Of the psalms that contain the word ‘selah’, there are
some that use the word several times. Contrary to the belief of some, the psalm (song) did
not stop for the worshipper to ‘pause and reflect’. The words of the psalms
resume and continue after the selah. This tells me the song didn't stop.
A selah was generally a musical interlude. The selah was used to
drive home or further interpret the message of the psalm. If the words of the psalm spoke
of warfare, then the selah would be warfare music; music that portrayed the sound of
warfare. If the words of the psalm spoke of victory, then the selah was victory music.
Here are a few of the definitions of selah:
- Music stops and voices come in
- Pause
- A musical term
- Suspension of music or a pause (a suspension is for example a
dissonance or various notes of the scale played at the same time, creating tension in the
music)
- Musical interlude
Here is the definition of suspension:
sus·pen·sion (s…-spµn"sh…n) n. 1. The act of
suspending or the condition of being suspended, especially: a. A temporary
abrogation or deferment. b. A debarment, as from office or privilege. c. A
postponement of judgment, opinion, or decision. See Synonyms at pause. 2. Music.
a. The prolongation of one or more tones of a chord into a following chord to create a
temporary dissonance. b. The tone so prolonged. 3. A device from which a
mechanical part is suspended. 4. The system of springs and other devices that
insulates the chassis of a vehicle from shocks transmitted through the wheels. 5.
Chemistry. A relatively coarse, noncolloidal dispersion of solid particles in a
liquid.
Music is tension and release. There is no peace in the dissonance
(multiple notes played at once) because of the tension. In the tabernacle, the musicians
would go to a suspended place, stay there until the intercessors and prayer warriors
accomplished their purpose, then they would resolve the tension in the music.
In music the tonic (or the key the song is in) never changes. The
melody will start in the tonic or first chord of the song. The melody will then move away
from the tonic and this creates tension. At some point the melody will either return to
the tonic or the chord will change, being drawn by the melody and thereby relieving the
tension.
People that have tension (anxiety) in their lives are like the
melody. They have left the ‘One’ -- the tonic chord that sets the key for the
song. The tonic (God), the ‘One’ will never change to resolve the tension. The
person that has left the ‘One’ must return to the "One" to resolve the
tension.
Zech 1:3
3 "Therefore say to them, 'Thus says the LORD of hosts:
"Return to Me," says the LORD of hosts, "and I will return to you,"
says the LORD of hosts.
(NKJ)
God says clearly that we must return to Him. If we do, then He
will return to us. We must relieve the tension, not Him.
Hab. Ch. 3:1 "a prayer of Habakkuk upon shigionoth".
This is one of the forms of praise, tephillah, on wild, frenzied rhythms. This is
what shigionoth is by definition.
Why do we need to learn all of these terms? We need to learn
these terms and be able to use them. More importantly, we need to learn what they are so
we can come to a deeper or fuller understanding of just what took place in the Tabernacle
of David. Understanding this will enable us to interpret the prophetic word coming forth
and thereby apply the correct music to the words.
If we are a band of musicians leading worship and a prophetic
word comes forth, our leader could turn and say "go into wild frenzied rhythms".
How much easier if he/she could just say "shigionoth"? The chief musician should
be able to issue a precise directive and we would know what he means and be able to go
there.
We somehow have
developed rules in the church that govern what kind of music is appropriate in church. It
isn't the type of music that is the problem, it is the heart of the musician. David’s
life was song oriented with his God. His relationship came through in his music. He
performed shiggaions. Would a shiggaion fit in most church services today? I
think not. But it could and at times should be a part of the service - as much
so as the traditional hymn.
Sometimes there is
nothing you can say that will express what you feel. Music can express it, much in the
same way speaking in tongues can express your deepest heart. We as musicians and
singers shouldn't be out to express our heart but God's. God has tenderness.
God has anger. God has joy. If we are listening to the Father and we
perceive that His love is flowing, we should then begin to play music that promotes
intimacy with Him. Most likely it would be soft pleasant sounding music.
If we percieve there is great joy in heaven at a given moment, then we might play
lively music that would convey the festive feeling one has when they are filled with great
joy. The church seems to have no problem with the soft music, the reverent music.
But do warfare and watch out!
What we need to realize is that warfare music is warfare music.
If we are doing spiritual warfare during our praise, then it is only logical that warfare
music accompany the words. It isn't the kind of music that is bad; it is what is in the
heart of the musician that determines whether the fruit of the music is good or bad. War
is war. It’s whose side you are on that is important! Both sides fight in much the
same manner for the most part. Rock music is most often warfare music. It isn’t the
rock music that’s bad – it’s what is in the heart and spirit of the
musician coming through the music that makes it Godly or demonic.
A point to be made
here is this: I or other musicians like myself may play warfare music with guitars
and sound processors. Warfare can be played on a violin. It can be done on a
piano. One does not need a rock sound to their music to play any of the expressions
of music. It may well be that a given church only has a pianist. Good.
Use the gift God has given. These principles of music still apply.
Screaming guitars may be offensive to some, but we must remember that there are a
myriad of musical instruments and styles out there. In David's time they didn't have
the electronics of today, but they played all the appropriate forms of music. All
styles of music can be used for the glory of God. What better sound than that of
rock music to reach the youth? They want the strong rythyms and drums. It is
O.K. to play that kind of music as long as it is God that is being expressed. If He
is not expressing warfare at the moment, then it would be absolutely wrong to play warfare
music - as much so as playing soft music when God has war in mind.
Think about this.
If a prophetic musician only played warfare music, would that seem to be an
expression of God? Maybe put it this way; is God always in a warfare mode?
Doesn't He have tenderness too? I submit that if a prophetic musician only
expresses one type of music, perhaps he is not listening to God?
Let’s examine the various types of selahs and see just how
it all comes together.
There are five basic types of selahs:
- Warfare
- Sacrificial
- Storms of Life or Flight of the Dove
- Death Knell
- Triumphal or Victory
We will examine some
of the chapters that use selahs and interpret what is being said and thereby determine
what type of selah is coming forth. Keep in mind that there was 33 years of
prophetic music. The selahs in the Bible represent five kinds. What about love
and tendernsess? I believe it is entirely possible that there were other types of
selahs. We only have a sampling of the prophetic that came from during the
tabernacle of David. Actually not every psalm was written during that period and
actually psalms are still being recorded today.
I will limit this
study to the selahs we find in the Bible. Habakkuk has three selahs. Let's start
there.
Just what is this 'shigianoth' that we find in verse one?
Hab 3:1
CHAPTER 3
1 A prayer of Habakkuk the prophet, according to Shigionoth.
(NAS)
Here os the Strong's definition of shigionoth:
7692 Shiggayown (shig-gaw-yone');
or Shiggayonah (shig-gaw-yo-naw'); from 7686; properly, aberration, i.e. (technically) a
dithyramb or rambling poem:
KJV-- Shiggaion, Shigionoth.
So what is a dithyramb?
dith·y·ramb
(dąth"ą-r˛m", -r˛mb") n. 1. A frenzied, impassioned
choric hymn and dance of ancient Greece in honor of Dionysus.
Kind of
has the sound of 'rock' music, doesn't it? Satan knows what warfare is. The
type of music isn't new. Satan has perverted it!
In Chapter 3 verse 2 Habakkuk was crying out. There was tension
in the spirit of the words, and the tension or unrest speaks of attack or warfare. This
warfare could be expressed in wild, frenzied music. This is what shigionoth is. This was
during tephillah. One could interpret this as either a ‘storm’ selah or a
‘warfare’ selah.
Verse 4 begins and we find warfare in the tone of the words.
Clearly the selah used in verse 9 is a warfare selah. The tone shifts slightly to victory
and in verse 13 we find a victory selah.
The selah changes with the tone of the words coming forth. It
causes the feelings to change from the turmoil of battle to the feelings of triumph and
joy in victory. Notice the rest of the words after verse thirteen are about victory and
joy.
Take notice that Habakkuk gave instructions to play this music on
the stringed instruments. He wanted the music to have a certain sound. Today we have
electric guitars and keyboards. We have countless percussion instruments. How much easier
our job of interpreting music is!
Habakkuk used harps. Imagine warfare done on a harp. How much
easier it could be done with the driving guitars and drums of today! We've got it made!
All we have to do is just kick in a sound effect! Wrong. There is a way to play warfare
music. The sounds of the instrument add to it, but you can't play ‘Silent Night’
and expect it to come across and be effective warfare.
Psalms 3:1
1 A Psalm of David, when he fled from Absalom his son. LORD, how
are they increased that trouble me! Many are they that rise up against me.
2 Many there be which say of my soul, There is no help for him in God. Selah.
3 But thou, O LORD, art a shield for me; my glory, and the lifter up of mine head.
4 I cried unto the LORD with my voice, and he heard me out of his holy hill. Selah.
5 I laid me down and slept; I awaked; for the LORD sustained me.
6 I will not be afraid of ten thousands of people, that have set themselves against me
round about.
7 Arise, O LORD; save me, O my God: for thou hast smitten all mine enemies upon the cheek
bone; thou hast broken the teeth of the ungodly.
8 Salvation belongeth unto the LORD: thy blessing is upon thy people. Selah.
There appears to be several types of selahs in these verses.
Let's examine them one at a time. In verses 1 and 2, David is singing about how many
enemies he has; that they are rising up against him and say there is no help from his God.
All of these words speak of an attack on David. This is a storm selah. I say this because
attack, tribulation, trials etc. speak of the storms of life. The musicians would play the
selah, the musical interlude, and it would be music that sets a musical tone of
storminess; of troubled times. This interlude is set by the tone of the words. The
musicians are to drive home the message that the singer is in a time of trouble.
In verse 3 and 4, we again have the storm or "flight of the
dove" selah. The singer, David, is saying that because of the troubles and attacks he
is crying out to God, longing for the rescue by his God. The storm selah and the flight of
the dove are the same thing. They speak of troubles and flight to God to be delivered from
the attack, etc.
In verse 5 thru 8; we find that David is expressing that God
defeats His enemies, smashing their teeth etc. One could say that this is a warfare selah,
except that the word ‘hast’ puts it as already having happened. This would move
it to the category of the triumphal selah. The music could be marching music with light
tones or feel, but most likely it would be the sound of celebration of jubilation.
Psalms 9:15
15 The heathen are sunk down in the pit that they made: in the
net which they hid is their own foot taken.
16 The LORD is known by the judgment which he executeth: the wicked is snared in the work
of his own hands. Higgaion. Selah.
This verse speaks of the fate of the wicked - sunk down into the
pit - caught in their own net. The Lord's judgment is spoken of. This is the "Death
Knell" selah. Notice the word "Higgaion". Here is the definition:
1902. higgayown, hig-gaw-yone'; intens. from H1897; a murmuring
sound, i.e. a musical notation (prob. similar to the modern affettuoso to indicate
solemnity of movement); by impl. a machination:--device, Higgaion, meditation, solemn
sound.
This word "Higgaion" further supports that this is a
death knell selah. A murmuring sound; musical; a solemn sound. Take a look at the sound or
tone of the music as directed by the psalmist:
Psalms 9:1
9:1 To the chief Musician upon Muthlabben, A Psalm of David.
I will praise thee, O LORD, with my whole heart; I will show
forth all thy marvelous works.
What is this word ‘Muthlabben’?
4192. Muwth, (Ps 48:14), mooth; or Muwth lab-ben, mooth labbane';
from H4191 and H1121 with the prep. and art. interposed; ‘To die for the son’,
probably the title of a popular song:--death, Muthlabben.
As noted in this
definition, the same word is used in Psalms 48:14 and translators used the word
‘death’. Clearly then, we have a solemn, death type of tone set in the music.
This would clearly be an example of a death knell selah. Can you imagine the type of sound
the music would have? What music would you choose to prophesy death to the enemy?
Ps 47:4-5
4 He will choose our inheritance for us, the excellence of Jacob
whom He loves. Selah
5 God has gone up with a shout, the LORD with the sound of a trumpet.
(NKJ)
We have a sacrificial selah in verse 47. In the previous examples
of selah, the selah followed the words. Is there any reason the selah can't come forth
first? No. Musicians can feel the heart of God and begin to play it. The listener (could
be the musician playing) could conceivably hear the music and having the message infused,
hear from God and begin to prophesy in song the heart of God.
God has gone up with a shout. What is this word shout?
Shout:
8643. teruw'ah, ter-oo-aw'; from H7321; clamor, i.e. acclamation
of joy or a battle-cry; espec. clangor of trumpets, as an alarum:--alarm, blow (-ing) (of,
the) (trumpets), joy, jubile, loud noise, rejoicing, shout (-ing), (high, joyful) sound
(-ing).
Trumpets accompanied the sacrifices. As the smoke rose the
trumpets would sound. God has gone up with a shout. This is where the sacrificial selah
comes in.
We have covered the five types of selahs. Again, why is it
important to understand the selah? Musicians need to know this information if they are to
musically interpret the songs that come forth from the body or congregation when the
spirit of prophecy begins to move.
In order to foster the moving of the spirit, musicians need to
stand ready to hear from the Holy Spirit as well as discern the words coming forth and
play their instruments accordingly.
During the selah, the musical interlude, they would reinforce or
continue the theme of the words just spoken until the Spirit moved on them to transition
to the next section or move of the Spirit. Can you imagine if the musicians played some
sort of light ‘la, la, la’ song with judgment and death being pronounced on the
enemy, the wicked? It would be very out of place.
What happens if the musicians just stop the music when a psalm or
prophecy comes forth? When the prophecy is completed, there is silence and most likely
this will be the cue to take an offering and move on into the teaching time. A sensitive
leader can wait on the Lord and more prophecy may come forth -- but how much more likely,
if the musicians augment and supplement or compliment the prophesy by ‘speaking’
the same message musically?
What about this thought? The musicians are playing a song from
the Lord or prophesying on their instruments. God puts a sense of warfare in the Spirit
and the musicians sense this because they are tuned in to God? They are sold out to God,
they are totally yielded to God. Can you imagine the music that would come forth if the
musicians being skilled, begin to play this theme?
Picture the worshipper that is hearing this and worshipping God.
Could it follow that the worshipper (hearing the heart of God in the music and
thereby focusing more sharply), might hear from God and speak out the message? If they did
so as they heard it, as the music was playing, what you would have is prophetic worship.
Music that inspires prophecy, and prophecy that inspires new music!
This is what the psalms are! David or one his chosen men wrote
psalms as they received the music and words from God. A recorder was taking down the words
as they sang them. The song was then sent to the chief musician along with instructions to
interpret the music on a particular instrument or instruments.
Why a particular instrument? Because each instrument has a
personality, if you will, or a specific sound. Some sounds are conducive to the
‘theme’ that is coming forth in the song. A flute could be used in warfare
selahs, but it would not be the first choice. Trumpets, drums, grinding guitars would make
a good choice for warfare selahs.
David and the musicians in his tabernacle knew all this about the
instruments, and about the themes in music. They were taught by Chenaniah in prophetic
song and prophetic music. The musical selections found in the Book of Psalms are the
product of that prophetic worship.
Satan has tried and has been fairly successful at using these
principles to lead youth astray. What we need to do is not refrain from the music satan
has tried to call his, but use the music - sounds, styles and all and proclaim the
prophetic word of God instead of the satanic word of death.
So a selah takes on a new meaning for us. It is more than
‘pause and reflect’. It is God speaking to His people without words. This is
Spirit to spirit. What a concept. Communication without words! WOW! Ears then are intended
for communication in the physical realm, to hear sounds made by physical objects. When God
speaks to us in an audible voice, did we hear it with our ears or with our Spirit?
Hmm… Selah.
Table of Contents
Chapter Nine
Close the Book
