What number verse is 1 Chronicles 25:21 in the Bible?

1 Chronicles 25:21 is the 11,068th verse of the Bible. Counting straight through the King James canon — all 31,102 verses from Genesis 1:1 to Revelation 22:21 — 1 Chronicles 25:21 sits at position 11,068.

Translation

King James Version

The fourteenth to Mattithiah, he, his sons, and his brethren, were twelve:

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KJV (with Strong's)

The fourteenth ^{H702 H6240} to Mattithiah ^H4993, he, his sons ^H1121, and his brethren ^H251, were twelve ^{H8147 H6240}:

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Complete Jewish Bible

the fourteenth to Mattityahu, his sons and brothers, twelve;

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Berean Standard Bible

the fourteenth to Mattithiah, his sons, and his brothers—12 in all;

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American Standard Version

for the fourteenth, Mattithiah, his sons and his brethren, twelve:

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World English Bible Messianic

for the fourteenth, Mattithiah, his sons and his brothers, twelve:

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Geneva Bible (1599)

The fourtenth, to Mattithiah, he, his sonnes and his brethren twelue.

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Young's Literal Translation

at the fourteenth to Mattithiah, his sons and his brethren, twelve;

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In the KJVVerse 11,068 of 31,102

Study This Verse

SUMMARY

1 Chronicles 25:21 meticulously records the organization of the Levitical musicians for temple service under King David's reign, specifically detailing the fourteenth division. This verse identifies Mattithiah as the leader of this group, specifying that his division, comprising himself, his sons, and his brethren, totaled twelve individuals. This precise enumeration underscores the highly structured, orderly, and comprehensive nature of the worship system established by David, designed to ensure continuous and dedicated musical service in the future house of the Lord.

CONTEXT

Literary Context: 1 Chronicles 25 is situated within a broader section of Chronicles (Chapters 23-27) that elaborates on King David's extensive administrative and organizational preparations for the future Temple, which his son Solomon would ultimately construct. Following the detailed division of the priests into twenty-four courses in 1 Chronicles 24, Chapter 25 shifts focus to the equally meticulous organization of the Levitical musicians. This chapter systematically lists twenty-four divisions of musicians, each headed by a chief and consistently comprising twelve members. Their sacred duty was to "prophesy with harps, with psalteries, and with cymbals" (1 Chronicles 25:1), indicating an inspired, spiritual dimension to their musical service. The repetitive structure used for each division—naming the leader, specifying the composition ("he, his sons, and his brethren"), and stating the total number ("twelve")—emphatically highlights the thoroughness, orderliness, and foresight of David's planning, ensuring a robust and continuous system of worship for generations to come.
Historical & Cultural Context: The setting for this detailed organizational effort is the reign of King David, a transformative period in Israelite history marked by the consolidation of the kingdom and the establishment of Jerusalem as its spiritual and political nexus. Although the permanent Temple had not yet been built, David, renowned as a "man after God's own heart" and a gifted psalmist, demonstrated profound commitment to preparing for its worship infrastructure. The Levites, as a tribe consecrated for sacred service, had specific duties outlined in the Mosaic Law, which David now expanded and meticulously organized to meet the complex needs of a centralized sanctuary. Music held immense significance in ancient Near Eastern worship, often perceived as a potent means of communicating with the divine, expressing praise, lament, and even prophecy. David's personal devotion and musical prowess profoundly influenced the prominent and formalized role given to music in the Temple service. The use of "lots" to determine the order of service (1 Chronicles 25:8) was a common, divinely sanctioned practice in ancient Israel, signifying impartiality and God's sovereign appointment.
Key Themes: The meticulous detail presented in 1 Chronicles 25, including the specific mention of Mattithiah's division, illuminates several enduring theological and narrative themes. A paramount theme is Order and Organization in Worship. David's elaborate system reflects a profound understanding that God, being a God of order rather than confusion, is honored by structured, intentional, and excellent service. This comprehensive organization ensured that worship would be continuous, well-executed, and accessible, providing a foundational framework for future generations of worshippers. Another prominent theme is Dedicated and Consecrated Service. The Levites, including Mattithiah and his family, were set apart for sacred duties, embodying the biblical principle of wholehearted devotion to God's work, a concept echoed throughout Scripture, particularly in passages concerning the Levites' role (e.g., Numbers 3:6-9). Furthermore, the inclusion of "his sons, and his brethren" underscores Generational Faithfulness and Corporate Responsibility. Faith and sacred service were often passed down through families, ensuring continuity and reinforcing a spiritual legacy within the community of God's people. Finally, the extensive organization of musicians powerfully demonstrates The Centrality of Music in Worship. Music was not merely an accompaniment but an integral and inspired part of Israelite worship, serving as a medium for praise, prophecy, and intimate communion with God, a practice whose profound importance is affirmed in exhortations like Psalm 150:6.

EXPOSITION AND ANALYSIS

Key Word Analysis

Mattithiah (Hebrew, Mattithyâh', H4993): This personal name, derived from two Hebrew words, literally means "Gift of Yahweh" or "Gift of the Lord." For a leader of a division consecrated to the sacred musical worship of the Temple, this name is profoundly fitting and symbolic. It suggests that Mattithiah's very existence, his anointing, and his dedicated service were perceived as a divine endowment, a gracious gift from God Himself, given to facilitate and elevate the sacred worship of His people. The name thus functions as a subtle yet powerful theological statement about the divine source and ultimate purpose of all service rendered in God's house.
Brethren (Hebrew, ʼâch', H251): While the root word ʼâch (H251) primarily denotes an immediate brother, in this specific context, especially within the intricate Levitical tribal and familial structures, the plural form ʾeḥāyw (his brethren) encompasses a broader range of relationships. It refers to members of the same extended family, clan, or even fellow Levites from the same lineage or professional group who shared a common ancestry and calling. This usage powerfully highlights the communal and familial nature of the Temple service, where sacred duties were often shared, passed down, and performed collectively within specific Levitical families, reinforcing a profound sense of corporate identity, shared responsibility, and continuity in the sacred work of worship.
Twelve (Hebrew, shᵉnayim', H8147): The number "twelve" in the KJV text is a compound of two Hebrew words: shᵉnayim (H8147, meaning "two") and ʻâsâr (H6240, meaning "ten"). The number twelve holds profound symbolic significance in biblical numerology, frequently representing completeness, governmental perfection, or divine order. Its recurring appearance in contexts related to Israel (e.g., the twelve tribes) and later in the New Testament (e.g., the twelve apostles) underscores its theological weight. Here, it signifies the standardized, complete, and divinely ordered size of each division of musicians. This consistent uniformity across all twenty-four divisions ensured a robust and sufficient workforce for continuous, round-the-clock worship, reflecting the meticulous planning and the divine order intended for the Temple service.

Verse Breakdown

"The fourteenth to Mattithiah": This opening phrase precisely situates Mattithiah's division within the meticulously ordered sequence of the twenty-four courses of musicians established by King David. The explicit mention of "the fourteenth" underscores the systematic and comprehensive nature of David's organizational efforts, where each group had its designated place, specific leader, and turn of service. This careful arrangement ensured continuity, prevented chaos, and guaranteed the smooth operation of the temple's elaborate musical liturgy, reflecting a commitment to divine order in worship.
"[he], his sons, and his brethren": This clause provides a detailed breakdown of the composition of Mattithiah's specific division, highlighting the profoundly familial and communal aspect of the sacred service. "He" refers to Mattithiah himself, serving as the designated head or chief of this course. "His sons" indicates the direct generational continuity and the practice of training and involving one's direct descendants in the sacred duties, ensuring the perpetuation of the musical tradition. "His brethren" extends this composition to include other kinsmen or fellow Levites within his broader clan or professional group. This collective description emphasizes that the Temple service was not merely an individual undertaking but a corporate endeavor, drawing upon the collective talents, dedication, and shared heritage of the Levitical lineage.
"[were] twelve": This concluding phrase specifies the total number of individuals comprising Mattithiah's division. The consistent number of twelve across all twenty-four divisions (as implied by the chapter's overall structure) serves to underscore the foundational principles of order, uniformity, and completeness that characterized David's preparations for the Temple. This precise standardization ensured that each rotating course had a full and adequate complement of skilled musicians ready for their sacred duties, reflecting a deep-seated commitment to excellence, thoroughness, and divine harmony in all aspects of worship.

Literary Devices

The primary literary devices powerfully at play in 1 Chronicles 25:21 and the surrounding chapter are Enumeration and Repetition. The text systematically lists each of the twenty-four divisions of musicians, providing a detailed account of their leaders, their composition, and their assigned number. This extensive Enumeration serves to emphasize the sheer scale, meticulousness, and comprehensive nature of King David's organizational efforts, portraying a divinely inspired blueprint for worship. Furthermore, the consistent phrase structure—"The [Xth] to [Leader], [he], his sons, and his brethren, [were] twelve"—is a clear and deliberate example of Repetition. This stylistic choice not only aids in the clear and unambiguous presentation of complex information but also powerfully reinforces the overarching themes of Order, Uniformity, and Completeness. The repeated pattern highlights the deliberate, structured, and divinely ordained nature of the Temple service, underscoring that every aspect was carefully planned and executed according to a precise blueprint, reflecting God's character of precision, harmony, and perfect design.

THEOLOGICAL AND THEMATIC CONNECTIONS

The meticulous organization of the Levitical musicians, as profoundly exemplified by Mattithiah's division, unveils significant theological truths about the very nature of worship and dedicated service to God. It unequivocally underscores that true worship is never chaotic or haphazard but is characterized by profound order, intentionality, excellence, and a deep reverence for God's holy character. David's prophetic foresight in establishing these structured courses demonstrates a profound commitment to facilitating continuous, excellent, and Spirit-inspired praise, recognizing music as a powerful conduit for spiritual expression and divine encounter. This intricate detail also emphasizes the concept of dedicated, consecrated service, where individuals and families were divinely set apart for specific, vital roles in God's house, highlighting the immense value God places on faithful stewardship of spiritual gifts and divine callings. The inclusion of "sons and brethren" further speaks to the enduring importance of generational faithfulness and the inherently communal nature of worship, where the entire community participates corporately in upholding God's glory and perpetuating His praise.

REFLECTION AND APPLICATION

The detailed account of Mattithiah's division in 1 Chronicles 25:21, though seemingly a mundane organizational record, offers timeless and profound principles for contemporary believers. It challenges us to critically examine the intentionality, excellence, and reverence we bring to our own worship and service, whether as individuals in our private devotion or corporately within our faith communities. Just as King David meticulously planned for the Temple's operations, we are called to be faithful stewards of our God-given gifts, time, and resources, bringing order, purpose, and diligence to our spiritual disciplines and communal gatherings. The emphasis on "his sons, and his brethren" powerfully encourages us to foster generational faithfulness within our families and faith communities, actively mentoring, discipling, and involving younger generations in the vital work of the Kingdom. Furthermore, recognizing the profound centrality of music in ancient worship prompts us to value, cultivate, and utilize all forms of artistic expression in glorifying God, understanding that every gift, when consecrated, can become a powerful instrument for His praise and the edification of His people.

Questions for Reflection

How does intentionality and a spirit of excellence enhance our worship and service today, both in our personal walk with God and in our corporate gatherings?
In what specific ways can we identify, develop, and utilize our unique spiritual gifts and talents, much like Mattithiah's musical gift, for God's glory within our local churches and communities?
What practical steps can we take to actively mentor, disciple, and involve younger generations in faith and service, ensuring a lasting legacy of dedication to God's work?
What is the profound significance of communal worship in our lives, and how can we participate more fully and meaningfully in fostering an environment of heartfelt praise, spiritual growth, and unity within the body of Christ?

FAQ

Why is such a specific detail about a particular division of musicians recorded in the Bible?

Answer: This seemingly minor detail is recorded for several significant reasons, revealing God's character and David's devotion. Firstly, it underscores God's desire for order, excellence, and beauty in worship. The meticulous organization reflects His character as a God of precision, not chaos, and emphasizes that worship should be intentional and well-prepared. Secondly, it highlights King David's profound commitment to establishing a comprehensive and enduring system of worship for the future Temple, demonstrating his exemplary leadership, foresight, and deep devotion to God. Thirdly, it emphasizes the importance of every individual and group in the larger tapestry of God's service, showing that even seemingly small or specialized roles contribute significantly to the grand divine design. Finally, it serves as a reliable historical record, affirming the meticulous nature of biblical accounts and the tangible reality of the extensive preparations made for the Temple, which was central to Israelite life.

What was the significance of music in ancient Israelite worship, beyond mere entertainment?

Answer: In ancient Israel, music was far more than mere entertainment; it was a vital, integral, and divinely inspired component of worship, serving multiple profound spiritual functions. As explicitly stated in 1 Chronicles 25:1, musicians were said to "prophesy with harps, with psalteries, and with cymbals," indicating a spiritual, inspired, and even revelatory dimension to their art. Music was a powerful medium for expressing heartfelt praise, lament, intercession, and thanksgiving to God. It facilitated a deeper connection with the divine, prepared the hearts of worshippers for spiritual encounter, and often accompanied prophetic utterances and divine manifestations. The sheer scale and meticulous organization of the musical corps in David's time powerfully demonstrates its central and consecrated role in the liturgical life of the nation, viewed as a sacred offering and a means of communion with the Lord.

How does this Old Testament organization of worship relate to the New Testament church?

Answer: While the specific forms, rituals, and physical structures of worship have been transformed and fulfilled with the coming of Christ, the underlying principles of orderly worship, dedicated service, and the Spirit-empowered use of diverse gifts remain profoundly relevant and foundational for the New Testament church. Just as Mattithiah's division served a specific, vital function within the Temple, the Apostle Paul teaches that the church is the body of Christ, composed of many members, each uniquely gifted by the Holy Spirit for the common good and the edification of the entire body (1 Corinthians 12:4-7). The emphasis on order and decency in the Old Testament temple finds its New Testament parallel in explicit instructions for orderly corporate worship, ensuring that "all things be done decently and in order" (1 Corinthians 14:40). Ultimately, both Testaments affirm that God desires intentional, heartfelt, excellent, and well-ordered worship from His redeemed people, offered in spirit and truth.

CHRIST-CENTERED FULFILLMENT

The meticulous organization of the Levitical musicians, including Mattithiah's division, finds its ultimate fulfillment and deeper theological meaning in the person and work of Jesus Christ. The Old Testament Temple, with its elaborate system of worship, its priests, and its musical divisions, served as a profound shadow, pointing forward to the greater spiritual reality found in Christ. He is not merely a leader of worship but the true and perfect High Priest, the one through whom all acceptable worship is offered to God the Father in the heavenly sanctuary (Hebrews 8:1-2). The very name "Mattithiah," meaning "Gift of Yahweh," beautifully foreshadows Christ Himself, who is God's ultimate, most precious, and incomparable gift to humanity, given out of boundless love for our salvation and reconciliation (John 3:16). The order, dedication, and comprehensive planning seen in David's preparations for the earthly Temple illuminate the perfect, spiritual worship that Christ enables and embodies. Through His finished work on the cross, believers are now made part of a new, living, and spiritual temple—the Church—where worship is offered "in spirit and truth," no longer confined to a physical structure or limited to a specific tribe or lineage (John 4:23-24). Christ, as the Head of His Church, orchestrates the diverse spiritual gifts of His people, empowering them to serve and worship Him in unity and divine order, just as the various divisions served in the Old Testament, but now with a perfect High Priest, a heavenly sanctuary, and the indwelling Spirit (Ephesians 4:11-13). The music and praise of the Old Covenant find their glorious crescendo in the new song of redemption, sung by those who have been redeemed by the Lamb's precious blood, proclaiming His worthiness for all eternity (Revelation 5:9-10).

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Commentary on 1 Chronicles 25 verses 8–31

8 ¶ And they cast lots, ward against ward, as well the small as the great, the teacher as the scholar.

9 Now the first lot came forth for Asaph to Joseph: the second to Gedaliah, who with his brethren and sons were twelve:

10 The third to Zaccur, he, his sons, and his brethren, were twelve:

11 The fourth to Izri, he, his sons, and his brethren, were twelve:

12 The fifth to Nethaniah, he, his sons, and his brethren, were twelve:

13 The sixth to Bukkiah, he, his sons, and his brethren, were twelve:

14 The seventh to Jesharelah, he, his sons, and his brethren, were twelve:

15 The eighth to Jeshaiah, he, his sons, and his brethren, were twelve:

16 The ninth to Mattaniah, he, his sons, and his brethren, were twelve:

17 The tenth to Shimei, he, his sons, and his brethren, were twelve:

18 The eleventh to Azareel, he, his sons, and his brethren, were twelve:

19 The twelfth to Hashabiah, he, his sons, and his brethren, were twelve:

20 The thirteenth to Shubael, he, his sons, and his brethren, were twelve:

21 The fourteenth to Mattithiah, he, his sons, and his brethren, were twelve:

22 The fifteenth to Jeremoth, he, his sons, and his brethren, were twelve:

23 The sixteenth to Hananiah, he, his sons, and his brethren, were twelve:

24 The seventeenth to Joshbekashah, he, his sons, and his brethren, were twelve:

25 The eighteenth to Hanani, he, his sons, and his brethren, were twelve:

26 The nineteenth to Mallothi, he, his sons, and his brethren, were twelve:

27 The twentieth to Eliathah, he, his sons, and his brethren, were twelve:

28 The one and twentieth to Hothir, he, his sons, and his brethren, were twelve:

29 The two and twentieth to Giddalti, he, his sons, and his brethren, were twelve:

30 The three and twentieth to Mahazioth, he, his sons, and his brethren, were twelve:

31 The four and twentieth to Romamtiezer, he, his sons, and his brethren, were twelve.

Twenty-four persons are named in the beginning of this chapter as sons of those three great men, Asaph, Heman, and Jeduthun. Ethan was the third (Ch1 6:44), but probably he was dead before the establishment was perfected and Jeduthun came in his room. [Or perhaps Ethan and Jeduthun were two names for the same person.] Of these three Providence so ordered it that Asaph had four sons, Jeduthun six [only five are mentioned Ch1 25:3; Shimei, mentioned Ch1 25:17, is supposed to have been the sixth], and Heman fourteen, in all twenty-four (who were named, Ch1 25:2-4), who were all qualified for the service and called to it. But the question was, In what order must they serve? This was determined by lot, to prevent strife for precedency, a sin which most easily besets many that otherwise are good people.

I. The lot was thrown impartially. They were placed in twenty-four companies, twelve in a company, in two rows, twelve companies in a row, and so they cast lots, ward against ward, putting them all upon a level, small and great, teacher and scholar. They did not go according to their age, or according to their standing, or the degrees they had taken in the music-schools; but it was referred to God, Ch1 25:8. Small and great, teachers and scholars, stand alike before God, who goes not according to our rules of distinction and precedency. See Mat 20:23.

II. God determined it as he pleased, taking account, it is probable, of the respective merits of the persons, which are of much more importance than seniority of age or priority of birth. Let us compare them with the preceding catalogue and we shall find that, 1. Josephus was the second son of Asaph. 2. Gedaliah the eldest son of Jeduthun. 3. Zaccur the eldest of Asaph. 4. Izri the second of Jeduthun. 5. Nethaniah the third of Asaph. 6. Bukkiah the eldest of Heman. 7. Jesharelah the youngest of Asaph. 8. Jeshaiah the third of Jeduthun. 9. Mattaniah the second of Heman. 10. Shimei the youngest of Jeduthun. 11. Azareel the third of Heman. 12. Hashabiah the fourth of Jeduthun. 13. Shubael the fourth of Heman. 14. Mattithiah the fifth of Jeduthun. 15. Jeremoth the fifth of Heman. 16. Hananiah the sixth of Heman. 17. Joshbekashah the eleventh of Heman. 18. Hanani the seventh of Heman. 19. Mallothi the twelfth of Heman. 20. Eliathah the eighth of Heman. 21. Hothir the thirteenth of Heman. 22. Giddalti the ninth of Heman. 23. Mehazioth the fourteenth of Heman. And, lastly, Romamti-ezer, the tenth of Heman. See how God increased some and preferred the younger before the elder.

III. Each of these had in his chorus the number of twelve, called their sons and their brethren, because they observed them as sons, and concurred with them as brethren. Probably twelve, some for the voice and others for the instrument, made up the concert. Let us learn with one mind and one mouth to glorify God, and that will be the best concert.

Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers verses 8–31. Public domain.

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Source: Quotations drawn from early Church Fathers and historical Christian theologians (AD 100–1500). Some quotes address the surrounding passage context rather than this verse alone.

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