1Ch 15:17-21 | KD | STEP | David gave the princes of the Levites a further charge to appoint singers with musical instruments for the solemn procession, which they accordingly did. שׁיר כּלי, instruments to accompany the song. In three kinds of these are named: נבלים, nablia , ψαλτήρια, which Luther has translated by psalter, corresponds to the Arabic santir, which is an oblong box with a broad bottom and a somewhat convex sounding-board, over which strings of wire are stretched; an instrument something like the cithara . כּנּרות, harps, more properly lutes, as this instrument more resembled our lute than the harp, and corresponded to the Arabic catgut instrument el ‛ûd ( l - c ûd ); cf. Wetzstein in Delitzsch, Isaiah , S. 702, der 2 Aufl., where, however, the statement that the santir is essentially the same as the old German cymbal, vulgo Hackebrett, is incorrect, and calculated to bring confusion into the matter, for the cymbal was an instrument provided with a small bell. מצלתּים, the later word for צלצלים, cymbals, castanets; see on 2Sa 6:5. משׁמיעים does not belong to the three before-mentioned instruments (Berth.), but, as is clear from , , , , undoubtedly only to מצלתּים (Böttcher, Neue krit. Aehrenlese , iii. S. 223); but the meaning is not “modulating,” but “sounding clear or loud,” - according to the proper meaning of the word, to make to hear. The infinitive clause וגו להרים belongs to the preceding sentence: “in order to heighten the sound (both of the song and of the instrumental music) to joy,” i.e., to the expression of joy. לשׂימחה is frequently used to express festive joy: cf. , ; ; but also as early as in ; ; Jdg 16:23, etc. - In , the names of the singers and players are introduced; then in they are named in connection with the instruments they played; and finally, in , the other Levites and priests who took part in the celebration are mentioned. The three chief singers, the Kohathite Heman, the Gershonite Asaph, and the Merarite Ethan, form the first class. See on , , and 1Ch 6:44. To the second class (המּשׁנים, cf. המּשׁנה, 2Ki 23:4) belonged thirteen or fourteen persons, for in an Azaziah is named in the last series who is omitted in ; and it is more probable that his name has been dropped out of than that it came into our text, , by an error. In בּן comes in after זכריהוּ by an error or transcription, as we learn from the w before the following name, and from a comparison of and 1Ch 15:25. The name יעזיאל is in written עזיאל, Yodh being rejected; and in it is יעיאל, which is probably only a transcriber’s error, since יעיאל occurs along with it both in and in 1Ch 16:5. The names Benaiah and Maaseiah, which are repeated in , have been there transposed. All the other names in vv.18 and 20 coincide.

‏ 1 Chronicles 15:17-21

David gave the princes of the Levites a further charge to appoint singers with musical instruments for the solemn procession, which they accordingly did. שׁיר כּלי, instruments to accompany the song. In 1Ch 15:16 three kinds of these are named: נבלים, nablia, ψαλτήρια, which Luther has translated by psalter, corresponds to the Arabic santir, which is an oblong box with a broad bottom and a somewhat convex sounding-board, over which strings of wire are stretched; an instrument something like the cithara. כּנּרות, harps, more properly lutes, as this instrument more resembled our lute than the harp, and corresponded to the Arabic catgut instrument el ‛ûd (l - c ûd); cf. Wetzstein in Delitzsch, Isaiah, S. 702, der 2 Aufl., where, however, the statement that the santir is essentially the same as the old German cymbal, vulgo Hackebrett, is incorrect, and calculated to bring confusion into the matter, for the cymbal was an instrument provided with a small bell. מצלתּים, the later word for צלצלים, cymbals, castanets; see on 2Sa 6:5. משׁמיעים does not belong to the three before-mentioned instruments (Berth.), but, as is clear from 1Ch 15:19, 1Ch 15:28, 1Ch 16:5, 1Ch 16:42, undoubtedly only to מצלתּים (Böttcher, Neue krit. Aehrenlese, iii. S. 223); but the meaning is not “modulating,” but “sounding clear or loud,” - according to the proper meaning of the word, to make to hear. The infinitive clause וגו להרים belongs to the preceding sentence: “in order to heighten the sound (both of the song and of the instrumental music) to joy,” i.e., to the expression of joy. לשׂימחה is frequently used to express festive joy: cf. 1Ch 15:25, 2Ch 23:18; 2Ch 29:30; but also as early as in 2Sa 6:12; 1Sa 18:6; Jdg 16:23, etc. - In 1Ch 15:17, 1Ch 15:18 the names of the singers and players are introduced; then in 1Ch 15:19-21 they are named in connection with the instruments they played; and finally, in 1Ch 15:22-24, the other Levites and priests who took part in the celebration are mentioned. The three chief singers, the Kohathite Heman, the Gershonite Asaph, and the Merarite Ethan, form the first class. See on 1Ch 6:33, 1Ch 6:39, and 1Ch 6:44. To the second class (המּשׁנים, cf. המּשׁנה, 2Ki 23:4) belonged thirteen or fourteen persons, for in 1Ch 15:21 an Azaziah is named in the last series who is omitted in 1Ch 15:18; and it is more probable that his name has been dropped out of 1Ch 15:18 than that it came into our text, 1Ch 15:21, by an error. In 1Ch 15:18 בּן comes in after זכריהוּ by an error or transcription, as we learn from the w before the following name, and from a comparison of 1Ch 15:20 and 1Ch 15:25. The name יעזיאל is in 1Ch 15:20 written עזיאל, Yodh being rejected; and in 1Ch 16:5 it is יעיאל, which is probably only a transcriber’s error, since יעיאל occurs along with it both in 1Ch 15:18 and in 1Ch 16:5. The names Benaiah and Maaseiah, which are repeated in 1Ch 15:20, have been there transposed. All the other names in vv.18 and 20 coincide. 1Ch 15:19-21

These singers formed three choirs, according to the instruments they played. Heman, Asaph, and Ethan played brazen cymbals להשׁמיע (1Ch 15:19); Benaiah and the seven who follow played nablia (psalteria) עלמות על (1Ch 15:20); while the last six played lutes (harps) לנצּח השּׁמינית על (1Ch 15:21). These three Hebrew words plainly denote different keys in singing, but are, owing to our small acquaintance with the music of the Hebrews, obscure, and cannot be interpreted with certainty. נצּח, going over from the fundamental signification glitter, shine, into the idea of outshining and superior capacity, overwhelming ability, might also, as a musical term, denote the conducting of the playing and singing as well as the leading of them. The signification to direct is here, however, excluded by the context, for the conductors were without doubt the three chief musicians or bandmasters (Capellenmeister), Heman, Asaph, and Ethan, with the cymbals, not the psaltery and lute players belonging to the second rank. The conducting must therefore be expressed by להשׁמיע, and this word must mean “in order to give a clear tone,” i.e., to regulate the tune and the tone of the singing, while לנצּח signifies “to take the lead in playing;” cf. Del. on Psa 4:1. This word, moreover, is probably not to be restricted to the singers with the lutes, the third choir, but must be held to refer also to the second choir. The meaning then will be, that Heman, Asaph, and Ethan had cymbals to direct the song, while the other singers had partly psalteries, partly lutes, in order to play the accompaniment to the singing. The song of these two choirs is moreover distinguished and defined by עלמות על and השּׁמינית על. These words specify the kind of voices; עלמות על after the manner of virgins, i.e., in the soprano; השּׁמינית על, after the octave, i.e., in bass - al ottava bassa. See Del. on Psa 6:1; Psa 46:1. In 1Ch 15:22-24 the still remaining priests who were engaged in the solemn procession are enumerated.