Psalm Superscriptions and Terms

Index of Terms and Phrases

What are the Psalm Superscriptions?
In both the Hebrew and Greek Septuagint versions of the Psalm Manuscripts, there are blocks of information (i.e., headers) that precede the actual body text of many of the Psalm manuscripts. In these texts are found various technical and descriptive terms and phrases that relate to the title, type of work, author, composer, dedication, performance, instrumentation, style, etc. of the particular work they are attached to.

     Referred to as superscriptions (information that precedes the main body of the text) and subscriptions (information that follows the main body the of text), this information is identical to the type of information found within the header or title section of contemporary lead sheets. Unlike contemporary lead sheets however, the superscriptions were apparently sung and functioned in many instance as an introduction to the song itself. Psalm 23 (which is presented in its entirety in this book), is an excellent example of this (Psalm 23).
     As with our contemporary system of sheet music notation (i.e., music engraving), many of the terms and phrases found in the Psalm superscriptions are idiomatic to the field of music and not theological. By approaching these unique terms and phrases in the technical contexts in which they occur, we can glean valuable information and insights as to works they precede.

Example: superscription of Psalm 4:1
läm-nä-tsa'-äkh ben-ge-not' mez-mor la-dä-vid'
For the Director.
with strings.	one of the melodies of David

     As we go through the various words and phrases of the Psalm superscriptions it is important to keep in mind that the Psalm superscriptions may or may not have complete and consistent information. This aspect is evident when you compare the Hebrew texts side-by-side to the Greek Septuagint translation of the same texts. In comparing the two versions, you will not only notice that the chapter numbering systems vary greatly, but also the information of the superscription itself. In the example below of Psalm 146:1 and the corresponding Psalm in the Greek Septuagint (Psalm 145:1), you will see that in the Septuagint translation the authors/composers are listed while in the Hebrew texts, they are not.
     This particular instance is somewhat explainable in that within the Hebrew texts, the Halelu Yah generally functions as a musical introduction, pitch reference and opening call to praise that segues directly to the song itself. As the Greek translations do not acknowledge or contain information comparable to the Hebrew te'amim, the translators did not recognize that the Halelu Yah as a musical statement and subsequently treated it as merely a literal one, placing the authors/composers in between the Halelu Yah and the song itself. (see Halelu Yah).

Chapter and Verse Numbering Systems

Traditional divisions of the Psalm manuscripts in the Hebrew texts

Book I - 1-41

Book II - 42-72

Book III - 73-89

Book IV - 90-106

Book V - 107-150

Manuscripts without superscriptions (according to the Hebrew texts)

     Within the Psalm manuscripts of the Hebrew texts, there are thirty-four works that traditionally are written without superscriptions. Is this correct? Historically, we know the traditional chapter and numbering systems of the Hebrew texts are a relatively recent addition. As we can not only approach the texts from a literary standpoint, but also from a melodic one, we have the advantage of seeing what previous translators have missed or glossed over.
     One example concerns Psalm 42 and Psalm 43. Psalm 42 has a superscription and consists of eleven verses. Psalm 43 does not have a superscription and has five verses. If we look carefully at the last verse in each Psalm, we find each verse is exactly the same in all aspects. This includes letters, vowel points, and the te'amim.

Psalm 42:11 and Psalm 43:5

     From the absence of the superscription in Psalm 43 and the exact phrase occurring in a neighboring work may indicate that Psalm 42 and Psalm 43 are one work, not two. What this may indicate in essence is that some of the Psalm manuscripts may in fact be much larger works and compositions than the traditional chapter and numbering systems imply. Without having the original, individual manuscripts to compare modern texts to, the divisions of the Psalm manuscripts is as we have seen, totally subjective to the translator. If however, we look at the musical format and melodies of these manuscripts, we can in many instances see that they should be considered as a larger work.

     In addition to the manuscripts found within the Psalm manuscripts, there are a few other sections within the Hebrew texts and outside of the Psalms that are directly related to the Psalms and will be considered as part of our discussions:

by Author/Composer, Written for

[name]

     Names found within the superscriptions are often prefixed with the Hebrew letter L (Heb. lamed) [meaning of, by, for, etc.] and can indicate, depending on the context: the writer of the lyrics or original text, the composer, and/or that a composition was written for an particular individual. In many instances however, it is not possible to determine whether a work was written by or for a particular individual. In contemporary music notation, this format would be analogous to phrases such as: words by, lyrics by, music by, written for, etc.

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of/for Asaph (la-ä-säf') [H0623]

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of David (la-dä-ved') [H1732]

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of Ethan the *Ezrahite ( la-e-tän' hä-ëz-rä-che') [H0387] [H0250] aka Jeduthun
[*the Israelite - LXX]

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of Heman the *Ezrahite (la-ha-män' hä-ëz-rä-che') [H1968] [H0250]
[*the Israelite - LXX]

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of/for Jeduthun (le-de-tun') [le-du-tun'] [H3038] aka Ethan

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of/for the sons of Korah (lïv-na' ko'-rä) [H1121] [H7141]

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of Moses (la-mo-sha') [H4872]

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of/for Solomon (lesh-lo-mo') [H8010]

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Miscellaneous Manuscript Terms and Phrases

do not destroy (äl täsh-chët') [H0516] 
     This phrase, unique to four of the Psalms, most likely indicates that the associated manuscript was an original work of some sort and should quite simply not be thrown away or destroyed (i.e., an ancient post-it on a master copy of a valuable manuscript).

     Lending support to the uniqueness and importance of these particular works, three of the four occurrences are assembled in order (i.e., 57, 58 and 59), were written by David, and had the additional term mekhtäm (meaning - from an engraving.) associated with it.

äl täsh-chët' la-dä-ved' mekh-täm'

     The complete phrase above, found in Psalms 57, 58 and 59 literally means, "do not destroy. of David. from an engraving." The intent and understanding of this phrase in the original Hebrew might however be translated into English as:

Be careful not to loose, damage or destroy this manuscript!
This copy is from an original engraving of David's.

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For the Director. (läm-nä-tsa'-äkh) [H5329] 
     Unique to fifty-six of the Psalm superscriptions and one occurrence in the subscription of Habakkuk 3:19, this term implies the sense of oversight or in the case of music; the leader, conductor or choral/musical director. In relation to the individual Psalm manuscripts on which this term appears may indicate that the original manuscript was an annotated copy with the words and music (te'amim) included. In other words, a score to be used by the conductor or musical director.

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from an engraving. (mekh-täm') [H4387] 
     From basic meaning of mecktam (i.e., from an engraving) we can infer that this word, when used in the context of a Psalm superscription, relates to a physical tablet of some sort that was engraved and inscribed with the associated manuscript. The term engraving is still the term used by musical manuscript copyists for the process of committing a composition or song to a written format.
     This understanding also coincides with three of the four occurrences in which the Hebrew phrase äl täshchët (i.e., do not destroy) is used in conjunction with the superscription, thus indicating that these works were unique in some manner and should be carefully preserved.

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one of the melodies. (mez-mor') [H4210] 
     A descriptive, non-theological term derived from the Hebrew root zmr and uniquely incorporated within fifty-seven of the Psalm superscriptions to indicate that the texts were sung over some type of defined melody. When incorporated with the composer as in Psalm 3:1 (mez-mor' la-dä-vid' - one of the melodies of David), the implied understanding in analogous or similar to the phrase music by [composer] found on contemporary sheet music.
     Despite the fact that mezmor is traditionally translated as a song of praise, praise song, etc. in most English translations; neither the context (i.e., being included only in the superscriptions of the Psalms and never in texts themselves) nor the meanings of the words derived from Hebrew root zmr imply the sense of a sung praise or a song of praise (see Songs & Singers, Melodies & Musicians).Even the words chosen by the earlier translators for the Hebrew word mizmor into Greek and Latin refer to the plucking of a string and by extension, a melody - Greek  (psalmos) - Latin (psalmus). The only location where the phrase "song of praise" is found in the entire Hebrew texts is in Nehemiah 12:46 (va-sher' ta-he-lä') and is the only place where the English translation "and song of praise" can be correctly applied in relation to the Hebrew texts.

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song (sher) [H7892] 
     When used in a superscription of a Psalm as a technical term and not as part of a song title or text, the word sher may indicate that the text that would follow was sung rather than recited or chanted. Used only one time in Psalm 46:1 without the term mezmor (i.e., one of the melodies), the remaining instances (all used in conjunction with mezmor) might be translated in following two forms:

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Performance Terms and Phrases

falsetto for a young man (äl-mut' lä-bën') [H4192] [H1121] 
     Derived from the Hebrew words meaning a young woman (älmut) and the term for son (bën). In this context, it appears to imply that Psalm 9 (a heartfelt prayer attributed to David and written in the 1st person) was to be sung in a falsetto or in a soft head-tone possibly as a solo work by one of the younger Levite singers.

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on falsetto of song (äl ä-lä-mot' sher) [H5961] [H7892] alt. on falsetto, a song
     Derived from the Hebrew word meaning a young woman (älmut), the phrase in this context appears to be imply that the vocal presentation was to be sung in a falsetto or soft head-tone mimicking the sound of the higher female voice.

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Psalm 62:1 (äl ya-du-tun')

Psalm 77:1 (äl ya-de-tun') [äl ya-du-tun']

over Jeduthun [H3038]
     Jeduthun (aka Ethan), who was not only one of the three primary singers along with Heman and Asaph, the director of the musicians in the early Levite musical ensembles, but was evidently also one of the heavy-weight string players and teachers in the Levite musical system of David's time apparently had numerous compositions written specifically with him in mind by David (Psalm 62) and Asaph (Psalm 77). Even in our times, composers often write works with specific singers and musicians in mind and may have been the underlying understanding of the inclusion of the phrase over Jeduthun within the Psalm superscriptions.

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over a string (äl na-ge-nät') [H5058], singular 
     A technical phrase indicating that the vocalized text was accompanied over an instrumental backdrop of some sort provided by a single string instrument such as a lyre or harp. (see also with strings and with my strings)

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over the eight (äl hä-sha-me-net') [H8067] 
     Used exclusively in reference to the lyres (see 1 Chronicles 15:21), this term may indicate that the vocal presentations were accompanied by a lyre ensemble without inclusion of the harp section. (see also with strings over the eight)

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responsive (la-ä-not') [H2142] 
     To answer or respond. In relation to the Psalms, this term may have indicated the work was to be sung responsively. This thought is carried out in the Septuagint where this term is translated as for responsive strains - (87:1) LXX

leannoth - KJV, JPS

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with my strings (ben-ge-no-täe') [H5058]
     A technical term indicating that the vocal presentations were accompanied by a string ensemble (i.e., lyres and harps) of some sort. The slight variation between over a string and with strings may be an indication as to variations in the type of accompaniment provided by the string section. Over a string may indicate that the vocalized text was accompanied over an instrumental backdrop of some sort provided by a single string instrument such as a lyre or harp, while with strings may indicate that the strings (particularly the harps) doubled the melody of the singers, playing in unison with them, while the lyres provided the instrumental chording background. (see also with strings and over a string)

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Psalm 4:1, 6:1

Psalm 54:1, 55:1, 67:1, 76:1

with strings (ben-ge-not') [H5058] 
     A technical term indicating that the vocal presentations were accompanied by a string ensemble (i.e., lyres and harps) of some sort. The slight variation between over a string and with strings may be an indication as to variations in the type of accompaniment provided by the string section. Over a string may indicate that the vocalized text was accompanied over an instrumental backdrop of some sort provided by a single string instrument such as a lyre or harp, while with strings may indicate that the strings (particularly the harps) doubled the melody of the singers, playing in unison with them, while the lyres provided the instrumental chording background. (see also with my strings and over a string)

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with strings over the eight (ben-ge-not' äl hä-shë-me-net') [H5058] [H8067] 
     Used exclusively in reference to the lyres (see 1 Chronicles 15:21), this term may indicate that the vocal presentations were accompanied by a lyre ensemble without inclusion of the harp section. (see also over the eight)

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Types of Works

Maskil (mäs-kel') [H7919] 
     Exact meaning in the context of the Psalm superscriptions is not certain. However, as it is used in conjunction with mezmor (one of the melodies) in the superscription of Psalm 88, it is possible that the term when used within a superscription is indicating a type of literary work or literary format and not a musical format or technical direction. It may also have indicated a manuscript used for instruction (see 88 LXX). 2. in a non-superscription usage the word mäskel' can imply (along with other definitions not covered herein) the thought of from understanding (i.e., from a point or aspect of understanding - see Psalm 47:8), a parable.

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Praise [of David] (ta-he-lä' dä-ved') [H8416] [H1732] 
     The various types of expressions and thoughts honoring, extolling and/or applauding the noteworthy or extraordinary accomplishments and attributes of an individual and especially the Creator. Psalm 145:1 (a Praise of David) is the only instance in the Psalm manuscripts where the word praise occurs as a noun within a superscription.

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Prayer (ta-fe-lä') [H8605] 
     A type of literary work in which the writer speaks to God in a supplication, plea or request.

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Miscellaneous Terms

for instruction. (la-lä-mëd') [H3925] alt. for teaching
     Used only once in the context of the superscriptions may indicate that this particular manuscript was used in some manner to teach. If treated as a technical term, this particular manuscript may have been directly associated with the musical system and procedures used by the Levite musicians and singers; as when a music teacher assigns a student a particular work that demonstrates some technique or style of playing or singing. If treated in a non-technical sense may simply indicate that the body text was in some manner unique in content.

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for remembrance. [H2142] (la-häz-ker') 
     A descriptive term used within the Psalm superscription. If treated as a technical term, this word may indicate that the manuscripts were to be committed to memory, possibly for performance considerations (i.e., to be memorized). If treated as a non-technical term, the intent may relate to the content of the text that follows was to be reflected upon and remembered. In the two occurrences of this term within the superscriptions (both attributed to David), the text that follows is an entreaty by David to be remembered by God and to be rescued from his oppressors.

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Terms and phrases of questionable or uncertain meaning

Psalm 45:1 - (äl sho-shä-nem')

Psalm 60:1 - (äl shu-shän' ë-dut')

Psalm 69:1 - (äl sho-shä-nem')

Psalm 80:1 - (ël sho-shä-nem' ë-dut')

upon shoshan (shoshanim) [edut]
     As with some of the phrases found in the Psalm superscriptions, there is very context from which to ascertain an understanding. A very literal translation night be:

before/towards the lily (lilies) of testimony

äl - before, on, upon, etc.
ël - towards
sho-shän' - a lily, sho-shä-nem'- lilies
ë-dut' - witness, decree, instruction, testimony

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over the gitit (äl hä-ge-tet') [H1665]

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upon machalat (äl mä-chä-lät') [H4257]

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to the nechilot (ël hä-ne-che-lot') [H5155]

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Psalm 7:1- (she-gä-yon'), singular

Habakkuk 3:1 - (äl sheg-yo-not'), plural

shegayon, over shegayon

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over ayelet hashachar - (äl ä-yë-lët' hä-shä-chär') [H0365] [H7837]

     Early one morning shortly after sunrise as I was leaving work, I saw three deer quietly feeding in a wooded area at the far end of the parking lot. As I slowly drove past them, the white of their tails went straight up and they started to bolt along the grass and back into the woods. It brought to mind Psalm 22:1 and ayelet of the shakhar (literally translated, over the doe of the dawn). As I watched them gracefully scurry away, mounting the rocks like ballerinas I thought, "could this phrase simply be the way David was indicating that the composition was to be sung and played lively or gracefully, like the deer I was watching?"

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over yonat elem rechokem [H3128] (äl yo-nät' ë-lëm' ra-cho-kem')

     Literally translated over-silent doves of distant lands, this text also brought to mind something similar to the superscription of Psalm 22:1. Could this phase simply have been the way David was indicating that the composition was to be sung softy?

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Interior manuscript terms and phrases

interlude (së'-lä) [H5542] alt. instrumental interlude, pause, etc. 
     1. a contrasting episode, philosophy, section, time period, or object occurring between (an [inter]-lude, [inter]-course (as in a dialogue between two individuals)) or the end of a associated episode, philosophy, section, time period or object. Like the Sabbath provides rest, sëlä provides rest and contrast within a composition. 2. used in the context of a Scriptural song as a musical related term, sëlä indicates a contrasting instrumental musical section performed between vocalized verses or at the end the composition. 3. A contrasting period or episode (e.g., a period of peace (an interlude) between periods of adversity) (see Psalm 57:3 (57:4 JPS). 4. The contrasting area in the land created by the course of the rivers (see Habakkuk 3:9 5. A time period or interchange of dialogue between individuals of contrasting agendas. (see Psalm 62:4 (62:5 JPS) and 82:2. 6. A philosophical contrast between the majesty and splendor of Yahveh and the subsequent praise of mankind. (see Habakkuk 3:3) - Greek (soteria) translated as deliverance, salvation (NT see 1 Peter 1:6-9), Latin diapsalma.

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meditative interlude [H1902] [H5542] (he-gä-yon' së'-la)

Appendices