ’ and the ‘voice of the bride’ singing to one another is heard again in the land. There is also confusion as to the purpose and boundaries of the prophetic song. Ignorance and indiscretion among some ministries has resulted in the discrediting of the gifts. As we learn from Scripture and history, we can move forward in a constructive way. We can allow Christ, through His Holy Spirit, to be the head of the Church in all things including the Spiritual Song of the Lord!

3 BEGINNINGS OF THE SPIRITUAL SONG

The Song of Moses- Exodus 15

‘Then Moses and the people of Israel sang this song to the Lord: “ I will sing to the Lord, for he has triumphed gloriously; he has hurled both horse and rider into the sea. ” (Exodus 15:1) There was no song to express the Israelite’s joy at Pharaoh’s defeat so Moses sang the first prophetic song in history! It was so powerful in its prophetic nature that it propelled the people of God in the spirit of triumph all the way to Revelation 15:2-4 where ‘ those who had been victorious over the beast…were singing the song of Moses, the servant of God, and song of the Lamb:’ The song was so infused with the Holy Spirit’s victory that David quoted it centuries later in his own song in Psalm 118:14 ‘The Lord is my strength and song; he has given me victory.’ Although the song was spontaneous, Moses incorporated the musical form he had learned in Egypt. It could have been a popular tune that was well known by all the people and Moses merely inserted new words. There were three strophes (sections using the same music for successive verses of the song) of which the first two end in God’s enemies sinking in the deep waters. There is unrestrained praise for God’ s

mighty acts of deliverance and Yahweh is memorialized as a ‘warrior’. It is an antiphonal song as Miriam, herself a prophetess, leads the women in repeating the phrases with tambourines and dancing. The song carries a strong prophecy that has the power to fulfill itself. Moses sees the purpose of the triumph and declares ‘You will bring them in and plant them on your own mountain-the place, O Lord, reserved for your own dwelling, the sanctuary, O Lord, that your hands have established.” (17) Moses saw the coming Tabernacle of David and the ultimate heavenly sanctuary that would be the place of eternal worship and rest. The initial ‘Song of the Lord’ sung on the eastern banks of the Red Sea has become a pattern for prophetic singing in the following centuries.  The prophetic song can be ‘ new words’ with an established melody  It can have the qualities of victory and celebration  It can follow the structure of existing song forms with verse/chorus  The name of God is praised generously  It can be antiphonal, the individual phrases repeated by all  It can be filled with prophetic insight into God’s future purposes

The Song of the Law- Deuteronomy 31:19-22; 32:1-44

“ So write down the words of this song, and teach it to the people of Israel…So that very day Moses wrote down the words of the song and taught it to the Israelites. ” (Deut 31:19, 22) This is a clear example of a ‘Song of the Lord’ communicated directly from God. Moses is the prophetic vessel who receives the entire intent of the law in a song. He also sees a picture of the tragic future of Israel in the promise land. A song helps the contents to be remembered, it is the easiest and most effective way to memorize. It is a cameo of the life of Moses himself as he led them from Egypt to the threshold of Canaan. ‘Let my words fall like rain on tender grass, like gentle showers on young plants. I will proclaim the name of the Lord; how glorious is our God.’ (32:2, 3) Like the showers of rain the song is refreshing and has the continual sense that its origin is from heaven. Moses is setting an example for all future prophetic songs!

‘He is the Rock, his deeds are perfect. Everything he does is just and fair.’(32:4)

This is the first ‘rock’ song in history! It celebrates the unchanging nature of God and the solidity of his word and love. The imagery of the Rock represents the whole Mosaic age of the law written in stone. David

adopts this picture from Moses and incorporates it several times into his psalms of prayer and praise: ‘Lead me to the towering rock of safety, for you are my safe refuge…’ (Ps 61:2, 3) In the Song of the Law Moses prophesies of the failure, removal and return of the people of Israel from the land of promise. Moses sees the future appearance of Jesus the Messiah and announces; ‘Rejoice with him, you heavens, and let all of God’s angels worship him.’ (32:43) The New Testament writer to the Hebrews quotes this verse in Moses’ song to prove that Jesus is God. (Heb 1:6) Moses even sees far ahead into the age of grace where the Gentiles will rejoice with the Jews in the salvation of the Messiah: ‘R ejoice with his people, you nations…’ (32:43) Paul inserts this verse into his argument in Romans 15:10 that God had intended from the beginning of time to include people of faith from every nation in his plan of salvation. This prophetic song is still being fulfilled as the Jews return to the Rock of their salvation and the Gentile nations join in the song of rejoicing!  The song can come to the individual before the public gathering  Some songs should be written down and sung again  Prophetic songs are birthed in the personal life of the singer

Songs should be refreshing and inspirational



 Using poetic similes is effective- ‘He is the Rock…’ (32:4)  They should reveal and exalt Jesus  They should be understandable to the unbeliever (Gentiles!)

Moses In The Shadow of the Almighty Ps 91:14,15

Psalm 91 is generally believed to be a composition of Moses as the language of the song is closely tied to Deuteronomy 32 and 33. The Jewish theologians believed that anonymous psalms that followed ones that had a designated author (Ps. 90- Moses) were also the work of the previously identified writer. In the last section of this psalm that celebrates God’s protection of the Israelites during the plagues of Egypt, Moses breaks out in a ‘prophetic song’ singing in the 1 st person. The six emphatic declarations about those who love and trust the Lord are not surpassed anywhere in Scripture for beauty and hope. They are a very high level of prophecy as they are irreversible oaths punctuated by God’s ‘I will…’

‘The Lord says, “I will rescue those who love me. I will protect those who trust in my name. When they call on me, I will answer; I will be with them in trouble.

I will rescue and honor them. I will reward them with a long life and give them

my salvation.”’ (Ps 91:14-16)

God uses Moses to deliver the sweetest nectar of communication to His people; the message of his tender love through a song.  Prophetic songs comfort and encourage the listener  Scripture that is sung has the greatest authority  God’s people long to hear the voice of their creator  Love is the most powerful message of the prophetic singer There could be no clearer example of the corporate sound of praise than the story of Joshua defeating the city of Jericho. The men of war circled the city for 6 days tuning their hearts in prayer to the sound of the priests blow ing the rams’ horns. On the seventh day after circling seven times, they shouted with a loud shout in concert with the rams’ horns. This was no ordinary shout, it was a TERUAH!: Joshua 6: The Invincible Sound of Praise

shout or blast of war, alarm, or joy alarm of war, the battle cry of a king, shout of joy with religious

impulse, in public worship; especially a musical service; 15

The word is used in many places in the Psalms to denote a joyful, corporate sound of praise: Come, everyone! Clap your hands! Shout to God with joyful praise! Ps 47:1 Shout joyful praises to God, all the earth! Sing about the glory of his name! Ps 66:1 Come, let us sing to the Lord! Let us shout joyfully to the Rock of our salvation. Let us come to him with thanksgiving. Let us sing psalms of praise to him. Ps 95:1, 2 Shout to the Lord, all the earth, break out in praise and sing for joy! Sing your praises to the Lord with the harp…and melodious song, with trumpets and the sound of ram’s horn. Make a joyful symphony before the Lord, the King. Ps 98:4-6 Shout with joy to the Lord, all the earth! Worship the Lord with gladness. Ps 100:1, 2 If we piece the elements of these verses together instructing us to ‘Teruah’ before the Lord , we see this composite picture:

Everyone is invited to participate



15 Brown, F., Driver, S. R., & Briggs, C. A. (2000). Enhanced Brown-Driver Briggs Hebrew and English Lexicon (electronic ed.) (929 – 930). Oak Harbor, WA: Logos Research Systems.

 It is accompanied with the clapping of our hands  It is extremely joyful  It is accompanied by singing  It is filled with expressions of thanksgiving  It contains Scriptures passages from the Psalms  It includes the sound of harps and strings  It is permeated with countless melodies  It is initiated and sustained by the sound of trumpets and horns  It is a spiritual symphony of many instruments  It is touched by worship and adoration  It is the full expression of gladness This is what brought down the walls of Jericho. All the defenses of the forces of darkness will collapse when God’s peop le are united in their hearts to praise Him. The free sound of corporate praise, ‘the sound of many waters,’ must be taught to the worship team and the congregation. This helps them understand what is taking place spiritually and musically during a ‘Teruah’ moment and how they may join in the praise. This landmark song demonstrates the participation of women in worship and spiritual warfare. After leading a successful battle against Sisera and the armies of Canaan, Deborah, Israel’s judge, breaks into a spontaneous, prophetic praise song. It is Deborah’s Song of Courage - Judges 5:1-31

a celebration of the courageous actions of Deborah and the woman Jael, who killed Sisera in her tent. Israel’s general, Barak, is also celebrated for his participation in the conflict. Sisera’s mother is personified in the song as she laments the death of her son in battle.  It was a duet sung by Deborah and Barak- ‘On that day Deborah and Barak…sang this song: 5:1  It was spontaneous music and words- ‘For I will sing to the Lord. I will make music to the Lord, the God of Israel.’ 5:3 ( As in the case with Moses’ song at the Red Sea, it could have been a well-known melody with new words.)  It seemed to have the characteristics of military ‘marching music:’ - ‘Lord, when you set out from Seir and marched across the fields of Edom, the earth trembled…’ 5:4 ‘The people of the Lord marched down against the mighty warriors.’ 5:13  Deborah stirred herself four times to rise up and lead the nation in praise- ‘Wake up, Deborah, wake up! Wake up, wake up, and sing a song!’ 5:12 The word ‘wake’ means to stir up into an alert state, ready for action. God wants women to ‘wake up’ to be courageous leaders of praise, worship and prophetic song.  The song celebrates the assistance of

heavenly beings in the conflict- ‘The stars fought from heaven. The Stars in their orbits

fought against Sisera.’ 5:20 The word star (kokab) is ‘ a class of beings in heaven (angels) that serve God ’ as well as the stars we see at night. We can expect heavenly assistance and heavenly results when we step out in faith to sing.  The song celebrates the Kishon, God’s swiftly running river that aided in defeating the enemy- ‘The Kishon River swept them away –‘ 5:21. The Holy Spirit ’ s swelling river of prophetic song sweeps away the opposition of our enemies.  Jael courageously killed the exhausted general Sisera as he napped in her tent. ‘Most blessed among women is Jael…may she be blessed above all women who live in tents.’ 5:24 Like Jael, t he tent of God’s praise is to be filled with women of strength! When explaining the initial outpouring of the Holy Spirit in Jerusalem, Peter quoted the prophet Joel. ‘In those days I will pour out my Spirit even on my servants – men and women alike – and they will prophesy.’ (Acts 2:18) It’s time for the Deborahs and Baraks of the Kingdom of God to awake, arise and sing the song of victory!

4 THE PROPHETS

The prophets were the guardians of the inward intent of the Law of Moses and the heralds of the coming of the Messiah and the church. From Samuel to Malachi, many of their prophecies were intertwined with music and prophetic songs. The outpouring of the Holy Spirit on the church insured the ongoing ministry of prophecy and spiritual song in our age. By faith, we reach back to the patterns of inspiration that came upon these great people of faith and bring them into our day. Samuel was the first one to operate in the prophetic office in Israel. When anointing Saul as King of Israel we are introduced to the band of prophets that came from Samuel’s school of prophecy. He told Saul: ‘…you will meet a band of prophets coming down from the place of worship.’(1 Sam 10:5) The word band here means procession , group proceeding in a joyful, somewhat boisterous religious parade. 16 He continues his prediction: ‘They will be playing a harp, a tambourine, a flute, and a lyre, and they will be prophesying.’(1 Sam 10:5) Prophecy is the Hebrew word ‘NABA’ and interestingly in its oldest form means to prophesy with ‘religious ecstasy with or without song and music. 17 Samuel- the Forerunner of Prophetic Song-

16 Swanson, J. 17 Brown, Driver, & Briggs.

We can only imagine that their prophecies would include song as they were playing all manner of instruments. Saul was given an astounding promise, that he would be a prophet before he would be a king. ‘At that time the Spirit of the Lord will come powerfully upon you, and you will prophesy with them. You will be changed into a different person.’ (1 Sam 10:6) The purpose of the prophetic ministry both spoken and sung is to transform and change the heart, to strengthen, encourage and comfort the believers. Musical prophecy carries not only the message from the Holy Spirit but the ability to impact both our emotions and our will. When Saul met the prophets with their instruments, the prophecy was fulfilled: ‘Then the Spirit of God came powerfully upon Saul, and he, too, began to prophesy.’ (1 Sam 10:10) This highly prophetic moment was a view to our age where the Holy Spirit comes powerfully upon all believers who open their hearts to Him. When David fled into exile from the jealousy of Saul the King, he we nt to Samuel’s school of prophecy. ‘ When the report reached Saul that David was at Naioth in Ramah, he sent troops to capture him. But when they arrived and saw Samuel leading a group of prophets who were prophesying, the Spirit of God came upon Saul’s men, and they also began to prophesy.’ (1 Sam 19:19,20) The prophetic Spirit is transferable; if you get into a prophetic atmosphere it will transform you into a

prophetic person. As David soaked his heart, mind and soul in the atmosphere of the prophetic musicians, God was birthing in him the vision for the future Tabernacle of David and Temple of Solomon. This would include courses of Levitical musician/priests who would prophesy with their harps, cymbals and wind instruments before the Ark. Great things are born in humble, and sometimes-stressful circumstances. After three unsuccessful attempts by soldiers to extract David from this prophetic atmosphere, Saul personally journeyed to Samuel’s school to capture him. ‘But on the way to Naioth in Ramah the Spirit of God came even upon Saul, and he, too, began to prophesy all the way to Naioth! He tore off his clothes and lay naked on the ground all day and all night, prophesying in the presence of Samuel.’ (1 Sam 19:23, 24) This reaction to the prophetic atmosphere is similar to the New Testament description of people reacting to the prophetic: ‘As they listen, their secret thoughts will be exposed, and they will fall to their knees and worship God, declaring, “God is truly here among you.”’ (1 Cor 14:25) Sa ul’s level of scorn for the activity of the Holy Spirit determined the level of his humiliation. And so the age of prophecy was born interwoven with the gift of music. Singing and playing music causes most areas of the brain to activate; it opens the mind to the moving of the Holy Spirit. The tabernacle of our heart is where we both hear the melodies of heaven and the voice of the Lord.

 Prophecy and music are companions  Prophetic song can be taught and practiced (School of the Prophets)  The prophetic i s transferable, ‘caught’ and well as ‘taught’  The Prophetic is transformational  There should be a clear message within the prophecy

ISAIAH-

‘It was in the year King Uzziah died that I saw the Lord. He was sitting on a lofty throne, and the train of his robe filled the Temple.’ (Isa 6:1) Isaiah saw the mighty seraphim with six wings calling out: ‘Holy, holy, holy is the Lord of Heaven’s Armies!’ (Isa 6:3) After this heavenly vision, he was entrusted with the responsibility to proclaim the coming age of the Messiah and the worldwide worship that would accompany his Kingdom. His book is filled with prophetic songs that reveal Jesus and the coming age of the Church. Prophecy and music are spiritual siblings that are meant to be together, they are meant to draw us closer to Jesus. ‘In that day you will sing: “I will praise you Lord! You were angry with me but not any more…The Lord God is my strength and my song; he has given me victory.’ (Isa 12:1,4)

 Prophetic ministry is birthed within a vision of worship  Prophetic songs arise out of a vision of Christ

ELISHA

King Jehoshaphat of Judah had joined his armies with both King Joram of Israel and the King of Edom to attack the King of Moab. The armies took the longer southern route from Judah to surprise Moab but they ran out of water in the wilderness. King Jehoshaphat wisely recommended inquiring of a prophet: ‘…we can ask the Lord what to do through him.’ (2 Kgs 3:11) Elisha was summoned and he requested: ‘” Now bring me someone who can play the harp.” While the harp was being played, the power [hand] of the Lord came upon Elisha, and he said, “This is what the Lord says; This dry v alley will be filled with pools of water!”’ (2 Kgs 3:15, 16) The correlation between playing the harp and the sensitivity to hearing the voice of the Holy Spirit is clearly illustrated in this story. The waters of worship from the music of the harp brought inspiration to Elisha. The water did come and Jehoshaphat’s armies did gain the victory. Years before this event one of the ‘Descendants of Korah’ wrote in the psalms: ‘I listen carefully to many proverbs and solve riddles with inspiration from a harp.’ (Ps 49:4) Prophetic music has the potential of being a vehicle of strength, encouragement and comfort to God’s people. Elisha

solved the ‘riddle’ of their predicament with a clear, prophetic word from the Lord.

 Prophetic songs and messages can begin with instruments playing

EZEKIEL

‘And on this throne high above was a figure whose appearance resembled a man…This is what the glory of the Lord looked like to me.’ (Ezk 1:26, 28) The foundation of Ezekiel’s prophetic ministry to the Israelites exiled in Babylon was his vision of worship. He saw the throne of God that was moving on giant living wheels. God used this vision as the calling and inauguration of his ministry as a prophet to a lost and confused people. After being exposed to this powerful scene God spoke: “Stand up, son of man,” said the voice. “I want to speak with you.” The Spirit came into me as he spoke, and he set me on my feet. I listened carefully to his words.’ (Ezek 2:1,2) In the Old Testament, the L ord spoke ‘to’ the prophets, in our day he speaks ‘in us,’ in side our conscience. Ezekiel saw this vision repeatedly throughout his book and it provided the atmosphere and inspiration for the astounding prophecies he faithfully gave to God’s people.

 God’s throne is on wheels, the prophetic vision can go anywhere!

DANIEL

‘I watched as thrones were put in place and the Ancient One sat down to judge…He sat on a fiery throne with wheels of blazing fire…I saw someone like a son of man coming with the clouds of heaven…He was given authority, honor, and sovereignty over all the nations of the world..’ (Dan 7:9, 13, 14) The great prophet Daniel was propelled by this vision that was similar to Ezekiel’s. He saw Jesus the Messiah receive honor and dominion over all the kingdoms of the world. He heard millions and millions of angels affirm him with praise. This vision sharpened his spiritual eyesight to see the end of days, the times in which we live where all nations will worship at the Lord’s throne. Worship and praise is one of the key elements of rekindling the gift of prophecy from the Holy Spirit. ‘…fan into flames the spiritual gift God gave you when I laid my hands on you. (2 Tim 1:7) Spirit inspired songs fan the gifts into flame.

 More than one person will sense the same prophetic message

PROPHETS IN THE NEW TESTAMENT

‘Among the prophets and teachers of the church at Antioch of Syria were Barnabas, Simeon (called ”the black man”), Lucius (from Cyrene), Manaen (the childhood companion of King Herod Antipas), and Saul. One day as these me were

worshiping the Lord and fasting, the Holy Spirit said, “Dedicate Barnabas and Saul for the special work to which I have called them.”’ (Acts 13:1, 2) We are not told which of these five men the actual prophets were. They were a distinguished group. Barnabas was to become a celebrated apostle, Simeon might have been the man that bore the cross of Jesus, Lucius could have been the author Luke himself. Manaen would have been an old man in the year 49 AD as his boyhood friend, Herod Antipas was born in 20 BC, and Saul would become the apostle Paul. They ‘…were in the midst of a divine service with the assembled congregation…’ 18 when the Holy Spirit spoke through one of the prophets. This was not a teaching from the word; it was a prophetic message from which we are all still benefiting today. It came in an atmosphere of ‘worshiping and fasting…’ The word worship leitourgeō is th e root of our word ‘liturgy’ that denotes all that takes place in a worship service; singing, prayer, reading the word, releasing the gifts of the Holy Spirit, the communion, giving offerings and the laying on of hands to commission and bless. The atmosphere of praise became the fan that gave rise to the prophetic word that changed the world. The narrative leads us to believe that Saul (Paul) and Barnabas were sent out immediately.

18 R.C.H, Lenski, The Acts of the Apostles 1944 Wartberg Press. Columbus, Ohio Page 494