Psalm 117

download pdf. of Psalm 117

download mp3. demo of Psalm 117 (w/Cantor 2.1 synthesized choir) Cantor 2.1 is a vocal, singing emulation program (Cantor 2.1, VirSyn Software Synthesizer Bruchsaler Weg 4 76327 Pfinztal, Germany) that enables a composer to approximate the human voice without the aid of a live choir or soloist. The Hebrew vocals in this format are a bit rough, but are more than adequate to provide a general sense of what the works sound like until such time as a group of singers can be assembled and recorded.

transliteration

Hä-le-lu' Yäh

Hä-le-lu' ët Yäh-vah' kol go-yem', shä-ba-chu'-hu kol hä-u-mem'

ke gä-vär' ä-la'-nu chäs-do', va-a-mët' Yäh-vah' la-o-läm

Hä-le-lu' Yäh

translation

Praise Yah

Praise the Yahveh all nations, laud Him all of the peoples

For strong is His faithfulness towards us and consistent Yahveh is forever

Praise Yah

Psalm 117, as you may be aware, is the shortest Psalm in the Hebrew scriptures consisting of only two verses. It also appears to be a very traditional sounding processional hymn that could be repeated over and over until the singers/musicians and/or priests were in their assigned location before the Tabernacle or later Temples. Simply stated this work consisted of four parts.

opening Halelu Yah (as per the Greek Septuagint)

verse 1 - 8 measures in length - key of A minor

verse 2 - 8 measures in length - key of E minor

ending Halelu Yah (as per the Hebrew texts)

     Psalm 117 introduces the concept of two keys within a single composition, a format also found in many of the Psalm manuscripts. The first verse is in the key of A minor and the second verse, the key of E minor. Both the A minor and E minor keys directly correspond to the two minor keys playable on the upper and lower sectors of the lyre (A minor below the center bridges and E minor above the center bridges). The modulation (i.e., transition) between the first and second verses is smoothly accomplished exactly in the same manner as it is done today, by preceding the new key with the dominant chord of the target key; which in this instance is the B7 chord, the dominant 7th chord for the target key of E minor (measure 12, beat 4).
     At the end of the second verse, we find another modulation back to the key of A minor with the use of the E7 chord, the dominant 7th chord in the target key of Am. We find that at this juncture, the composition could jump to two places within the song. The first place would be to loop back to the beginning of the first verse, a sequence that could be repeated as often as needed. The second place would be to end the composition with the concluding Halelu Yah.
     You may have noticed that an opening Halelu Yah is included in the transcription of this particular Psalm. If you check your Bibles, you will probably not find the opening Halelu Yah associated with this Psalm unless your particular version follows and recognizes some of the variances found in the Greek Septuagint translation of the Hebrew texts. In the Septuagint the alleluia, (the Greek equivalent of the Hebrew Halelu Yah, is always associated with the beginning of a particular Psalm. The only exception to this is, Psalm 150 in which both the Hebrew and the Greek agree as to the placement of the Halelu Yah. For the purposes of this presentation, I have elected to use the Halelu Yah as the introduction (as found in the corresponding Greek Septuagint Psalm 116:1) and the ending Halelu Yah as the closing (as found in the Hebrew texts). This parallel and cross translation usage of the Halelu Yah as the introduction and ending is the most musically acceptable format to this Psalm and conforms to the premise that the Levite singers started and ended this song with the melodic cymbals playing the Name of Yah (i.e. , the tones A and C) and providing the starting pitches for the singers.
     As with Psalm 150, each verse consists of an antecedent and a consequent phrase. In Psalm 117 however, it appears that the entire verse may have been sung by the choral ensemble and not responsively as in Psalm 150. From a melodic standpoint, this hymn opens with the tones A and C (the Name of Yah) and as Psalm 150 uses tones derived from the ahava-rabboh mode as the primary mode for verse 1.
     Psalm 117 is also a song of praise and follows this simple format:

     Listening to this elegantly simple composition, we can almost see the procession of congregants as they slowly approach the front of His Temple. Praising God with their music. Praising His Name with their cymbals and instruments. Recounting in their songs His faithfulness. Remembering and declaring for all to hear that His love for them and all mankind remains consistent throughout all the ages...even to this day.

Psalm Transcriptions  |  Psalm 136