TRV
Translation
King James Version
Praise him with the timbrel and dance: praise him with stringed instruments and organs.
Complete Jewish Bible
Praise him with tambourines and dancing! Praise him with flutes and strings!
Berean Standard Bible
Praise Him with tambourine and dancing; praise Him with strings and flute.
American Standard Version
Praise him with timbrel and dance: Praise him with stringed instruments and pipe.
World English Bible Messianic
Praise him with tambourine and dancing! Praise him with stringed instruments and flute!
Geneva Bible (1599)
Prayse ye him with timbrell and flute: praise ye him with virginales and organs.
Young's Literal Translation
Praise Him with timbrel and dance, Praise Him with stringed instruments and organ.
In the KJVVerse 16,399 of 31,102
Study This Verse
Commentary on Psalms 150 verses 1–6
1 ¶ Praise ye the LORD. Praise God in his sanctuary: praise him in the firmament of his power.
2 Praise him for his mighty acts: praise him according to his excellent greatness.
3 Praise him with the sound of the trumpet: praise him with the psaltery and harp.
4 Praise him with the timbrel and dance: praise him with stringed instruments and organs.
5 Praise him upon the loud cymbals: praise him upon the high sounding cymbals.
6 Let every thing that hath breath praise the LORD. Praise ye the LORD.
We are here, with the greatest earnestness imaginable, excited to praise God; if, as some suppose, this psalm was primarily intended for the Levites, to stir them up to do their office in the house of the Lord, as singers and players on instruments, yet we must take it as speaking to us, who are made to our God spiritual priests. And the repeated inculcating of the call thus intimates that it is a great and necessary duty, a duty which we should be much employed and much enlarged in, but which we are naturally backward to and cold in, and therefore need to be brought to, and held to, by precept upon precept, and line upon line. Observe here,
I. Whence this tribute of praise arises, and out of what part of his dominion it especially issues. It comes, 1. From his sanctuary; praise him there. Let his priests, let his people, that attend there, attend him with their praises. Where should he be praised, but there where he does, in a special manner, both manifest his glory and communicate his grace? Praise God upon the account of his sanctuary, and the privileges which we enjoy by having that among us, Eze 37:26. Praise God in his holy ones (so some read it); we must take notice of the image of God as it appears on those that are sanctified, and love them for the sake of that image; and when we praise them we must praise God in them. 2. From the firmament of his power. Praise him because of his power and glory which appear in the firmament, its vastness, its brightness, and its splendid furniture; and because of the powerful influences it has upon this earth. Let those that have their dwelling in the firmament of his power, even the holy angels, lead in this good work. Some, by the sanctuary, as well as by the firmament of his power, understand the highest heavens, the residence of his glory; that is indeed his sanctuary, his holy temple, and there he is praised continually, in a far better manner than we can praise him. And it is a comfort to us, when we find we do it so poorly, that it is so well done there.
II. Upon what account this tribute of praise is due, upon many accounts, particularly, 1. The works of his power (Psa 150:2): Praise him for his mighty acts; for his mightinesses (so the word is), for all the instances of his might, the power of his providence, the power of his grace, what he has done in the creation, government, and redemption of the world, for the children of men in general, for his own church and children in particular. 2. The glory and majesty of his being: Praise him according to his excellent greatness, according to the multitude of his magnificence (so Dr. Hammond reads it); not that our praises can bear any proportion to God's greatness, for it is infinite, but, since he is greater than we can express or conceive, we must raise our conceptions and expressions to the highest degree we can attain to. Be not afraid of saying too much in the praises of God, as we often do in praising even great and good men. Deus non patitur hyperbolum - We cannot speak hyperbolically of God; all the danger is of saying too little and therefore, when we have done our utmost, we must own that though we have praised him in consideration of, yet not in proportion to, his excellent greatness.
III. In what manner this tribute must be paid, with all the kinds of musical instruments that were then used in the temple-service, Psa 150:3-5. It is well that we are not concerned to enquire what sort of instruments these were; it is enough that they were well known then. Our concern is to know, 1. That hereby is intimated how full the psalmist's heart was of the praises of God and how desirous he was that this good work might go on. 2. That in serving God we should spare no cost nor pains. 3. That the best music in God's ears is devout and pious affections, non musica chordula, sed cor - not a melodious string, but a melodious heart. Praise God with a strong faith; praise him with holy love and delight; praise him with an entire confidence in Christ; praise him with a believing triumph over the powers of darkness; praise him with an earnest desire towards him and a full satisfaction in him; praise him by a universal respect to all his commands; praise him by a cheerful submission to all his disposals; praise him by rejoicing in his love and solacing yourselves in his great goodness; praise him by promoting the interests of the kingdom of his grace; praise him by a lively hope and expectation of the kingdom of his glory. 4. That, various instruments being used in praising God, it should yet be done with an exact and perfect harmony; they must not hinder, but help one another. The New Testament concert, instead of this, is with one mind and one mouth to glorify God, Rom 15:6.
IV. Who must pay this tribute (Psa 150:6): Let every thing that has breath praise the Lord. He began with a call to those that had a place in his sanctuary and were employed in the temple-service; but he concludes with a call to all the children of men, in prospect of the time when the Gentiles should be taken into the church, and in every place, as acceptably as at Jerusalem, this incense should be offered, Mal 1:11. Some think that in every thing that has breath here we must include the inferior creatures (as Gen 7:22), all in whose nostrils was the breath of life. They praise God according to their capacity. The singing of birds is a sort of praising God. The brutes do in effect say to man, "We would praise God if we could; do you do it for us." John in vision heard a song of praise from every creature which is in heaven, and on the earth, and under the earth, Rev 5:13. Others think that only the children of men are meant; for into them God has in a more peculiar manner breathed the breath of life, and they have become living souls, Gen 2:7. Now that the gospel is ordered to be preached to every creature, to every human creature, it is required that every human creature praise the Lord. What have we our breath, our spirit, for, but to spend it in praising God; and how can we spend it better? Prayers are called our breathings, Lam 3:56. Let every one that breathes towards God in prayer, finding the benefit of that, breathe forth his praises too. Having breath, let the praises of God perfume our breath; let us be in this work as in our element; let it be to us as the air we breathe in, which we could not live without. Having our breath in our nostrils, let us consider that it is still going forth, and will shortly go and not return. Since therefore we must shortly breathe our last, while we have breath let us praise the Lord, and then we shall breathe our last with comfort, and, when death runs us out of breath, we shall remove to a better state to breathe God's praises in a freer better air.
The first three of the five books of psalms (according to the Hebrew division) concluded with Amen and Amen, the fourth with Amen, Hallelujah, but the last, and in it the whole book, concludes with only Hallelujah, because the last six psalms are wholly taken up in praising God and there is not a word of complaint or petition in them. The nearer good Christians come to their end the fuller they should be of the praises of God. Some think that this last psalm is designed to represent to us the work of glorified saints in heaven, who are there continually praising God, and that the musical instruments here said to be used are no more to be understood literally than the gold, and pearls, and precious stones, which are said to adorn the New Jerusalem, Rev 21:18, Rev 21:19. But, as those intimate that the glories of heaven are the most excellent glories, so these intimate that the praises the saints offer there are the most excellent praises. Prayers will there be swallowed up in everlasting praises; there will be no intermission in praising God, and yet no weariness - hallelujahs for ever repeated, and yet still new songs. Let us often take a pleasure in thinking what glorified saints are doing in heaven, what those are doing whom we have been acquainted with on earth, but who have gone before us thither; and let it not only make us long to be among them, but quicken us to do this part of the will of God on earth as those do it that are in heaven. And let us spend as much of our time as may be in this good work because in it we hope to spend a joyful eternity. Hallelujah is the word there (Rev 19:1, Rev 19:3); let us echo to it now, as those that hope to join in it shortly. Hallelujah, praise you the Lord.
Matthew Henry (1662–1714) — Commentary on the Whole Bible. This section covers verses 1–6. Public domain.
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Origen of AlexandriaAD 253
COMMENTARY ON THE PSALMS 150:3-5
The timbrel represents the death of fleshly desire because of honesty itself. Dancing is the agreement of reasonable spirits all saying the same thing and in which there are no divisions. The stringed instruments suggest the unison of the voices of moral excellence and the unity of the organ which is the church of God resting on reflective and active minds.
Augustine of HippoAD 430
Exposition on Psalm 150
"Praise Him in the timbrel and choir" [Psalm 150:4]. The "timbrel" praises God when the flesh is now changed, so that there is in it no weakness of earthly corruption. For the timbrel is made of leather dried and strengthened. The "choir" praises God when society made peaceful praises Him. "Praise Him on the strings and organ." Both psaltery and harp, which have been mentioned above, have strings. But "organ" is a general name for all instruments of music, although usage has now obtained that those are specially called organ which are inflated with bellows: but I do not think that this kind is meant here. For since organ is a Greek word, applied generally, as I have said, to all musical instruments, this instrument, to which bellows are applied, is called by the Greeks by another name: but it being called organ is rather a Latin and conversational usage. When then he says, "on the strings and organ," he seems to me to have intended to signify some instrument which has strings. For it is not psalteries and harps only that have strings: but, because in the psaltery, and harp, on account of the sound from things below and things above, somewhat has been found which can be understood after this distinction, he has suggested to us to seek some other meaning in the strings themselves: for they too are flesh, but flesh now set free from corruption. And to those, it may be, he added the organ, to signify that they sound not each separately, but sound together in most harmonious diversity, just as they are arranged in a musical instrument. For even then the saints of God will have their differences, accordant, not discordant, that is, agreeing, not disagreeing, just as sweetest harmony arises from sounds differing indeed, but not opposed to one another.
Arnobius the YoungerAD 460
SELECTIONS FROM THE PSALMS 150
Let us praise him on the psaltery and on the harp, supposing that on the harp we may embrace the wood of the cross and on the psaltery we may maintain the universal confession. The sound is harsh because the confession is not held in unity. Let us praise on timbrel and with dance, when we, firmly set upon a restored way of life, adorn the timbrel of our body with the models of best behavior. Let us praise him on stringed instruments and on the organ as we play the fresh strings that are on our harp, let us also, as with the narrow needs of modesty make melodious sounds to God, cleansing ourselves from all the blight of sin.
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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SUMMARY
Psalms 150:4 issues a vibrant and comprehensive call to worship, urging the use of diverse musical instruments and physical expressions to praise God. This verse, embedded within the climactic final psalm of the Psalter, emphasizes a holistic, enthusiastic, and instrument-rich adoration of the Divine, inviting all of creation to participate in a resounding symphony of praise that engages every faculty and available means.
CONTEXT
Literary Context: Psalms 150 stands as the magnificent doxological conclusion to the entire book of Psalms, serving as a grand finale that encapsulates and culminates all previous calls to praise. It is the fifth and final psalm in the "Hallelujah Psalms" (Psalms 146-150), each of which begins and ends with the emphatic declaration "Praise the LORD!" (Hallelujah). The entire chapter is a passionate, six-fold command to praise God, specifying various instruments and actions, creating a crescendo of adoration that builds from praising God in His sanctuary and for His mighty deeds in Psalms 150:1-2 to an all-encompassing call for everything that has breath to praise the LORD in Psalms 150:6. Verse 4, specifically, details a range of instruments—from percussion to strings and wind instruments—and the dynamic act of dance, broadening the scope of acceptable and encouraged worship expressions and contributing to the psalm's overall theme of universal and unreserved praise.
Historical & Cultural Context: Ancient Israelite worship was rich with music, dance, and communal celebration, reflecting the vibrant cultural norms of the ancient Near East. Instruments like the timbrel (a tambourine-like drum) were common in joyful processions and festivities, often played by women, as seen with Miriam leading the women in dance after the Red Sea crossing. Dance, particularly circular or processional forms, was a vital expression of communal joy, thanksgiving, and worship, exemplified by King David dancing with all his might before the LORD. Stringed instruments, such as lyres and harps, were integral to temple worship and prophetic settings, providing melodic accompaniment. The "organ" (Hebrew ûgâb) in this context refers not to the modern pipe organ but to a reed pipe or flute, representing the wind instrument family. This verse reflects the vibrant, multi-sensory nature of ancient Near Eastern worship, where physical and auditory expressions were integral to religious devotion, emphasizing that praise was not merely an internal sentiment but a public, embodied act.
Key Themes: Psalms 150:4 powerfully contributes to several overarching themes within the Psalter and broader biblical narrative. Firstly, it underscores the theme of Holistic Praise, advocating for worship that engages the entire being—body, soul, and spirit—through physical movement (dance) and diverse musical expressions. This aligns with the biblical understanding that all aspects of creation and human faculties can and should be employed to glorify God, as seen in calls to sing to the LORD a new song. Secondly, it highlights Diversity in Worship, demonstrating God's delight in a wide array of worship forms. By listing various instruments—from percussion (timbrel) to strings and wind instruments (organs)—the psalm illustrates that different expressions of joy and reverence are welcome in His presence, reflecting the boundless creativity of God Himself. Lastly, the verse emphasizes Joyful Adoration. The instruments and the act of dance are intrinsically linked with celebration, festivity, and unbridled joy, reinforcing the idea that praise should be a heartfelt, enthusiastic, and exultant response to God's magnificent character and mighty deeds, resonating with the repeated exhortation to make a joyful noise to the LORD.
EXPOSITION AND ANALYSIS
Key Word Analysis
Verse Breakdown
Literary Devices
Psalms 150:4 employs several potent literary devices to convey its message of comprehensive praise. The most prominent is Enumeration, as the verse lists specific instruments and actions (timbrel, dance, stringed instruments, organs). This detailed listing creates a vivid auditory and visual image of a full orchestra and a lively congregation, emphasizing the breadth and variety of acceptable worship. The use of Repetition ("Praise him... praise him...") acts as an Anaphora within the psalm, reinforcing the central command and creating a rhythmic, insistent call to worship that builds momentum. Furthermore, the combination of percussive, melodic, and wind instruments, alongside physical movement, creates a sense of Synesthesia, where the call to praise appeals to multiple senses, inviting a full-bodied, multi-sensory engagement with God. The verse's vibrant imagery also lends itself to Metonymy, where the instruments stand in for the act of worship itself, symbolizing the diverse means through which God can be glorified and the comprehensive nature of the praise offered.
THEOLOGICAL AND THEMATIC CONNECTIONS
Psalms 150:4, nestled within the climactic final psalm, encapsulates a profound theological truth: God delights in comprehensive, unreserved, and joyful praise from all of creation. This verse underscores that worship is not limited to a single form or solemnity but embraces the full spectrum of human expression—physical, vocal, and instrumental—reflecting the boundless nature of God's glory and the multifaceted ways in which His people can respond to His majesty. It invites believers to bring their whole selves and all available means to the act of adoration, recognizing that every gift and talent can be consecrated for His glory, contributing to a symphony of praise that resonates with the very heart of God.
REFLECTION AND APPLICATION
Psalms 150:4 serves as a powerful reminder that our worship of God should be holistic, uninhibited, and joyful. It challenges us to move beyond rigid conceptions of praise and embrace the full spectrum of expressions that honor God. This verse encourages us to consider how we might bring our entire being—our bodies, our creativity, our energy, and our joy—into our acts of worship, whether individually or corporately. It calls us to utilize the diverse gifts and resources available to us, recognizing that God delights in both the simple and the complex, the spontaneous and the structured, the physical and the vocal. Our praise should be a vibrant, authentic, and enthusiastic response to God's immeasurable greatness, reflecting the boundless nature of His love and power, and inspiring others to join in this universal chorus of adoration, ensuring that our worship is a true reflection of the God we serve.
Questions for Reflection
FAQ
Does "organ" in Psalms 150:4 refer to the large pipe organs found in churches today?
Answer: No, the "organ" (Hebrew ûgâb) mentioned in Psalms 150:4 does not refer to the large, complex pipe organs common in modern churches. In ancient Israelite context, ûgâb referred to a simpler wind instrument, likely a reed pipe or a flute. It was a common instrument in the ancient Near East and represented the wind instrument family within the broader ensemble of musical instruments used for worship and celebration. This distinction highlights the continuity of using diverse instruments for worship throughout history, even as the specific forms of those instruments evolve over time, always contributing to the joyful noise made to the Lord.
CHRIST-CENTERED FULFILLMENT
While Psalms 150:4 is a direct call to praise God with instruments and dance in the Old Testament context, its ultimate fulfillment and deepest meaning are found in Christ. Jesus, as the perfect worshipper, embodies the complete and unreserved praise called for in this psalm. His entire life, from His incarnation to His crucifixion and resurrection, was an act of perfect obedience and glorification of the Father, a living symphony of praise that transcends any instrumental or physical expression. Furthermore, through His atoning work, Christ enables a new and living way for humanity to offer true praise. We, as believers, are now invited into a spiritual worship that is not merely external but flows from a transformed heart, empowered by the Holy Spirit. Our praise, whether expressed through song, dance, instruments, or even the quiet devotion of our lives, becomes acceptable to God through Christ, who is our great High Priest, presenting our offerings to the Father (Hebrews 13:15). Thus, the vibrant call of Psalms 150:4 finds its ultimate resonance in the joyous, Spirit-filled worship of the redeemed, who praise Him not only with timbrel and dance but with lives consecrated to the Lamb of God who reigns forevermore (Revelation 5:9-14).