Ornament Usage by Recitation Pitch

This concordance matrix outlines the distribution frequency of accents above the text aligned against the accent below the text that immediately precedes them defining the recitation pitch that governs the ornaments.

Ornament Name Total c
Darga
d
Tevir/Galgal
e
Silluq
f
Mercha
g
Tifha/D'khi
A
Atnah
B
Munach
C
Mahpach/Yetiv
ZAQEF-QATAN 25545 00
3128
🔍 explore
268
🔍 explore
0
643
🔍 explore
16309
🔍 explore
5197
🔍 explore
PASHTA 24440 00
5865
🔍 explore
701
🔍 explore
8
🔍 explore
2334
🔍 explore
2801
🔍 explore
12731
🔍 explore
REVIA 12570 0
7
🔍 explore
2794
🔍 explore
1234
🔍 explore
16
🔍 explore
2615
🔍 explore
5596
🔍 explore
308
🔍 explore
QADMA 7545 0
9
🔍 explore
3685
🔍 explore
45
🔍 explore
7
🔍 explore
1533
🔍 explore
1879
🔍 explore
387
🔍 explore
AZLA 4164 0
6
🔍 explore
2354
🔍 explore
3
🔍 explore
3
🔍 explore
785
🔍 explore
983
🔍 explore
30
🔍 explore
GERESH 2723 00
94
🔍 explore
910
🔍 explore
1
🔍 explore
1716
🔍 explore
0
2
🔍 explore
TELISHA-QETANA 1868 0
8
🔍 explore
882
🔍 explore
4
🔍 explore
0
307
🔍 explore
648
🔍 explore
19
🔍 explore
TARSIN 1729
1
🔍 explore
2
🔍 explore
992
🔍 explore
2
🔍 explore
0
342
🔍 explore
355
🔍 explore
35
🔍 explore
ZAQEF-GADOL 1654 00
512
🔍 explore
9
🔍 explore
0
510
🔍 explore
497
🔍 explore
126
🔍 explore
TSINNOR 1237 0
5
🔍 explore
347
🔍 explore
104
🔍 explore
2
🔍 explore
0
738
🔍 explore
41
🔍 explore
TELISHA-GEDOLA 1199 0
1
🔍 explore
463
🔍 explore
1
🔍 explore
0
195
🔍 explore
517
🔍 explore
22
🔍 explore
SEGOL 958 00
120
🔍 explore
23
🔍 explore
0
2
🔍 explore
813
🔍 explore
0
PAZER 950 0
36
🔍 explore
349
🔍 explore
14
🔍 explore
0
110
🔍 explore
432
🔍 explore
9
🔍 explore
OLE 406 0
166
🔍 explore
124
🔍 explore
97
🔍 explore
00
1
🔍 explore
18
🔍 explore
REVIA-MUGRASH 240 00
10
🔍 explore
84
🔍 explore
0
146
🔍 explore
00
ZARQA 199 0
6
🔍 explore
103
🔍 explore
21
🔍 explore
1
🔍 explore
13
🔍 explore
0
55
🔍 explore
ILLUY 184 0
3
🔍 explore
87
🔍 explore
4
🔍 explore
4
🔍 explore
4
🔍 explore
0
82
🔍 explore
SHALSHELET 46 00
11
🔍 explore
3
🔍 explore
0
26
🔍 explore
0
6
🔍 explore
QARNE-FARAH 16 0
16
🔍 explore
000000
PASHTA PASHTA 4 00
3
🔍 explore
0000
1
🔍 explore
Z-QATAN PAZER 2 000000
2
🔍 explore
0
Z-QATAN TSINNOR 2 00
1
🔍 explore
000
1
🔍 explore
0
PAZER Z-QATAN 2 000000
2
🔍 explore
0
AZLA Z-QATAN 1 00
1
🔍 explore
00000
TARSIN REVIA 1 00
1
🔍 explore
00000
AZLA T-QETANA 1 000000
1
🔍 explore
0
REVIA Z-QATAN 1 0000000
1
🔍 explore
Z-QATAN AZLA 1 00
1
🔍 explore
00000
PAZER AZLA 1 000000
1
🔍 explore
0
AZLA PASHTA 1 00
1
🔍 explore
00000
Z-GADOL PASHTA 1 000000
1
🔍 explore
0
TELISHA-GEDOLA AZLA 1 000000
1
🔍 explore
0

We can see immediately which ornaments are rarely or frequently used and on which pitches. The last 13 rows are double accents on a single syllable. They are noted in the publications. They are all rare. Several are in the decalogues. Notice the sole tarsin on the low c in the table above. It is from 2 Chronicles 24:27 in the Leningrad Codex. It is not in the Aleppo codex online at mgketer.org. So in the terms of the deciphering key, no ornament ever occurs on a low c. In terms of traditional Hebrew names, no accent above the text ever occurs following a darga and before another accent under the text is encountered. The largest contributor to the musical corpus of the accents above the text is the zaqef-qatan. This is a significant division of the text into phrases, sometimes in surprising contexts where one would not expect to breathe. Each has to be looked at individually.