Music Rehearsal, Ministration & Post Ministration

These are 3 Major functional phase of every Ministration. Either of them not handled properly can affect the effect of the others in the long run


6th Session: 

Rehearsal/ Ministration

There are 3 Major function phases of every Ministration. Either of them not handled properly can affect the effect of the other in the long run. These are:

  1. Rehearsal


Rehearsal is practicing for what is to be delivered to the people in songs. It should e done in the exact mood, seriousness and time that the ministration requires and will take. Perfect Practice is what makes you perfect; not just practice. This is why you could spend all the days practicing and still flop at the ministration when called upon.

Planning & Handling Rehearsals.

{Hab 2, Luke 14:28-32}

Hab 22-3  And the LORD answered me, and said, Write the vision, and make it plain upon tables, that he may run that readeth it.  For the vision is yet for an appointed time, but at the end it shall speak, and not lie…”

Luk 1428-32  For which of you, intending to build a tower, sitteth not down first, and counteth the cost, whether he have sufficient to finish it?  Lest haply, after he hath laid the foundation, and is not able to finish it, all that behold it begin to mock him, Saying, This man began to build, and was not able to finish.  Or what king, going to make war against another king, sitteth not down first, and consulteth whether he be able with ten thousand to meet him that cometh against him with twenty thousand?   Or else, while the other is yet a great way off, he sendeth an ambassage, and desireth conditions of peace.


Jesus himself prescribed in Luke about whoever wants to build a tower and does not sit down first to count the cost whether he has sufficient to complete it. Other writers say “ whoever fails to plan has planned to fail”

Samples of planning an effective rehearsal are on the internet for those who care and can be rearranged to fit into your local church or group’s use. However, the age range and goals of the singers directed alongside the other options discussed under Song Selection and Ministrations should be put into consideration the Music Director only as a guide. For the Senior Choir’s rehearsal, a sample Kenneth W Osbeck in “The Ministry of Music” is:


  1. Devotional time                         8-10mins.
  2. A time of Warm-up                         12-15mins.
  • Sing and perfect Sunday’s                         10-15mins.
  1. Introduce other songs…                         12-15mins.
  2. Practice on challenges                         5-10mins.
  3. Break- Announcements                                     10-15mins.
  • Sing Sunday’s ministration                    exact*.
  • Closing and suggestions                        


Helpful samples from M.D Crown are:

{Weekdays}         2hrs.

  1. Opening Prayers                                     10 mins.
  2. Praise & Worship                                     15 mins.
  3. Exhortation                         5 mins
  4. Testimonies (if any)                         5 mins
  5. SWOT Analysis                         5 mins.
  6. Vocal Warm up/ Drills                         10 mins.
  7. Song Distribution                         10 mins.
  8. Song Teaching/Learning                         48 mins.
  9. Announcements                         5 mins.
  10. Worship & Benediction                         7 mins.


{Weekends}      2½ hrs.

  • Opening Prayers                         5 mins.
  • Praise & Worship                         10 mins.
  • Exhortation                         5 mins.
  • Testimonies                         5 mins.
  • SWOT Analysis                         5 mins.
  • Vocal Warm up/ Drills                         15 mins.
  • Song Distribution                         10 mins.
  • Song Rehearsals                         20 mins
  • Teaching/Learning                         30 mins.
  • Congregational Hymns                         10 mins.
  • Praise Rehearsals                         15 mins.
  • Rehearsal of Ministration
  • Announcements                                           5 mins.
  • Worship & Benediction                         10 mins


2. Ministration:

Ministration covers everything you do right there and then on stage. It begins from your Dress Sense, Introduction of Song, Add lib, till your end the song on stage. However, we’ll limit the scope to Diction (Choice of Words) and Musical Ad libitum.

Diction (Choice of words):

The first thing every singer and public speaker should consider is the age and class of the audience to be addressed. This helps the singer to have the right frame of mind and use the words best understood that generation, knowing that language is modified from one generation or class to another. Every word used has its synonym that would make your audience respond better to what you’re saying without reservations. Those who teach persuasion refer to certain words as power words; they carry greater impacts and influence than certain others. Care should be taken using such. When speaking to an older generation or people of higher authority than you, phrases like “come on”, “Get up”, “Kneel” etc. are often perceived as insult. Certain persons copy the phrases used other singers in a conference setting then use it in theirs; there are limitations to these. These accounts for why some people use phrases like “God would bless you in this service tonight” while they are in a Sunday morning service.

In” Woman Thou Art Loosed 2002’s Conference”, the Lead singer for the opening song said “… I want a loosed woman to scream”. Several persons have used the same phrase and got into problems with the pastorate and leadership because the perception people had about it was “promiscuous woman” and not the “set free woman” as understood in Woman Thou Art Loosed Annual Conference Bishop T.D Jakes. The difference here is about setting influencing the phrase used. Thus, ambiguous statements should be avoided; especially when the singer/ speaker does not have enough time to buttress what he/ she means.

Musical Ad Libitum:

The most commonly called solo pieces are those written as part of the main song the composer. Very often, the soloist sticks to all the words in this piece irrespective of the age, time, sex and class of the singer. Thus it restricts the control and expression of the soloist to a particular range and performance with little or no improvisations.


The other class of solo piece not often seen as one, is that which is not pre-written but brought in the performer. This is often referred to as ad libitum in music.

In earlier songs, they were regarded as mere embellishments of songs, but the perception is changing to a major part in the musical piece as it caters for the lapses created the former (written solo pieces). A close review and overview of its functions can be grouped into the following broad categories:

  1. Repetition Of Lines To Be Done Or Lines Just Done.

This logic entails the soloist/leader, using the lines that the other singers are about to do or have just done. In either of the two options, the end result desired to be achieved must be carefully considered before applying it.

Examples of common songs with this logic are:

It is well (it is well)…

There shall be showers of blessing (this is the promise…)

2. Question & Answer (Socratic) Style.

This is asking a question whose most probable answer is the lines of the song just done or to be done. It is very potent in reinforcing the faith and trust of the individual or believer in any situation in question. They were and repeatedly used in:

What shall we do today? Today o…

“Will you let go? I’ll Trust You Lord…” Donnie McClurkin

“How many times will I have to…? You Will Win”    Victor Atenaga.

3. Societal Relevance & Story Inflection.

The soloist/leader using this logic, introduces a story well known to the audience or about his life into the song, then rearranges it melodiously to fit into every rest point and transition of the song done. It is one of the most potent ways of empathizing with the audience and getting them ministered to; once they know someone understands better,  then it is easier to reach and lead them into their healing and re-socialization process.

“Still Calling My Name” Hezekiah Walker.

“Healing” Richard Smallwood.

4. Scriptural References.

Using scriptures that addresses the song done gives one of the widest option in add-lib. It sights the highest authority as a reference point and makes clear her stand point as regards the subject matter sung about. Several gospel and even secular artistes use this every day and time in their albums without copyright law against them; because they have the greatest law on their side (the law of Freedom in using this…).

“Your Majesty” Potters House Mass Choir

5. The Holy Spirit’s Utterance

The Holy Spirit’s utterance is a gift that is exclusively for Christians and the church. It can and will never be copyrighted anyone. They come in these guises during singing:

  • Prophecy
  • Speaking in tongues.
  • Interpretation of tongues.

This has become a standard and been found very helpful in most concerts and music ministrations.

“Holy” Donnie McClurkin.

“We Worship you in the Spirit” Deitrick Haddon.

“Your Majesty” Potters House Mass Choir.


However Apostle Paul warns and addresses the use of these in 1 Cor 14, then in the case of duets and trios adlibbing, he states thus:

1Co 14:27  If any man speak in an unknown tongue, let it be two, or at the most by three, and that course; and let one interpret.


Every add lib/Solo conveys one or more of:

  1. Reflective mood.
  2. Remorseful mood.
  3. Excited mood.
  4. Resolute mood.
  5. Expectant mood.
  6. Brokenness/ Submissive mood.


These moods depend on the Levels of Ministration to determine its use. The most proficient application depends on the maturity of the soloist in reading the situation and its best approach. Whereas, every mood is best expressed the “Tone of Voice”.


The above steps and conditions should be put into full use and rehearsed accordingly, knowing well that it isn’t just practise that makes perfect but PERFECT PRACTISE MAKES PERFECT. Thus a lot people practise every day yet never become perfect because they lack CORRECT KNOWLEDGE to PERFECT PRACTISE.


These are often referred to as KINESICS (gestures and mimics), PROXEMICS (distance and space use between communicators), CHRONEMICS (time of contact and communication),  PARALANGUAGE (intonations, pitch and volume).

For more help and further studies on the concept taught in this chapter, do more researches on KINESICS, PROXEMICS, CHRONEMICS & PARALANGUAGE.


3. Post Ministration:

This comprises of all you do after the song ends till you leave the venue of the ministration or concert. There are lots of the people who’ll come to thank you, hug you, point at you to others, boast of you and observe all you’ll do till you leave the venue that day. Although in exetended cases, they start following you closely all through their life as one of those they look up to for instruction and guidance. This is one way a lot of the people choose their mentors overtime.

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