On the phrase in the title to this psalm, "To the chief Musician," see the notes at the title to Psalm 4:1-8. On the expression "To Jeduthun," see the notes at the title to Psalm 39:1-13. Jeduthun was one of those who were appointed by David to preside over the music of the tabernacle 1-Chronicles 25:1-3, but it is impossible now to determine why this psalm, and the others where his name is found in the title Psalm 39:1-13; Ps. 77, were dedicated to him, or committed to his special care. The psalm is, in the title, ascribed to David as the author, but we have no certain knowledge on what occasion it was composed. Its contents agree well with the common supposition that it is to be referred to the time of Absalom, and to the troubles which David experienced in his rebellion.
The psalm, apparently for musical purposes only, is divided into three parts, the divisions being indicated by the word Selah, Psalm 62:4, Psalm 62:8. Another division is indicated in the original by the recurrence of the word אך 'ak - "truly" - at the beginning of Psalm 62:1, Psalm 62:4-6, Psalm 62:9, as if the mind of the author had been greatly impressed with the importance of the particular sentiment introduced by that word.
The general purpose of the psalm is to lead people to trust in God. The contents are as follows:
I. A statement of the humble trust of the author in God - trust in him as his only hope - as his rock and his refuge, Psalm 62:1-2.
II. A description of his enemies and of their designs. They devised mischief; they sought to cast down others from their high places; they delighted in falsehood; they made great pretensions of friendship, but they were false in heart, Psalm 62:3-4.
III. A renewed expression of the confidence of the psalmist in God - repeating what he had said in Psalm 62:1-2 - and reaffirming his entire trust in the divine protection, Psalm 62:5-7.
IV. An exhortation to others to trust in God, and not in people; whether people of high or low condition; to trust in nothing else than God: not in power - the power of oppression; not in the robbery of others, or that which was obtained from others by violence; not in riches, in whatever way they might have been acquired, Psalm 62:8-10.
V. Reasons for trusting in God, Psalm 62:11-12.
(a) All power belongs to him, Psalm 62:11,
(b) He is merciful or kind, Psalm 62:12,
(c) He is just or equitable, Psalm 62:12.

David, in imminent danger, flees to God for help and safety, Psalm 62:1, Psalm 62:2; points out the designs of his adversaries, Psalm 62:3, Psalm 62:4; encourages his soul to wait on God, Psalm 62:5-8; shows the vanity of trusting in man, and of trusting in riches, Psalm 62:9, Psalm 62:10; and concludes with asserting that power and mercy belong to God, and that he will give to every man according to his works, Psalm 62:11, Psalm 62:12.
The title, "To the chief Musician, to Jeduthun," may mean that the Psalm was sent to him who was the chief or leader of the band of the family of Jeduthun. It appears that Asaph, Jeduthun, and Heman, were chief singers in the time of David; that they, with their families, presided over different departments of the vocal and instrumental worship in the tabernacle, 1-Chronicles 25:1, etc.; that they were holy men, full of the Divine Spirit, (a thing very rare among singers and performers in these latter days), and that they prophesied with harps, with psalteries, and with cymbals; that Jeduthun had six sons thus employed; that himself prophesied with a harp to give thanks and praise to God, 1-Chronicles 25:3; and that the sons of Jeduthun were appointed by lot to the different courses. The eighth course fell to his son Jeshaiah, 1-Chronicles 25:15; the twelfth, to Hashabiah, 1-Chronicles 25:19; and the fourteenth, to Mattithiah, 1-Chronicles 25:21.
Will our modern performers on instruments of music in churches and chapels, pretend to the prophetic influence? If they do not, and cannot, how dare they quote such passages in vindication of their practice, which can be no better than a dulcet noise without its original meaning, and alien from its primary use? Do they indeed prophesy with harps, and psalteries, and cymbals? or with their play-house aggregate of fiddles and flutes, bass-viols and bassoons, clarionets and kettle-drums? Away with with such trumpery and pollution from the worship and Church of Christ!
Though it is not very clear from the Psalm itself on what occasion it was composed, yet it is most likely it was during the rebellion of Absalom; and perhaps at the particular time when David was obliged to flee from Jerusalem.

INTRODUCTION TO PSALM 62
To the chief Musician, to Jeduthun, A Psalm of David. Concerning "Jeduthun", See Gill on Psalm 39:1, title. Kimchi thinks this psalm was written concerning the captivity; and Jarchi , concerning the decrees and judgments made against Israel by their enemies; and so some of their ancient expositions (d); but it seems to have been composed by David when in distress, either through Saul and his courtiers, or by reason of the conspiracy of Absalom. Theodoret takes it to be a prophecy of the persecution of Antiochus in the times of the Maccabees.
(d) Vid. Yalkut Simeoni in loc.

(Psalm 62:1-7) David's confidence in God.
(Psalm 62:8-12) No trust to be put in worldly things.

Resignation to God When Foes Crowd in upon One
Concerning this Psalm, which is placed next to the preceding Psalm by reason of several points of mutual relationship (cf. Psalm 62:8 with Psalm 61:4, Psalm 61:8; Psalm 62:9 with Psalm 61:4; Ps 62:13b with Psalm 61:9), as being a product of the time of the persecution by Absalom, and also concerning על־יוּתוּן, we have spoken already in the introduction to Psalm 39:1-13, which forms with it a twin pair. The particle אך occurs there four times, and in this Psalm even as many as six times. The strophic structure somewhat resembles that of Psalm 39:1-13, in that here we also have longer strophes which are interspersed by tristichs.