Understandng the relationship of the accents above the text (ornaments) with the accent below the text that immediately precedes them, and which defines the recitation pitch that governs them.
| 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 | 25542 | 0 | 0 |
3128
|
267
| 0 |
643
|
16307
|
5197
|
| PASHTA | 24433 | 0 | 0 |
5864
|
699
|
8
|
2334
|
2801
|
12727
|
| REVIA | 12570 | 0 |
7
|
2794
|
1234
|
16
|
2615
|
5596
|
308
|
| QADMA | 7544 | 0 |
9
|
3685
|
45
|
7
|
1533
|
1878
|
387
|
| AZLA | 4164 | 0 |
6
|
2354
|
3
|
3
|
785
|
983
|
30
|
| GERESH | 2723 | 0 | 0 |
94
|
910
|
1
|
1716
| 0 |
2
|
| TELISHA-QETANA | 1868 | 0 |
8
|
882
|
4
| 0 |
307
|
648
|
19
|
| TARSIN | 1728 |
1
|
2
|
991
|
2
| 0 |
342
|
355
|
35
|
| ZAQEF-GADOL | 1654 | 0 | 0 |
512
|
9
| 0 |
510
|
497
|
126
|
| TSINNOR | 1237 | 0 |
5
|
347
|
104
|
2
| 0 |
738
|
41
|
| TELISHA-GEDOLA | 1198 | 0 |
1
|
463
|
1
| 0 |
195
|
516
|
22
|
| SEGOL | 958 | 0 | 0 |
120
|
23
| 0 |
2
|
813
| 0 |
| PAZER | 950 | 0 |
36
|
349
|
14
| 0 |
110
|
432
|
9
|
| OLE | 406 | 0 |
166
|
124
|
97
| 0 | 0 |
1
|
18
|
| REVIA-MUGRASH | 240 | 0 | 0 |
10
|
84
| 0 |
146
| 0 | 0 |
| ZARQA | 199 | 0 |
6
|
103
|
21
|
1
|
13
| 0 |
55
|
| ILLUY | 184 | 0 |
3
|
87
|
4
|
4
|
4
| 0 |
82
|
| SHALSHELET | 46 | 0 | 0 |
11
|
3
| 0 |
26
| 0 |
6
|
| QARNE-FARAH | 16 | 0 |
16
| 0 | 0 | 0 | 0 | 0 | 0 |
| PASHTA PASHTA | 4 | 0 | 0 |
3
| 0 | 0 | 0 | 0 |
1
|
| Z-QATAN PAZER | 2 | 0 | 0 | 0 | 0 | 0 | 0 |
2
| 0 |
| Z-QATAN TSINNOR | 2 | 0 | 0 |
1
| 0 | 0 | 0 |
1
| 0 |
| PAZER Z-QATAN | 2 | 0 | 0 | 0 | 0 | 0 | 0 |
2
| 0 |
| AZLA Z-QATAN | 1 | 0 | 0 |
1
| 0 | 0 | 0 | 0 | 0 |
| TARSIN REVIA | 1 | 0 | 0 |
1
| 0 | 0 | 0 | 0 | 0 |
| AZLA T-QETANA | 1 | 0 | 0 | 0 | 0 | 0 | 0 |
1
| 0 |
| REVIA Z-QATAN | 1 | 0 | 0 | 0 | 0 | 0 | 0 | 0 |
1
|
| Z-QATAN AZLA | 1 | 0 | 0 |
1
| 0 | 0 | 0 | 0 | 0 |
| PAZER AZLA | 1 | 0 | 0 | 0 | 0 | 0 | 0 |
1
| 0 |
| AZLA PASHTA | 1 | 0 | 0 |
1
| 0 | 0 | 0 | 0 | 0 |
| Z-GADOL PASHTA | 1 | 0 | 0 | 0 | 0 | 0 | 0 |
1
| 0 |
| TELISHA-GEDOLA AZLA | 1 | 0 | 0 | 0 | 0 | 0 | 0 |
1
| 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.