26th Psalm-Roar at Providence Church
We are having our 26th Psalm-Roar at Providence celebrating the end of Easter tide on June 3rd. If you live near Escambia County, we welcome you to join us.
Below are all the psalms we will be singing with the audio and music attached. In some cases, there is a youtube version of each hymn and in others, the audio link is attached.
The first five psalms are contemporary tunes from Nathan Clark and Greg Wilbur. The latter six are classic tunes from The Book of Psalms for Singing.
26th Psalm-Roar of Providence Church, Easter-tide 2022
Psalm 4, Answer Father, When I Call
Psalm 6, Gently, Gently, Lay Your Rod
Psalm 14, The God Who Sits Enthroned On High (AUDIO LINK)
Psalm 32, Blest is the Man
Psalm 68, Let God Arise in All His Might
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Psalm 23, The Lord Is My Shepherd (Crimond)
Psalm 40:1-12, I Waited for the LORD (Audio Link)
Psalm 98, O Sing a New Song to the Lord
Psalm 128, Blessed the Man That Fears Jehovah (Audio Link)
Psalm 148, From Heav’n O Praise the Lord
“John Calvin called the Book of Psalms ‘an anatomy of all parts of the soul.’ All the range of emotions are expressed; the Psalms weave an emotional fabric for the human soul. These inspired lyrics take us by the hand and train us in proper emotion. They lead us to emotional maturity.” – Kevin Swanson
“…we at the same time infer, that the custom of singing was, even at that time, in use among believers, as appears, also, from Pliny, who, writing at least forty years, or thereabouts, after the death of Paul, mentions, that the Christians were accustomed to sing Psalms to Christ before day-break. I have also no doubt, that, from the very first, they followed the custom of the Jewish Church in singing Psalms.” – John Calvin
The Covenantal Structure of Psalm 85
The Bible is a covenantal book. There are several features to a biblical covenant. Among them is a preamble, “I am the Lord your God,” where the king expresses his great power. Then, there is a historical prologue, where the King tells the world what he did and what he controls:[1] “Who brought you out of the land of Egypt, out of the house of bondage.” And then, a covenant has blessings and curses; also known as covenantal stipulations.
An example of this is found in Deuteronomy 29-30 where Moses is preparing to send the Israelites into the Promised Land with Joshua. In chapter 29, he warns them that if they betray the Covenant, they will suffer God’s curses/judgment. But in chapter 30, Moses says that when you obey him with all your heart, “he will restore your fortunes and God will have compassion on you.”
Now, there are some other elements to a covenant, but you have just received an introduction to covenant theology: preamble, control, and stipulations. That pattern shows up all over the place. It’s certainly present in Psalm 85.
For roughly seven centuries, Israel had to go through that lesson again and again. Israel rebelled against God, suffered covenant curses, and then repented and received God’s blessings through revival and prosperity in the land.[2]
In the ancient world, the image is given of a vineyard whose grapes grow so juicy and sweet that it bursts and the juice flows down the hills into the valleys bringing blessings far as the curse is found. And when Israel rebels, the image is of a withered vineyard producing sour and unsavory grapes good for nothing.
It seems that this Psalm fits the description of Ezra 1 where God changes Cyrus’ heart and allows some Israelites to go back to Jerusalem. But when they arrive, what do they find? They find a land shattered by war and vineyards are grown wild because of neglect. So, there is a mix of joy and sorrow. And this is where this psalm picks up: Lord, you are the sovereign one who restores blessings and fortunes and grants forgiveness. That’s the preamble. And then the Psalmist gives a bit of historical context. “Yahweh, you have a history of restoration and forgiveness.” And finally, the blessings and curses: “You show anger at times and then you revive.” There are traces of the covenant throughout this psalm.
But central to this psalm is the sincerity of this group of singers for God to revive them.
In other words, they have experienced covenant curses and blessings, and they have gone through this cycle of anger and love. Israel’s history is a summary of joys and sorrows and songs of lament and jubilation. Now, they just want the stability of a land that will yield increase, where the wine abounds, and where the songs reflect the glories of faithfulness and righteousness and steadfast love. The people want to be surrounded by God’s covenant faithfulness when they wake up in the morning and when they go to bed. They want to come back home and see Israel fruitful: “Thou shalt see they children’s children compassing thy table round.” They don’t want to be in a land where anger and unfaithfulness meet, but rather in a land where steadfast love and faithfulness meet, where righteousness and peace kiss each other.
The context indicates that what this remnant merry band of singers desires is to return to a land no longer in conflict with God’s covenant, but in harmony with it.
When I went back home to Brazil to visit my family in 2012, I had been away for seven years. When I arrived at the airport, they had banners, around 40 of my cousins came to see me; there were lots of kisses and tears. God kept his promises. He restored us. There was shalom all around; an unending amount of food and drinks and stories and laughter and lots and lots of music.
After seven centuries, Israel wants that restoration. They want a welcome home celebration! They have been gone for some time and now they are giving over their lives: past, present, and future into the hands of God. They want to come home to see laughter and kisses again. If the Lord will be faithful to his covenant promises, then that is the only way that good may come. But if Israel continues to be steadfast in her arrogance and pride, God will take them back to that cycle.
The psalmist looks in hope to the day when Messiah Jesus comes and in that inimitable day in history, righteousness and peace kiss each other at Calvary’s tree and the wrath of God is driven away forever and we are restored in this world and in the world to come.
[1] https://www.garynorth.com/public/23420.cfm
[2] Cal Beisner on the Psalms.
Why Do We Sing the Psalms?
Psalm 17b, Fairfield Hitchcock tune
Our new Psalm at Providence covers verses 9-15 from chapter 17. It is short and possesses a fairly quick movement. Anyone familiar with Sacred Harp will notice some similarities to it.
Psalm 13, to the tune of Great Whales, Music by Alan Hovhaness, 1970
Psalm 7, O Lord My God, in You I take Refuge
INdwelt by the Psalms
Dear friend,
You should read the Psalms like a balm for your soul. I don’t mean work your way through it like a textbook, I mean to dwell in it like a home. Athanasius spoke of the psalms in such poetic terms that he seemed almost hypnotized by its marvel. For him, it “yielded special treasure” again and again. It was like a “garden that grew every kind of fruit.” Further, the Psalm writers were so indwelt (there is that word again) by the Spirit that they couldn’t help but to speak and sing of the harmonious message of all the Bible that Israel’s God reigns forever and ever.
You have probably heard me talking about singing the Psalms and at this point, if I make another reference to singing the psalms I am afraid you will unfriend me or curse me with imprecations. So, I will spare talking about how psalm-singing changes and forms us into better human beings, flourishing in the poetic garden of Yahweh; I will spare you the talk about how singing the Psalms heal our souls in times of grief, and I will spare you the conversation about how singing the psalms with friends bind us together in a more profound way than anything I’ve ever seen. Again, I don’t want to bother you with my fascination for the Genevan Psalms. I simply don’t want you to think about how the psalms frighten demons in the Bible. That would be too much to talk about and as I said, I don’t want to be that guy that annoys people with all this psalmic talk. It would be too much for you to bear such a friend. So, I won’t say any of those things.
Your friend,
Uri
Psalm 6, Tune by Nathan Clark George
Translating Psalm 16
A mikhtam.a
By David.
Keep me safe, God,
Because I take refuge in you!
You have said to Yahweh, “You are my Lord.
There is nothing good for me apart from you.”
As for the holy ones who are in the land,
“They are also majestic. All my delight is in them.”
Those who set a bride-price with another (god) have their sorrows multiplied.
I will not pour out their drink offerings of blood
And will not take their names upon my lips.
Yahweh is my chosen portion and my cup;
You yourself will hold my lot.
The boundary lines have fallen to me in pleasant places;
Yes, my inheritance is pleasing to me.
I will bless Yahweh who has counseled me;
Yes, by night my heart instructs me.
I have set Yahweh before me continually;
Because he is at my right hand I will not be shaken.
Therefore my heart is glad and my whole being rejoices;
Yes, my flesh will dwell in security,
Because you will not abandon my soul to Sheol
Nor will you make your holy one to see corruption.
You make known to me the path of life;
Fullness of joys are with your face;
Pleasures are in your right hand forever.
Notes:
I took advantage of John Barach’s excellent translation of Psalm 16. I concur with John when he writes that “the word mohar likely refers to a bride-price, money negotiated with a woman’s father but given to the woman.” In other words, those who make bargains with false gods end up with great sorrow. Further, verse 11 generally has “presence” for paniym. I find the translation of “face” to be more faithful to the Hebrew. The benediction of Aaron implies this translation. I prefer the consistency throughout. “His face shine upon you,” rather than “his presence shine upon you.” The idea is that God is turning his sight toward our afflictions and needs and blessing us. I also continue the translation of “Yahweh” for “LORD” which gives us God’s covenantal name. I was pleased to see John Goldingay’s translation of the Old Testament follow this pattern throughout.
- Classically this refers to a liturgical setting; certainly a musical reference (back)