Global

Global
Liturgical
Liturgical
Expressions
Expressions
Worship is the way Christians all over the world
come together on Sunday and other occasions to
offer adoration, praise and thanksgiving to God for
loving us. It is also a time to acknowledge God as
the Holy One. In worship we remember what God
has done for us through Jesus Christ and continues
to do through the Holy Spirit. Worship is the place
where the community finds peace, forgiveness, joy
and meaning for the mission of the Church.

Throughout the liturgy we sing, “All of you praise

the Lord” and ask “Lord have mercy on us”.

Through the Companion Synod Program, ELCA

members have joined Christians in other parts of
the world to walk together to serve Christ’s mission.
These relationships have helped us to experience
other ways of worshiping. Different expressions of
worship have deepened our faith and united us
with our companions in other countries.

This resource will assist congregations to include

liturgical faith expressions from other parts of the
world in their regular worship services. An easy way
for congregations to experience faith expressions
from other countries is through short liturgical
acclamations in their regular weekly services.
Twelve such liturgical music pieces are provide in
this resource that can be used as the kyrie response
or the alleluia verse sung before the announcement
of the Holy Gospel.

Permission for use of the music has been obtained.

Feel free to copy the music for your worship service.
Learning the Music
Our ecumenical partners have had experience
for several years in incorporating global liturgi-
cal responses in their worship. The book
“Worshipping Ecumenically” has a few guide-
lines for acquainting people with unfamiliar
songs. The following may be helpful to you as
you attempt to get your congregation familiar
with the liturgical expressions provided in this
resource.
1. Identification through imitation
First try to sing the song in its original lan-
guage in order to sense the beauty and the
intricate text-tune relationship; then sing the
translation. Through the language and the
music of a culture one can get a glimpse of
that specific culture and the music will make it
easier to struggle with the unfamiliar language.
By imitating we can identify ourselves with
one another. Songs may draw us into other
social realities of justice and peace work, into
different vocations of doxology and praise,
into a new experience of the self-emptying
love of Jesus or a cry for mercy. It is important
to try to be as faithful as possible to the origi-
nal style of the music. For example, to main-
tain the simplicity and integrity of songs from
other parts of the world, Western harmoniza-
tion should not be used.
2. Assistance of local immigrants
In many places today it is possible to find
immigrants from different parts of the world
who might be invited to help teach the pro-
nunciation and intonation of words.
3. The role of the choir
A choir is generally the most effective instru-
ment for implanting new congregational songs.
All songs should thus be well known and well
rehearsed by the choir, and it may be helpful to
form a local global choir for this purpose.
4. The role of the song leader
Learning new songs will always be much easier
if there is a song leader with good teaching
skills, aesthetic sensibility, musical imagination
and enthusiasm.
5. Songs need to be rehearsed
New songs in worship always need to be prac-
ticed before the service begins. If time allows,
some essential information about the songs
and their background can also be provided.
This is a good way to build up an atmosphere
of corporate togetherness in the congregation.
6.Repetition is the key to learning
Songs need to be sung over and over in order to
be known and loved. The short sung acclama-
tions are designed for repetition, and they are
usually learned quickly and easily, which is
especially an advantage where people have dif-
ficulties in reading music or texts. A prayer by
the pastor can be intermingled with a short
sung response. This can give the service new
flexibility and can assist the congregation to
understand that music can be an essential part
of praying.
7. Music involves the body
Many songs from Africa and Latin America are
sung with body movements. In order to get
people to move to music, it is not enough to
tell them to move. The music leader, perhaps
with the help of the choir, can encourage peo-
ple to move to the music. It is easiest to begin
by getting people to move their feet. Make sure
they know the song before introducing move-
ment.
8. Different music requires different instru-
ments
Try to find instrumentalists acquainted with
different styles of music. In most urban areas
there are African drummers, Latin American
guitarists skilled in the sometimes complex
rhythms of South American or instrumental-
ists familiar with some of the wide range of
Asian music. If original instruments are not
available, substitution will also work— sounds
on a synthesizer, regular flutes or hand clap-
ping (for drums). Much of the music used with
global music is also sung a capella (without
accompaniment)
9. The role of the Holy Spirit
Emotion, feeling, senses and the movement of
the Holy Spirit are vital to the process of learn-
ing global music.
 luia
Walking Together Singing
lle
Hallelujaha AlelouyaA
lu y Halle
lle Halleluja luia
A
The alleluia is sung as part of the verse before the reading of the Gospel in the worship service. These
acclamations are used throughout the church liturgical year except for the season of Lent. It is custom-
ary to avoid using Alleluias beginning with Ash Wednesday to emphasize the penitential mood of Lent.
The alleluia are not used again until the Easter Vigil or for the Easter Worship Service.

Use one of the global expressions below in place of your regular alleluia verse.

# 4
Alleluia–Brazil
& # 4       n      
©1990 Simei Monteiro, Rua do
Sacramento 230, Rudge Ramos CEP     n 
09735-460, Sâo Bernardo do Campo
SP, Brazil Al - le - lu - ia, al - le - lu - ia, al - le - lu -

? ## 4 
4           n        n   
         n        n   

##
1 2

&    .
.   
 
  
 
   
 
ia, ia.
? ##        .
.   
        

Alleluia–Indonesia ### 4      

Christian I. Tamacla: Indonesia & 4        
    
Pu - ji Tu - han, pu - ji Tu - han, pu - ji Tu - han.
Hal- le - lu - ia, hal- le - lu - ia, hal- le - lu - ia.

& b      #   n  
Alleluia–Russia
Orthodox liturgy of Kiev
        
Al - le - lu - ia, al - le - lu - ia, al - le - lu - ia.
     
? b              

 #4
Alleluia–Syria
& 4            
As taught by metropolitan Mar 
Gregorios Yohanna Ibrahim,
Aleppo, Syria Hal - le, hal - le - lu - jah. Hal - le, hal - le - lu - jah.

#
&         
    
Hal - le - lu - jah, hal - le - lu - jah, hal - le - lu - jah.

#
&             
Hal - le - lu - jah, hal - le - lu - jah, hal - le - lu - jah.

& 4  
        
Alleluia–Guadeloupe 2     
©Communauté Ste-Thèrése, Bas du
Bourg, 97139 Basse Terre,

Guadeloupe A - le - lou - ya, a - le - lou - ya, a - le - lou - ya!
Al - le - lu - ia, al - le - lu - ia, al - le - lu - ia!

&                 
Se les - pwi - sen ka fè nou viv, a - le- lou - ya!
The Ho - ly Spir - it gives us life, al - le - lu - ia!

   
Alleluia–Zimbabwe &b     
©Dumisani Abraham Maraire,
University of Zimbabwe, Harare, Hal - le - lu - jah, hal - le - lu - jah,
Zimbabwe

&b        
Hal - le - lu - jah, hal - le - lu,

?b        
Hal - le - lu - jah, hal - le - lu - jah,

&b         .
.

hal - le - lu - jah, hal - le - lu - jah!

&b         .
.
hal - le - lu - jah, hal - le - lu - jah!

?b        .
 .
hal - le - lu - jah, hal - le - lu - jah!
 Together Praying , Lin -bin
Lord Have Mercy C h u
Kyrie Tem Piedade
a m ko Lord
Ya T u h Ha v
Nkosi, Nkosi e Me
r
The Kyrie is a liturgical prayer asking for divine help. Today we use the Kyrie at the beginning of our
service of Holy Communion as part of our liturgy to greet the risen Lord Jesus and to ask for his contin-
ual love and care for all things and all people.

Use one of the Kyries below to experience how Christians around the world ask “Lord have mercy.”

Kyrie–South Africa .
& .              .
.
G.M. Kolisi: South Africa 
Nko - si, Nko - si, yi - ba nen - ce - ba.
Lord, have mer - cy; have mer - cy up - on us.
         
?.
.     .
.
 

.    
& .        .
      .
Kres - tu, Kres - tu, yi - ba nen - ce - ba.
Christ, have mer - cy; have mer - cy up - on us.
         
?.
.     .
.
 

.
& .              .
.

Nko - si, Nko - si, yi - ba nen - ce - ba.
Lord, have mer - cy; have mer - cy up - on us.
         
?.
.     .
.
 
 ##
     
Kyrie–Brazil
©Simei Monteiro
&        
Ky - ri - e. Tem pi - e - da - de de nós, ó Sen - hor.
Ky - ri - e. Have . . . . mer - cy on us, O Lord.
##  
&  #     
    
E - le - i - son. Ky - ri - e. Tem pi - e -
E - le - i - son. Ky - ri - e. Have . . . .
##
&              
da - de de nós, ó Sen - hor. E - le - i - son.
mer - cy on us, O Lord. E - le - i - son.

& 4
     
Kyrie–Chile 3
Text: Ulises Torres
  
Chilean folk melody
A ti, Se - ñor, te pe - di - mos
O Lord, have mer - cy up - on us!

&        

per - dón en es - te mo - men - to
O Lord have mer - cy up - on us!

&         
por los pe - ca - dos de ac - cio - nes,
For - give the wrong we are do - ing,

&   
     
pa - la - bras y pen - sa - mien - tos.
our words and thoughts that of - fend you.

Kyrie–France #2      3   
& 4       4    
Taizé, France

 
Ky - ri - e,
 ky - ri - e,
   
e - le

-

i - son.

?# 2      3   
4 4 
Kyrie–Malaysia #4
      #     n    
Music: Calvin Chelliah, Malaysia
& 4   
Ya, Tu - han - ku, ya Tu - han - ku ka - si - ha - ni da - ku.

#
&                 
Ya, Tu - han - ku, ya Tu-han - ku ka - si - ha - ni da - ku.

# 
&   #     n                   
Ya, Tu - han - ku, ya Tu - han - ku ka - si - ha - ni - da - ku.

“O Lord our God, O Lord our God, have mercy on us.”

#   
Kyrie–Taiwan
&      
Music: Saisat melody, Taiwan;
   
adap. I-to Loh
Chú ah Kiû Lí lîn - bîn góan, Ki - tok Kiû Lí
Lord, have mer - cy on us, Christ, have mer -

#  
&             
lîn - bîn góan, Chú ah Kiû Lí lîn - bîn góan.
cy on us, Lord, have mer - cy on us.

Sources
Text
10. Worship Wordbook: A practical Guide for Parish Worship, Ralph R. Van Loon and S. Anita Stauffer, Augsburg Fortress,
Minneapolis, 1995.
11. Worshipping Ecumenically, Order of Service from Global Meetings with Suggestions for Local Use, Edited by Per Harling,
WCC Publications, Geneva, 1995.
12. Holy Communion Narrative for Adults, Augsburg Fortress, Minneapolis, 1995.

Music
1. Alleluia - Simei Monteiro, Rua do Sacrament, Rudge Ramos, CEP 09735-460, Sao Bernardo do Campo, SP, Brasil
2. Puji Tuhan, Christian I Tameala, Fakultas Theologia UKIM, Jalan OT Pattimaipau 15, P. O. Box 1041, Ambon, Indonesia
3. Hallelujah, Gregorios Yohanna Ibrahim , Metropolitan Mar, P. O. Box 4194, Aleppo, Syria
4. Alelouya Ste Therese, Bas du Bourg, 97139 Basse Terre, Guadeloupe
5. Alleluia, Orthodox liturgy of Kiev, 1998 WCC Harare Assembly Worship Book
6. Halleluja, Dumisani, Abraham Maraire, University of Zimbabwe, Harare, Zimbabwe
7. Nkosi, Nkosi, G.M. Kolisi, Anders Nyberg, Utryck, Box S-750-03, Uppsala, Sweden- US - Walton Music, 170 N.E. 33rd St. Fort
Lauderdale FL 33334
8. Kyrie, Tem Piedade, Simei Monterio, Rue do Sacramento Rudge Ramos, CEP 097350406, Soa Bernardo do Camp, SP, Brasil
9. A Ti Senor, Ulises Torres and Herbert O’Driscoll, Anglican Book Center, Toronto, Canada
10. Kyrie, Kyrie Eleison, Music from Taize, GIA Publishing, Chicago
11. Ya Tuhanku, Calvin Chelliah, Asian Institue for Liturgy and Music, P.O. Box 3167, 1099 Manila, Philippines
12. Chu a Kin, Samuel Liew and I-to-Loh, Asian Institue for Liturgy and Music, P. O. Box 3167, 1099 Manila, Philippines
Global
Liturgical
Expressions

Produced by the 67-9224

Evangelical Lutheran Church in America 6-0001-0697-1
Division for Global Mission