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Rudolph (*1955: 124) claims that, since these verses have nothing to do with David's command, they must be a later insertion. 2. The idea that the processional order is given in 1 Chron. 16-24 comes from Bertheau (*1854: 160), whose proposals influenced Keil (*1870: 150) and Goettsberger (*1939: 123-24). Goettsberger also makes the helpful distinction between the arrangement according to rank in vv. 17-18 and the arrangement according to function in vv. 19-24. 3. 18 but in reverse order. I differ from the proposed order given by Keil (*1870: 150) and Goettsberger (*1939: 123-24) by locating the choir at the rear of the procession rather than at its head.

1-31. 31-47. The first mention of David's institution of the choral rite in 1 Chron. 16-17): 1. See (a) 1 Chron. 12; 2 Chron. 2; (b) 2 Chron. 2; cf. Neh. 9; (c) 2 Chron. 2; cf. Neh. 30. 2. See Williamson *1982: 68. Johnstone (1986: 127-29) argues that the genealogies were arranged chiastically so as to centre on the tribe of Levi with its musical and sacrificial duties. 2. 1 B In YHWH's house2 after the deposition of the ark, C they were ministers in song before the tabernacle of the tent of meeting B' until Solomon' s construction of YHWH' s house in Jerusalem.

This Hebrew subordinate clause is absent from the LXX, which may indicate that it is a gloss. 6. Another gloss to indicate that only these two had charge of the instruments. 7. Since FmaSmt'im refers only to the players of the cymbals and trumpets, it is not misplaced here as is felt by Rudolph (* 1955: 128). 8. 38, the change from le$o'arim in v. 38 to laSSa'ar argues against any harmonizing parallelism. It may reflect the tradition of 1 Chron. 19b-21 that there was a single guarded entrance to the tent of meeting.

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Amy Lee (Evanescence) - You (sheet music) by Amy Lee of Evanescence

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