Page:03.BCOT.KD.HistoricalBooks.B.vol.3.LaterProphets.djvu/220

 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.

Verses 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