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 | 0 | 0 |
3128
|
268
| 0 |
643
|
16309
|
5197
|
| PASHTA | 24440 | 0 | 0 |
5865
|
701
|
8
|
2334
|
2801
|
12731
|
| REVIA | 12570 | 0 |
7
|
2794
|
1234
|
16
|
2615
|
5596
|
308
|
| QADMA | 7545 | 0 |
9
|
3685
|
45
|
7
|
1533
|
1879
|
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 | 1729 |
1
|
2
|
992
|
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 | 1199 | 0 |
1
|
463
|
1
| 0 |
195
|
517
|
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.