Hebrew cantillation

Babylonian Biblical manuscripts from the Geonic period contain no cantillation marks in the current sense, but small Hebrew letters are used to mark significant divisions within a verse. Up to eight different letters are found, depending on the importance of the break and where it occurs in the verse: these correspond roughly to the disjunctives of the Tiberian system. For example, in some manuscripts the letter tav, for tevir (break), does duty for both Tiberian tevir and zaqef.[1] In general there are no symbols for the conjunctives, though some late manuscripts use the Tiberian symbols for these. There is also no equivalent for low-grade disjunctives such as telisha gedolah: these are generally replaced by the equivalent of zaqef or revia.

Nothing is known of the musical realization of these marks, but it seems likely that they represent breaks or variations in a set melody applied to each verse. (A somewhat similar system is used in manuscripts of the Qur'an to guide the reader in fitting the chant to the verse: see Qur'an reading.)

This system is reflected in the cantillation practices of the Yemenite Jews, who now use the Tiberian symbols, but tend to have musical motifs only for the disjunctives and render the conjunctives in a monotone. It is notable that the Yemenite Jews have only eight disjunctive motifs, thus clearly reflecting the Babylonian notation. The same is true of the Karaite mode for the haftarah; while in the Sephardi haftarah modes different disjunctives often have the same or closely similar motifs, reducing the total number of effective motifs to something like the same number.

The Babylonian system, as mentioned above, is mainly concerned with showing breaks in the verse. Early Palestinian manuscripts, by contrast, are mainly concerned with showing phrases: for example the tifcha-etnachta, zarqa-segolta and pashta-zaqef sequences, with or without intervening unaccented words. These sequences are generally linked by a series of dots, beginning or ending with a dash or a dot in a different place to show which sequence is meant. Unaccented words (which in the Tiberian system carry conjunctives) are generally shown by a dot following the word, as if to link it to the following word. There are separate symbols for more elaborate tropes like pazer and telisha gedolah.

The manuscripts are extremely fragmentary, no two of them following quite the same conventions, and these marks may represent the individual reader's aide-memoire rather than a formal system of punctuation (for example, vowel signs are often used only where the word would otherwise be ambiguous). In one manuscript, presumably of somewhat later date than the others, there are separate marks for different conjunctives, actually outnumbering those in the Tiberian system (for example, munach before etnachta has a different sign from munach before zaqef), and the overall system approaches the Tiberian in comprehensiveness. In some other manuscripts, in particular those containing Targumim rather than original text, the Tiberian symbols have been added by a later hand. In general, it may be observed that the Palestinian and Tiberian systems are far more closely related to each other than either is to the Babylonian.

This system of phrasing is reflected in the Sephardic cantillation modes, in which the conjunctives (and to some extent the "near companions" such as tifcha, pashta and zarqa) are rendered as flourishes leading into the motif of the following disjunctive rather than as motifs in their own right.

The somewhat inconsistent use of dots above and below the words as disjunctives is closely similar to that found in Syriac texts.[2] Kahle[3] also notes some similarity with the punctuation of Samaritan Hebrew.

By the tenth century CE, the chant in use in medieval Palestine had clearly become more complex, both because of the existence of pazer, geresh and telisha motifs in longer verses and because the realization of a phrase ending with a given type of break varied according to the number of words and syllables in the phrase. The Tiberian Masoretes therefore developed a comprehensive notation with a symbol on each word, to replace the fragmentary systems previously in use. In particular, it was necessary to invent a range of different conjunctive accents to show how to introduce and elaborate the main motif in longer phrases. (For example, tevir is preceded by mercha, a short flourish, in shorter phrases but by darga, a more elaborate run of notes, in longer phrases.) The system they devised is the one in use today, and is found in Biblical manuscripts such as the Aleppo Codex. A Masoretic treatise called Diqduqe ha-teʿamim (precise rules of the accents) by Aaron ben Moses ben Asher survives, though both the names and the classification of the accents differ somewhat from those of the present day.

As the accents were (and are) not shown on a Torah scroll, it was found necessary to have a person making hand signals to the reader to show the tune, as in the Byzantine system of neumes. This system of cheironomy survives in some communities to the present day, notably in Italy. It is speculated that both the shapes and the names of some of the accents (e.g. tifcha, literally "hand-breadth") may refer to the hand signals rather than to the syntactical functions or melodies denoted by them. Today in most communities there is no system of hand signals and the reader learns the melody of each reading in advance.

The Tiberian system spread quickly and was accepted in all communities by the 13th century. Each community re-interpreted its reading tradition so as to allocate one short musical motif to each symbol: this process has gone furthest in the Western Ashkenazi and Ottoman (Jerusalem-Sephardi, Syrian etc.) traditions. Learning the accents and their musical rendition is now an important part of the preparations for a bar mitzvah, as this is the first occasion on which a person reads from the Torah in public.

In the early period of the Reform movement there was a move to abandon the system of cantillation and give Scriptural readings in normal speech (in Hebrew or in the vernacular). In recent decades, however, traditional cantillation has been restored in many communities.

There are two systems of cantillation marks in the Tanakh. One is used in the twenty-one prose books, while the other appears in the three poetical books of Psalms, Proverbs and Job. Except where otherwise stated, this article describes the "prose" system.

The names of some of the cantillation signs differ in the Ashkenazi, Sephardi, Italian and Yemenite traditions; for example Sephardim use qadma to mean what Ashkenazim call pashta, and azla to mean what Ashkenazim call qadma.[4] In this article, as in almost all Hebrew grammars, the Ashkenazi terminology is used. The names in other traditions are shown in the table below.

A primary purpose of the cantillation signs is to guide the chanting of the sacred texts during public worship. Very roughly speaking, each word of text has a cantillation mark at its primary accent and associated with that mark is a musical phrase that tells how to sing that word. The reality is more complex, with some words having two or no marks and the musical meaning of some marks dependent upon context. There are different sets of musical phrases associated with different sections of the Bible. The music varies with different Jewish traditions and individual cantorial styles.

The cantillation signs also provide information on the syntactical structure of the text and some say they are a commentary on the text itself, highlighting important ideas musically. The tropes are not random strings but follow a set and describable grammar. The very word ta'am, used in Hebrew to refer to the cantillation marks, literally means "taste" or "sense", the point being that the pauses and intonation denoted by the accents (with or without formal musical rendition) bring out the sense of the passage.

In general, each word in the Tanakh has one cantillation sign. This may be either a disjunctive, showing a division between that and the following word, or a conjunctive, joining the two words (like a slur in music). Thus, disjunctives divide a verse into phrases, and within each phrase all the words except the last carry conjunctives. (There are two types of exception to the rule about words having only one sign. A group of words joined by hyphens is regarded as one word so they only have one accent between them. Conversely, a long word may have two—e.g., a disjunctive on the stressed syllable and the related conjunctive two syllables before in place of meteg.)

The disjunctives are traditionally divided into four levels, with lower level disjunctives marking less important breaks.

1. The first level, known as "Emperors", includes sof pasuk / siluk, marking the end of the verse, and atnach / etnachta, marking the middle.
2. The second level is known as "Kings". The usual second level disjunctive is zakef qatan (when on its own, this becomes zakef gadol). This is replaced by tifcha when in the immediate neighborhood of sof pasuk or atnach. A stronger second level disjunctive, used in very long verses, is segol: when it occurs on its own, this may be replaced by shalshelet.
3. The third level is known as "Dukes". The usual third level disjunctive is revia. For musical reasons, this is replaced by zarka when in the vicinity of segol, by pashta or yetiv when in the vicinity of zakef, and by tevir when in the vicinity of tifcha.
4. The fourth level is known as "Counts". These are found mainly in longer verses, and tend to cluster near the beginning of a half-verse: for this reason their musical realisation is usually more elaborate than that of higher level disjunctives. They are pazer, geresh, gershayim, telisha gedola, munach legarmeh and qarne farah.

The general conjunctive is munach. Depending on which disjunctive follows, this may be replaced by mercha, mahpach, darga, qadma, telisha qetannah or yerach ben yomo.

One other symbol is mercha kefulah, double mercha. There is some argument about whether this is another conjunctive or an occasional replacement for tevir.

Disjunctives have a function somewhat similar to punctuation in Western languages. Sof pasuk could be thought of as a full stop, atnach as a semi-colon, second level disjunctives as commas and third level disjunctives as commas or unmarked. Where two words are written in the construct state (for example, pene ha-mayim, "the face of the waters"), the first noun (nomen regens) invariably carries a conjunctive.

The cantillation signs are often an important aid in the interpretation of a passage. For example, the words qol qore bamidbar panu derekh YHWH (Isaiah 40:3) is translated in the Authorised Version as "The voice of him that crieth in the wilderness, Prepare ye the way of the LORD". As the word qore takes the high-level disjunctive zakef katon this meaning is discouraged by the cantillation marks. Accordingly, the New Revised Standard Version translates "A voice cries out: 'In the wilderness prepare the way of the LORD, ...'" while the New Jewish Publication Society Version has "A voice rings out: 'Clear in the desert a road for the LORD'."

Most cantillation signs are written on the consonant of the stressed syllable of a word. This also shows where the most important note of the musical motif should go.

A few signs always go on the first or last consonant of a word. This may have been for musical reasons, or it may be to distinguish them from other accents of similar shape. For example, pashta, which goes on the last consonant, otherwise looks like kadma, which goes on the stressed syllable.

Some signs are written (and sung) differently when the word is not stressed on its last syllable. Pashta on a word of this kind is doubled, one going on the stressed syllable and the other on the last consonant. Geresh is doubled unless it occurs on a non-finally-stressed word or follows kadma (to form the kadma ve-azla phrase).

Cantillation signs guide the reader in applying a chant to Biblical readings. This chant is technically regarded as a ritualized form of speech intonation rather than as a musical exercise like the singing of metrical hymns: for this reason Jews always speak of saying or reading a passage rather than of singing it. (In Yiddish the word is leynen 'read', derived from Latin legere, giving rise to the Jewish English verb "to leyn".)

The musical value of the cantillation signs serves the same function for Jews worldwide, but the specific tunes vary between different communities. The most common tunes today are as follows.

• Among Ashkenazi Jews:
  • The Polish-Lithuanian melody, used by Ashkenazic descendants of eastern European Jews, is the most common tune in the world today, both in Israel and the diaspora.
  • The Ashkenazic melodies from central and western European Jewry are used far less today than before the Holocaust, but still survive in some communities, especially in Great Britain. They are of interest because a very similar melody was notated by Johann Reuchlin as in use in Germany in his day (15th–16th century, C.E.).
  • The melody used by Ashkenazic Jews in Italy.[5]
• Among Sephardi and Mizrahi Jews:
  • The "Jerusalem Sephardic" (Sepharadi-Yerushalmi) melody is now the most widely used Sephardic melody in Israel, and is also used in some Sephardic communities in the diaspora.
  • The Greek/Turkish/Balkan, Syrian and Egyptian melodies are related to the Jerusalem Sephardic melody. They are more sparsely used in Israel today, but are still heard in the Diaspora, especially in America.
  • There are two Iraqi melodies, one close to the Syrian melody and traditionally used in Baghdad (and sometimes in Israel), and another more distinctive melody originating in Mosul and generally used in the Iraqi Jewish diaspora, especially in India.[6]
  • The Moroccan melody is used widely by Jews of Moroccan descent, both in Israel and in the diaspora, especially France. It subdivides into a Spanish-Moroccan melody, used in the northern coastal strip, and an Arab-Moroccan melody, used in the interior of the country, with some local variations. The Algerian, Tunisian and Libyan melodies are somewhat similar, and may be regarded as intermediate between the Moroccan and "Jerusalem Sephardic" melodies.
  • The Spanish and Portuguese melody is in common use in the Spanish and Portuguese Sephardi communities of Livorno, Gibraltar, the Netherlands, England, Canada, the United States and other places in the Americas. It is closely related to the Spanish-Moroccan melody and has some resemblance to the Iraqi (Mosul and diaspora) melody.
• Italian melodies are still used in Italy, as well as in two Italian minyanim in Jerusalem and one in Netanya. These vary greatly locally: for example the melody used in Rome resembles the Spanish and Portuguese melody rather than those used in northern Italy.
• Romaniote style of cantillation is used today in Greece, Israel, and New York and is rooted in the Byzantine tradition[7]
• The Yemenite melody can be heard in Israel primarily, but also in some American cities.[8]

There has been an attempted reconstruction of the original melody by Suzanne Haïk-Vantoura, on the basis of the shapes and positions of the marks and without any reference to existing melodies, as described in her book La musique de la Bible révélée and her records. That reconstruction assumes the signs represent the degrees of various musical scales, that is individual notes, which puts it at odds with all existing traditions where the signs invariably represent melodic motives; it also takes no account of the existence of older systems of notation, such as the Babylonian and Palestinian systems. Musicologists have rejected her results as dubious and her methodology as flawed.[9] A similar reconstructive proposal was developed by American composer and pianist Jeffrey Burns and posthumously published in 2011.[10]

In the Ashkenazic musical tradition for cantillation, each of the local geographical customs includes a total of six major and numerous minor separate melodies for cantillation:

• Torah and Haftarot (3 melodies)
  • 1. Torah (general melody for the whole year) Example^ⓘ
  • 2. Torah – special melody for Rosh Hashanah and Yom Kippur. One may hear the reading at . This tune is also employed on Simhat Torah in various degrees (depending on the specific community). Echoes of it can also be heard for certain verses in the Torah reading for fast days in some communities.
    • There are a number of variants employed for special sections, such as those for the Aseret haDibrot (Ten Commandments), Az Yashir (Song of the Sea), and the list of Masa'ot.
    • In all Torah modes, there is a "coda" motif that is used for the last few words of each reading.
    • There is a special coda used at the end of each of the five books of the Torah that leads to the traditional exclamation of "Hazak Hazak V'Nithazek!" (Be strong, be strong so we are strengthened!).
  • 3. Haftarot Example^ⓘ
    • In the haftarah mode, there is also a "coda" motif. In the Western Ashkenazic mode, this is applied to the end of every verse. A different coda is used at the end of the haftarah among both Eastern and Western Ashkenazim, modulating from minor to major to introduce the following blessing.
    • This is also the tune that is applied when reading the non-haftarah portions of the books of the Prophets and the latter Writings (Daniel, Ezra-Nehemiah, and Chronicles), although this usage is largely theoretical, as these are not subject to public reading as the other sections and books are.
• The Five Megillot (3 melodies are employed for these five scrolls)
  • 4. Esther – a mostly light and joyous tune with elements of drama and foreboding used for the Megillat Esther on Purim. The coda at the end of each pasuk (verse) modulates from major to minor to produce a more serious effect. Certain short passages pertaining to the destruction of the temple are customarily read in the tune of Lamentations. There are also additional musical customs, such as saying the word סוס‎ (horse) with a neighing sound, not indicated by the cantillation.
  • 5. Lamentations – a mournful tune. Echoes of it can also be heard for certain verses in Esther and in the Torah reading preceding the Ninth of Av. The Haftarot preceding and during the Ninth of Av also use this melody, when read in non-Hasidic shuls. Example^ⓘ
  • 6. The three remaining scrolls are publicly read within Ashkenazic communities during the three pilgrimage festivals. All are read in the same melody, which may be considered the "general" melody for the megillot: the Song of Songs on Passover; Ruth on Shavuot; Ecclesiastes on Sukkot.

The Ashkenazic tradition preserves no melody for the special cantillation notes of Psalms, Proverbs, and Job, which were not publicly read in the synagogue by European Jews. However, the Ashkenazic yeshiva known as Aderet Eliyahu, or (more informally) Zilberman's, in the Old City of Jerusalem, uses an adaptation of the Syrian cantillation-melody for these books, and this is becoming more popular among other Ashkenazim as well.

At the beginning of the twentieth century there was a single Ottoman-Sephardic tradition (no doubt with local variations) covering Turkey, Syria, Palestine and Egypt.[11] Today the Jerusalem-Sephardic, Syrian, Egyptian and Baghdadi melodies recognisably belong to a single family. For example, in these traditions the Torah reading is always or almost always in Maqam Sigah. There are some variations, among individual readers as well as among communities: for example the Egyptian melody is related to the more elaborate and cantorial form of the Syrian melody and was transitioning toward Maqam Huzzam before the mass expulsion in 1950. The Karaite tradition, being based on the Egyptian, also forms part of this group.[12]

Another recognisable family consists of the Iraqi (Mosul and Iraqi diaspora), Spanish-Moroccan and Spanish and Portuguese melodies. The probable reason for the occurrence of similar melodies at opposite ends of the Arab world is that they represent the remains of an old Arab-Jewish tradition not overlaid by the later Ottoman-Sephardic tradition that spread to the countries in between. There may also have been some convergence between the London Spanish and Portuguese and Iraqi melodies during British rule in India and the British Mandate of Mesopotamia.

The Jews of North Africa, the Middle East, Central Asia and Yemen all had local musical traditions for cantillation. When these Jewish communities emigrated (mostly to Israel) during the twentieth century, they brought their musical traditions with them. But as the immigrants themselves grew older, many particular national melodies began to be forgotten, or to become assimilated into the "Jerusalem Sephardic" melting-pot.

As with the Ashkenazim, there is one tune for Torah readings and a different tune for haftarot. Spanish and Portuguese Jews have a special tune for the Ten Commandments when read according to the ta'am elyon, known as "High Na'um", which is also used for some other words and passages which it is desired to emphasize.[13] Other communities, such as the Syrian Jews, observe the differences between the two sets of cantillation marks for the Ten Commandments but have no special melody for ta'am 'elyon.[14] There is no special tune for Rosh Hashanah and Yom Kippur in any Sephardic tradition. As with Ashkenazim, the normal musical value of cantillation signs is replaced by a "coda" motif at the end of each Torah reading and of each haftarah verse (though there is no special coda for the end of the haftarah), suggesting a common origin for the Sephardi and Ashkenazi chants.

Eastern Jewish communities have no liturgical tradition of reading Ecclesiastes, and there is no public liturgical reading of Song of Songs on Passover, though brief extracts may be read after the morning service during the first half of Nisan. (Individuals may read it after the Passover Seder, and many communities recite it every Friday night.) There are specialized tunes for Song of Songs, Ruth, Esther and Lamentations. The prose passages at the beginning and end of the book of Job may be read either to the tune of Song of Songs or to that of Ruth, depending on the community. The Ruth tune is generally the "default" tune for any book of the Ketuvim (Hagiographa) that does not have a tune of its own.

Unlike the Ashkenazic tradition, the eastern traditions, in particular that of the Syrian Jews, include melodies for the special cantillation of Psalms, Proverbs and the poetic parts of Job. In many eastern communities, Proverbs is read on the six Sabbaths between Passover and Shavuot, Job on the Ninth of Av, and Psalms are read on a great many occasions. The cantillation melody for Psalms can also vary depending on the occasion. The Spanish and Portuguese Jews have no tradition for the rendering of the Psalms according to the cantillation marks, but the melody used for several psalms in the evening service is noticeably similar to that of Syrian psalm cantillation, and may represent the remnants of such a tradition.

Yemenite cantillation has a total of eight distinctive motifs, falling within four main patterns:

• molikh ('moving') used for the conjunctives and some minor disjunctives
• mafsik ('pausing') for most third level disjunctives
• ma'amid ('elongating') for most second level disjunctives; and
• the patterns of etnaḥa and silluq (sof pasuk).

This is true equally of the system used for the Torah and the systems used for the other books. It appears to be a relic of the Babylonian system, which also recognised only eight types of disjunctive and no conjunctives.

Some communities had a simplified melody for the Torah, used in teaching it to children, as distinct from the mode used in synagogue. (This should not be confused with the lernen steiger used for studying the Mishnah and Talmud.) For example, the Yemenite community teaches a simplified melody for children, to be used both in school and when they are called to read the sixth aliyah.[15] The simplified melody is also used for the reading of the Targum, which is generally performed by a young boy.

Conversely, the Syrian community knows two types of Torah cantillation, a simpler one for general use and a more elaborate one used by professional hazzanim.[16] It is probable that the simpler melody was originally a teaching mode. Today however it is the mode in general use, and is also an ancestor of the "Jerusalem-Sephardic" melody.

Some communities, such as the Portuguese community of Amsterdam,[17] have a simplified melody for the Prophets for study purposes, distinct from that used in reading the Haftarah: the distinction is mentioned in one medieval Sephardic source.[18]

The following table shows the names of the te'amim in the Ashkenazi, Sephardi, and Italian traditions together with their Unicode symbols.

• Cantillation marks are rarely supported in many default Hebrew fonts. They should display, however, on Windows with one of those fonts installed:

  Times New Roman, Arial, Gisha, Microsoft Sans Serif, Code2000, Courier New, Ezra SIL, SBL BibLit, SBL Hebrew

• The following default Hebrew fonts do not display these marks :

  David, Miriam, Rod, FrankRuehl (as well as serif, sans-serif, monospaced unless they are configured manually)

• The mark for U+05AA (yerach ben yomo or galgal) should not be drawn with the bottom vertical tick used in the mark drawn for U+05A2 (atnach hafukh); however, some fonts draw these marks identically.

The following additional symbols are found in the three poetical books: their names do not differ among the various traditions.

For learning purposes, the t'amim are arranged in a traditional order of recitation called a "zarqa table", showing both the names and the symbols themselves. These tables are often printed at the end of a Chumash (Hebrew Pentateuch).

The order of recitation bears some relation to the groups in which the signs are likely to occur in a typical Biblical verse, but differs in detail between different communities. Below are traditional Ashkenazi and Sephardi orders, though variations are found in both communities.

Azla

"Going away", because it is often the end of the phrase 'Qadma ve'Azla'.

Darga

"Trill" from its sound, or "step" from its shape.

Etnachta/Atnach

"Pause, rest" because it is the pause in the middle of a verse.

Geresh

"Expulsion, driving out". So called because it is often "partnered" with the Qadma (as an Azla) but here appears on its own, "separated."

Gershayim

Double Geresh, from its appearance.

Mahpach

"Turning round". In old manuscripts, it was written like a U on its side, hence like someone doing a U turn. In printed books, it has a V shape, possibly because that was easier for the early printers to make. In Eastern communities it is called shofar mehuppach, "reversed horn", because it faces the other way from shofar holech (munach)

Mercha

"Lengthener", because it prolongs the melody of the word that follows. In modern usage it sometimes means "comma", but this usage is taken from the cantillation sign.

Mercha-kefulah

Kefulah means "double", because it looks like two merchas together. There are only five in the whole Torah: Gen. 27:25, Ex. 5:15, Lev. 10:1, Num. 14:3, Num. 32:42.

Munach

"Resting", because the shape is a horn lying on its side. (In Eastern communities it is called shofar holech, horn going forward.) Munach legarmeh (munach on its own) is a disjunctive, used mainly before revia, but occasionally before a pazer. It may be distinguished from ordinary munach by the dividing line (pesiq) following the word.

Pashta

"Stretching out", because its shape is leaning forward (or in reference to a hand signal).

Pazer

"Lavish" or "strew", because it has so many notes.

Qadma

"To progress, advance." It always occurs at the beginning of a phrase (often before other conjunctives) and its shape is leaning forward. In particular it is the first member of the Qadma ve-Azla pair.

Revia

Usually explained as the Hebrew for "quarter" or "fourth", though the reason for this remains obscure and a variety of explanations have been given. (Some Ashkenazi Jews call it "revi'i" by a process of folk etymology.) A more likely explanation is that it is the Aramaic for "crouching", referring to its position vertically above the word.[21]

Segol

"Bunch of grapes" (from its shape, which looks like a bunch of grapes).

Shalshelet

"Chain", either from its appearance or because it is a long chain of notes. There are only four in the whole Torah: Gen. 19:16, 24:12, 39:8; Lev. 8:23.

Sof Pasuk

"End of verse": it is the last note of every verse. It is sometimes called silluq (taking leave).

Telisha Qetannah/Gedolah

"Detached" because they are never linked to the following note as one musical phrase; Qetannah = small (short); Gedolah = big (long).[22]

Tevir

"Broken", because it represents a break in reading (in some traditions there is a big jump down in pitch between the first and second notes).

Tifcha

"Diagonal", or "hand-breadth". In old manuscripts, it was written as a straight diagonal line. In printed books, it is curved, apparently to make it a mirror image of Mercha, with which it is usually paired (the two together could be regarded as forming a slur). The name "tifcha" may be an allusion to a hand signal.[23]

Yetiv

"Resting" or "sitting", because it may be followed by a short pause, or more probably because the shape is like a horn sitting up. (In the Italian tradition, it is called shofar yetiv, sitting horn.)

Zaqef Qaton/Gadol

"Upright" (from their shape, or in allusion to a hand signal); Qaton = small (short); Gadol = big (long).

Zarqa

"Scatterer", because it is like a scattering of notes.

Numbers 35:5 (in Parshat Mas'ei) has two notes found nowhere else in the Torah:

Qarne Farah

"Horns of a cow" (from its shape), sometimes called pazer gadol.

Yerach ben Yomo

"Moon one day old" (because it looks like a crescent moon), sometimes called galgal (circle).

The following sequences are commonly found:

(Mercha) Tifcha (Mercha) Sof-Pasuk (Sephardic Maarikh Tarkha Maarikh Sof Pasuk)

The group that occurs at the end of each pasuk (verse), and always includes the Sof-Pasuk at the very minimum. Either or both of the merchas may be omitted.

(Mercha) Tifcha (Munach) Etnachta (Sephardic Maarikh Tarkha Shofar Holekh Atna)

one of the most common groups, but can only appear once in each pasuk. Tifcha can appear without a Mercha, but Mercha cannot appear without a Tifcha (or other following disjunctive). Etnachta can appear without a Munach, but Munach cannot appear without an Etnachta (or other following disjunctive). Munach-Etnachta can appear without a Mercha-Tifcha, but a Mercha-Tifcha cannot appear without a Munach-Etnachta (or Etnachta on its own).

(Mahpach) Pashta (Munach) Zaqef Qaton (Sephardic Mehuppakh Qadma Shofar Holekh Zaqef Qaton)

one of the most common groups. Pashta can appear without a Mahpach, but a Mahpach cannot appear without a Pashta. Alternatively, Yetiv can appear on its own in place of Pashta. Zaqef Qaton can appear without a Munach, but a Munach cannot appear without a Qaton (or other following disjunctive).

Zakef Gadol

Not a part of a group, as it replaces a Zaqef Qaton sequence.

[Munach] Zarka [Munach] Segol (Sephardic Mehuppach Zarka Mehuppach Segolta)

Zarqa is only ever found before Segol; a Munach may precede either one.

Shalshelet

Not a part of a group, as it replaces a Segol sequence. Occurs only four times in the Torah, and always at the beginning of a verse.[24]

Munach | Munach Revia (Sephardic Shofar Holekh | Shofar Holekh Revia)

The following combinations occur: Revia on its own; Munach Revia; Darga Munach Revia; Munach-with-Pesiq Revia; Munach-with-Pesiq Munach Revia. (Munach with Pesiq is a disjunctive, separate from Munach proper, and also known as Munach legarmeh, munach on its own.)

Darga Tevir

Tevir is found either alone or preceded by Darga or Mercha. Darga occasionally precedes other combinations (e.g. Darga Munach Revia).

Mercha-Kefula (Sephardic Tere ta'ame)

Occasionally preceded by Darga, but usually on its own. Occurs only five times in the Torah, and once in Haftarah. Its function appears to be similar to Tevir.

Qadma v'Azla

This pair is known as such when found together, and may precede a Mahpach, a Revia group or a Tevir group. A Qadma can also be found without an Azla before a Mahpach, and an Azla without a Qadma is known as Azla-Geresh or simply Geresh. Gershayim on its own fulfils the same function as Qadma v'Azla, in that it can precede either a Mahpach, a Revia group or a Tevir group.

Pazer

Not considered part of a group, but usually followed by a Telisha Qetannah or a Telisha Gedolah. It may be preceded by one or more Munachs.

Telisha Qetannah/Gedolah (Sephardic Talsha/Tirtsa)

Not considered a part of a group, usually appears individually, sometimes after a Pazer. It often precedes Qadma.

Yerach ben Yomo Qarnei Farah

The rarest group of all. Occurs only once in the whole Torah, in the parashah Masey, on the words alpayim b'ammah (two thousand cubits). It is equivalent to Munach Pazer.

•  Gesenius' Hebrew Grammar, §15
• Dotan, Aaron, ed. (1979) [1963], Sefer diqduqe ha-te'amim le-rabbi Aharon Ben-Moshe Ben-Asher, Jerusalem: Hebrew University, earlier edition Leipzig, Hebrew books.org.
• ha-Naqdan, Moshe (1822) [1847], Darche ha-Niqqud ve-ha-neginot, Hanover: Hebrew books.org, earlier edition Vilna.
• bar Kalonymus, Yosef (1886) [1485], Berliner, A (ed.), Ta'ame eme"t baḥaruzim (in Hebrew and German), Berlin: Hebrew books.org, a medieval poem setting out the rules for the three poetical books; original in Maḥzor of Casal Maggiore.
• ben Bil'am, Judah (1859) [1556], Sha'ar ta'ame sheloshah sifre eme"t, Amsterdam: Hebrew books.org, original from Paris.
• Breuer, Mordechai (1981), Ta'amei hammiqra be-21 sefarim uvesifrei emet (in Hebrew), Jerusalem{{citation}}: CS1 maint: location missing publisher (link).
• Heidenheim, Wolf (1808), Sefer Mishpete ha-Ta'amim (in Hebrew), Rödelheim: Hebrew books.org.
• Wickes, William (1887), A Treatise on the Accentuation of the Twenty-One so-called Prose Books of the Old Testament, Oxford: Clarendon Press, hdl:2027/mdp.39015012205574, ISBN 9780790527574.
• Ginsburg, Christian David (1897), Introduction to the Massoretico-Critical Edition of the Hebrew Bible, Trinitarian Bible Society.
• Kahle, Paul E (1966) [1913], Masoreten des Ostens: Die Altesten Punktierten Handschriften des Alten Testaments und der Targume.
• ———————— (2005) [1927], Masoreten des Westens.
• Park, Sung Jin (2014). ""Pointing to the Accents": The Functional Development of the Masoretic Accents in the Hebrew Bible". Hebrew Studies. 55: 73–88. doi:10.1353/hbr.2014.0022. S2CID 170240065.
• Park, Sung Jin (2013). "Application of the Tiberian Accentuation System for Colometry of Biblical Hebrew Poetry". Journal of Northwest Semitic Languages. 39 (2): 113–127.
• Price, James (1990), The Syntax of Masoretic Accents in the Hebrew Bible, E. Mellen Press.
• Yeivin, Israel (1980), Introduction to the Tiberian Masorah, trans. EJ Revell, Scholars Press, ISBN 0-89130-373-1., 1985
• Yeivin, Israel (1985), The Hebrew Language Tradition as Reflected in the Babylonian Vocalization.

• "Jewish Music", Grove Dictionary of Music.
• Idelsohn, Abraham Zevi (1917), Phonographierte Gesänge und Aussprachsproben des Hebräischen der jemenitischen, persischen und syrischen Juden, Vienna{{citation}}: CS1 maint: location missing publisher (link).
• ———————— (1923), Thesaurus of Oriental Hebrew Melodies, vol. II: Songs of the Babylonian Jews, Jerusalem, Berlin and Vienna: Huji, archived from the original on July 19, 2011 also in Hebrew, archived from the original on July 19, 2011.
• ———————— (1929), Jewish Music in its Historical Development, New York{{citation}}: CS1 maint: location missing publisher (link).
• Khazdan E. (2015) "The Study of Cantillation Marks in Russia, Europe, America". Еврейская речь. № 4. С. 10–39. (In Russian)
• Khazdan E. (2015) "Cantillation Marks: Why Not Writing Them Down Using Music Notation?". Евреи Европы и Ближнего Востока: история, языки, традиция, культура: Материалы Международной научной конференции памяти Т. Л. Гуриной. СПб., С. 249–255. (In Russian)
• Khazdan E. (2018) Three Questions in the History of Studying the Jewish Signs of Cantillation. G. B. Shamilli (ed.) Conceptualization of Music in the Abrahamic Traditions – 2018: collective monograph. Moscow: SIAS. P. 264–287 (In Russian).
• Khazdan E. (2020) From Masoretic Signs to Cantillation Marks: A Paradigm Shift (In Russian).

Khazdan E. (2021) From Masoretic Signs to Cantillation Marks: Initial Steps (On the Virtual Dialogue between Alfonso de Zamora and Johannes Reuchlin). Lietuvos muzikologija. T. 22.

• Neeman, JL (1955), The Tunes of the Bible – Musical Principles of the Biblical Accentuation (in Hebrew), Tel Aviv{{citation}}: CS1 maint: location missing publisher (link).
• Binder, AW (1959), Biblical Chant, New York{{citation}}: CS1 maint: location missing publisher (link).
• Jacobson, Joshua (2002), Chanting the Hebrew Bible: the art of cantillation.
• Portnoy, Marshall; Wolff, Josée (2008) [2000], The Art of Torah Cantillation – A Step-by-step Guide to Chanting Torah (2nd ed.), URJ, ISBN 978-0-8074-0734-9, archived from the original on June 5, 2012, with CD.
• ————————————————; Wolff, Josée (2002), The Art of Cantillation – A Step-by-step Guide to Chanting Haftarot and M'gillot, vol. 2, URJ, ISBN 978-0-8074-0756-1.
• Kohn, S, Learn to Lein: A Step-by-Step Tutorial Program for Developing Requisite Torah-Reading Skills, ISBN 1-58330-913-6.

• Ridler, Vivian, ed. (1965) [5725], Book of Prayer of the Spanish and Portuguese Jews' Congregation, London, vol. 1, Oxford: Oxford Univ. Press (since reprinted): the parashah and haftarah melodies are set out at the end of the volume.
• Sharvit, Uri (1982), The Musical Realization of Biblical Cantillation Symbols in the Jewish Yemenite Tradition (Yuval: Studies of the Jewish Music Research Centre), pp. 179–210.
• Alvarez-Pereyre, Frank (1990), La Transmission Orale de la Mishnah. Une méthode d'analyse appliquée à la tradition d'Alep (in French), Jerusalem{{citation}}: CS1 maint: location missing publisher (link).
• Rodrigues Pereira, Martin (1994), Hochmat Shelomoh (Wisdom of Solomon): Torah Cantillations according to the Spanish and Portuguese Custom, New York, ISBN 0-933676-37-9{{citation}}: CS1 maint: location missing publisher (link).
• Tunkel, Victor (2004), The Music of the Hebrew Bible – The Western Ashkenazi Tradition, Tymsder Publ., ISBN 978-0-9531104-8-3.
• Smith, Chani (2004), Learn to Leyn, The Cantillation of the Hebrew Bible, London{{citation}}: CS1 maint: location missing publisher (link) (with CD: western Ashkenazic melody).
• The Western Ashkenazi melody is also set out in the Hertz, Chumash.

• Hebrew Cantillation Marks And Their Encoding: gives full tables with the Unicode equivalent for each cantillation mark
• Mechon Mamre has the full text of the Tanakh with cantillation marks in Unicode here (which may be downloaded for free).
• Western Ashkenazi Torah mode, notated by Salomon Sulzer
• Torah Cantillation Analytics A guide to the exegesis of Torah Oral Law, by Zalman Z. Fisher

The recordings held at the Commons are organized by the Vayavinu Bamikra Project at Wikisource in the following languages:

• Hebrew (currently lists thousands of recordings of aliyot, haftarot, and megillot)
• English