View source for Hebrew cantillation

{{Short description|Jewish practice of reciting holy texts with specific pitch height for portions of the text}}
{{redirect|Trop|the mathematical notation|tropicalization}}
{{more footnotes needed|date=January 2017}}
{{Use American English|date = February 2019}}
{{Use mdy dates|date = February 2019}}
{{Hebrew cantillation|clps=yes}}
[[File:Example of biblical Hebrew trope.svg|thumb|350px|right|[[Book of Genesis|Genesis]] 1:9: ''And God said, "Let the waters be collected."''<br />'''Letters''' in black, '''<span style="color:#CC0000;">niqqud</span>''' ([[niqqud|vowel points]]) and '''<span style="color:#CC0000;">d'geshim</span>''' ([[gemination]] marks) in red, <span style="color:#0000CC;">'''cantillation'''</span> in blue.<br />Bare transliteration: ''wy‘mr ‘lhym yqww hmym.''<br />With accents: ''way-yōmer ĕlōhīm yiqqāwū ham-mayim.'']]
'''Hebrew cantillation''', '''trope''', '''trop''', or '''''te'amim''''' is the manner of [[chant]]ing ritual readings from the [[Hebrew Bible]] in [[synagogue]] [[Jewish services|services]]. The chants are written and notated in accordance with the special signs or marks printed in the [[Masoretic Text]] of the Bible, to complement the letters and [[Niqqud|vowel points]].

These marks are known in English as 'accents' ([[diacritic]]s), 'notes' or '''trope symbols''', and in [[Hebrew language|Hebrew]] as {{Transliteration|he|taʿamei ha-mikra}} ({{lang|he|טעמי המקרא}}) or just {{Transliteration|he|teʿamim}} ({{lang|he|טעמים}}).  Some of these signs were also sometimes used in medieval manuscripts of the [[Mishnah]].  The musical motifs associated with the signs are known in Hebrew as {{Transliteration|he|niggun}} or {{Transliteration|he|neginot}} (not to be confused with [[Hasidic Judaism|Hasidic]] [[nigun]]) and in [[Yiddish]] as '''{{Transliteration|yi|trop}}''' ({{lang|yi|טראָפּ}}): the word ''trope'' is sometimes used in [[Jewish English languages|Jewish English]] with the same meaning.

There are multiple traditions of cantillation. Within each tradition, there are multiple tropes, typically for different books of the Bible and often for different occasions. For example, different chants may be used for Torah readings on Rosh Hashana and Yom Kippur than for the same text on a normal Shabbat.

== History ==
Three systems of Hebrew punctuation (including vowels and cantillation symbols) have been used: the Babylonian, the Jerusalem, and the Tiberian, only the last of which is used today.

===Babylonian system===

Babylonian Biblical manuscripts from the [[Geonim|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''.<ref>In more than one tradition, the melodic outline of ''darga tevir'' is similar to that of {{Transliteration|he|(mahpach) pashta zaqef qaton}}, though their syntactical functions are not quite the same.</ref>  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.

=== Jerusalem system ===

The Babylonian system, as mentioned above, is mainly concerned with showing breaks in the verse.  Early manuscripts from Judaea and Galilee, 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 [[Targum]]im rather than original text, the Tiberian symbols have been added by a later hand.  In general, it may be observed that the Jerusalem 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 language|Syriac]] texts.<ref>[[Segal, J. B.]], ''The Diacritical Point and the Accents in Syriac'': Oxford 1953, repr. 2003 {{ISBN|1-59333-032-4}}, {{ISBN|978-1-59333-032-3}}.</ref>  Kahle<ref>''Masoreten des Westens''.</ref> also notes some similarity with the punctuation of [[Samaritan Hebrew]].

=== Tiberian system ===

By the tenth century CE, the chant in use in [[Jund Filastin|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 
''דִּקְדּוּקֵי־הַטְּעָמִים'', ''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 [[neume]]s. This system of [[cheironomy]] survives in some communities to the present day, notably in [[Italian Jews#Italian rite Jews|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 Judaism|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.

===Different systems for different sets of books===
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 [[Book of Psalms|Psalms]], [[Book of Proverbs|Proverbs]] and [[Book of Job|Job]].  Except where otherwise stated, this article describes the "prose" system.

==Traditional roots==
The current system of cantillation notes has its historical roots in the Tiberian [[Masoretic Text|masorah]]. The cantillation signs are included in [[Unicode]] as characters U+0591 through U+05AF in the [[Hebrew (Unicode block)|Hebrew]] block.

===Different naming according to rites===
The names of some of the cantillation signs differ in the [[Ashkenazi Jews|Ashkenazi]], [[Sephardi Jews|Sephardi]], [[Italian Jews#Italian rite Jews|Italian]] and [[Yemenite Jews|Yemenite]] traditions; for example Sephardim use ''qadma'' to mean what Ashkenazim call ''pashta'', and ''azla'' to mean what Ashkenazim call ''qadma''.<ref>Technically, ''qadma''/''azla'' before ''gerish'' is a different sign from ''qadma'' before other disjunctives, even though they look identical. Sephardim reserve ''azla'' for the first of these: the second is ''qadma meḥabber''.</ref> In this article, as in almost all Hebrew grammars, the Ashkenazi terminology is used.  The names in other traditions are shown in the table [[#Names in different traditions|below]].

==Purpose==

===Synagogue use===
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 [[Hazzan|cantorial]] styles.

===Explanation to text===
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.<ref>{{cite book |last1=Jacobson |first1=Joshua |title="CHAPTER ONE CANTILLATION." Chanting the Hebrew Bible |date=2017 |publisher=The Jewish Publication Society |location=Web |page=2 |edition=Second, Expanded}}</ref>

==Functions of cantillation signs in explanation of text==

The cantillation signs serve three functions:

{| class="wikitable"
|+Functions
!Function
!Description
|-
| Syntax
| They divide biblical verses into smaller units of meaning, a function which also gives them a limited but sometimes important role as a source for [[Exegesis#Judaism|exegesis]].  This function is accomplished through the use of various conjunctive signs (which indicate that words should be connected in a single phrase) and especially a hierarchy of dividing signs of various strength which divide each verse into smaller phrases.  The function of the disjunctive cantillation signs may be roughly compared to modern punctuation signs such as periods, commas, semicolons, etc.
|-
| Phonetics
| Most of the cantillation signs indicate the specific syllable where the stress (accent) falls in the pronunciation of a word.
|-
| Music
| The cantillation signs have musical value: reading the [[Hebrew Bible]] with cantillation becomes a musical chant, where the music itself serves as a tool to emphasise the proper accentuation and syntax (as mentioned previously).
|}

===Syntax===
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.

#The first level, known as "Emperors", includes ''[[sof pasuq|sof pasuk]]'' / ''siluk'', marking the end of the verse, and ''atnach'' / ''[[etnachta]]'', marking the middle.
#The second level is known as "Kings". The usual second level disjunctive is ''[[zakef katan|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 (trope)|segol]]'': when it occurs on its own, this may be replaced by ''[[shalshelet]]''.
#The third level is known as "Dukes". The usual third level disjunctive is ''[[revia (cantillation)|revia]]''.  For musical reasons, this is replaced by ''[[Zarka (trope)|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''.
#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]]'', {{Transliteration|he|munach legarmeh}} and ''qarne farah''.

The general conjunctive is ''[[munach]]''. Depending on which disjunctive follows, this may be replaced by ''[[mercha]]'', ''[[mahpach]]'', ''[[darga]]'', ''[[Kadma (trope)|qadma]]'', {{Transliteration|he|[[telisha ketana|telisha qetannah]]}} or ''[[yerach ben yomo]]''.

One other symbol is ''[[mercha kefula]]h'', 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]]'' ([http://kjv.biblebrowser.com/isaiah/40-3.htm Isaiah 40:3]) is translated in the [[King James Version of the Bible|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.{{Citation needed|date=June 2010}} 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 of America Version|New Jewish Publication Society Version]] has "A voice rings out: 'Clear in the desert a road for the {{LORD}}'."

===Phonetics===
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).

===Music===
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 language|Yiddish]] the word is ''leynen'' 'read', derived from Latin ''legere'', giving rise to the [[Jewish English languages|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).
**The melody used by Ashkenazic Jews in Italy.<ref>See the recording on the website of the [https://www.nli.org.il/he/items/NNL_MUSIC_AL000221800/NLI National Library of Israel]; Torah reading begins at about 9:15, and it is followed by Haftarah.</ref>
*Among [[Sephardi Jews|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 Jews|Syrian]] and [[History of the Jews in Egypt|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 [[History of the Jews in Iraq|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.<ref>Specimens of both may be found [https://web.archive.org/web/20130129170812/http://hazzan.qpon.co.il/Front/Multimedia/albom.asp?mBoundary=11371&aType=3 here]. It is possible that the Mosul melody represents the older Iraqi tradition and that the Baghdad melody was imported from Syria following the appointment of Chief Rabbi Sadka Bekhor Hussein in 1743.</ref>
**The [[Moroccan cantillation|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 Jews#Cantillation|Spanish and Portuguese melody]] is in common use in the [[Spanish and Portuguese Jews|Spanish and Portuguese Sephardi]] communities of [[Jewish community of Livorno|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 Jews#Italian rite Jews|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 Jews|Romaniote]] style of cantillation is used today in [[Greece]], Israel, and New York and is rooted in the Byzantine [[Byzantine music|tradition]]<ref>Ross, M. S., Europäisches Zentrum für Jüdische Musik, CD-Projekt: "Synagogale Musik der romaniotischen Juden Griechenlands" -ongoing/2016-</ref>
*The [[Yemenite Jews|Yemenite]] melody can be heard in Israel primarily, but also in some American cities.<ref>[http://jewishyemenites.com/JY_synog.html Yemenite Synagogues in America]</ref>
*There is also a Persian Jewish melody for the Torah and a very distinct melody for the Haftarah.

====Reconstructed melody====
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. Some musicologists have rejected her results as dubious and her methodology as flawed.<ref>Dalia Cohen and Daniel Weill. "Progress in Deductive Research on the Original Performance of Tiberian Accents (Te'amim)." ''Proceedings of the Ninth World Conference of Jewish Studies'', Division D, Vol. II (Jerusalem, 1986): 265–80; cf. also, e.g., the review by P.T. Daniels, ''Journal of the American Oriental Society'', Vol. 112, No. 3 (Jul.–Sep., 1992), p. 499.</ref> A similar reconstructive proposal was developed by American composer and pianist {{ill|Jeffrey Burns|de}} and posthumously published in 2011.<ref>Jeffrey Burns, ''The Music of Psalms, Proverbs and Job in the Hebrew Bible'' (''Jüdische Musik'' 9), Wiesbaden: Otto Harrassowitz, 2011, {{ISBN|344706191X}}.</ref>

==Traditional melodies==

===Ashkenazic melodies===
{{Inline audio|section}}
In the Ashkenazic musical tradition for Te'raim, each of the local geographical customs includes a total of ''six'' major and numerous minor separate melodies for Tera'im:
*Torah and [[Haftarah|Haftarot]] (3 melodies)
*# Torah (general melody for the whole year) {{Audio-nohelp|Cantillation Example Torah Ashkenazi.ogg|Example}}
*# Torah – special melody for [[Rosh Hashanah]] and [[Yom Kippur]]. 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), ''[[Song of the sea|Az Yashir]]'' (Song of the Sea), and the list of Masa'ot.
*#*In all Torah modes, there is a "[[Coda (music)|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!).
*# Haftarot {{Audio-nohelp|Cantillation Example Haftarah Ashkenazi.ogg|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){{ordered list
| start = 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 [[Chapters and verses of the Bible|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 {{Script/Hebrew|סוס}} ([[horse]]) with a [[wiktionary:neigh|neighing]] sound, not indicated by the cantillation.{{Citation needed|date=March 2025}}|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. {{Audio-nohelp|Cantillation Example Lamentations Ashkenazi.ogg|Example}}|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]]; [[Book of Ruth|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 [[Yeshivat Aderet Eliyahu|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.{{citation needed|date=May 2010}}

===Sephardic and Eastern melodies===

At the beginning of the twentieth century there was a single Ottoman-Sephardic tradition (no doubt with local variations) covering Turkey, Syria, Israel and Egypt.<ref>The tables in the 1905 [[Jewish Encyclopedia]] article on cantillation sets out a single melody for "Syria and Egypt".</ref>  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 [[Weekly Maqam#Maqam Sigah|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 Judaism|Karaite]] tradition, being based on the Egyptian, also forms part of this group.<ref>{{usurped|1=[https://web.archive.org/web/20080319091435/http://www.orahsaddiqim.org/Liturgy/Cantillation.shtml Article title]}} and recordings by Moshe Dabbah on http://pizmonim.org/.</ref>

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 Raj|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.<ref>These are listed in Rodrigues Pereira,'' 'Hochmat Shelomo''.</ref>  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''.<ref>Syrian Jews have a tradition of prolonging ''tarcha'' (''tifcha'') in certain verses, largely coinciding with those which Spanish and Portuguese Jews recite in High Na'um. For details, see the http://www.pizmonim.org website, under the tab "Torah readings".</ref>  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 [[Tisha B'Av|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 melodies===
Yemenite cantillation has a total of eight distinctive motifs, falling within four main patterns:
*{{Transliteration|he|molikh}} ('moving') used for the conjunctives and some minor disjunctives
*{{Transliteration|he|mafsik}} ('pausing') for most third level disjunctives
*{{Transliteration|he|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|Babylonian system]], which also recognised only eight types of disjunctive and no conjunctives.

===Learning melodies===

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.<ref>{{Cite web |url=http://yemenite.org/shishi/shishi.htm |title=ששי לפי סדר הפרשיות טקסט+שמע |access-date=April 25, 2008 |archive-url=https://web.archive.org/web/20080423044424/http://yemenite.org/shishi/shishi.htm |archive-date=April 23, 2008 |url-status=dead |df=mdy-all }}</ref> The simplified melody is also used for the reading of the [[Targum]], which is generally performed by a young boy.

Conversely, the [[Syrian Jews|Syrian]] community knows two types of Torah cantillation, a simpler one for general use and a more elaborate one used by professional [[hazzan]]im.<ref>Compare the distinction between the [[murattal]] and [[mujawwad]] modes of [[Quran recitation]].</ref> 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,<ref>https://chazzanut-esnoga.org/Miscellaneous/Neginoth/parasha_and_haftarah.htm, seventh bullet point and links there shown.</ref> have a simplified melody for the [[Nevi'im|Prophets]] for study purposes, distinct from that used in reading the [[Haftarah]]: the distinction is mentioned in one medieval Sephardic source.<ref>The article on "Cantillation" in the [[Jewish Encyclopedia]] shows tunes for "Prophets (other readings)" for both the Western Sephardi and the Baghdadi traditions.</ref>

==Names and shapes of the te'amim==

===Names in different traditions===

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 these fonts installed by default in Microsoft Office:
*: ''Times New Roman'', ''Arial'', ''Gisha'', ''Microsoft Sans Serif'', ''Courier New''
* Additional fonts with support for cantillation marks can be found at the Culmus project in the Taamey Culmus section,<ref>[https://culmus.sourceforge.io/taamim/index.html The Culmus Project - Taamey Culmus]</ref> which includes the following fonts:
*: ''Taamey Frank CLM'', ''Taamey Ashkenaz'', ''Shofar'', ''Taamey David CLM'', ''Keter Aram Tsova'', ''Keter YG''
* Some further fonts with support for cantillation marks include:
*: ''Cardo'',<ref>[https://fonts.google.com/specimen/Cardo Cardo - Google Fonts]</ref> ''Ezra SIL'',<ref>[https://software.sil.org/ezra/ Ezra SIL - SIL Language Technology]</ref> ''SBL BibLit'',<ref name="sbl-site.org">[https://www.sbl-site.org/resources/fonts/ Fonts - Society of Biblical Literature]</ref> ''SBL Hebrew'',<ref name="sbl-site.org"/> ''Taamey D'',<ref>[https://github.com/bdenckla/Taamey_D Taamey D font]</ref> ''Code2000''<ref>{{cite web | url=https://www.code2001.com/code2000_page.htm | title=Download Code2000 }}</ref>
* 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.

{| class="wikitable" width="100%" style="text-align:center"
|-
! scope="col" style="width: 12%;" | Name
! scope="col" style="width: 12%;" | Symbol
! scope="col" style="width: 12%;" | Unicode
! scope="col" style="width: 22%;" | Ashkenazi
! scope="col" style="width: 22%;" | Sephardi
! scope="col" style="width: 22%;" | Italian
|-
! scope="row" | [[Sof passuk]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב ׃}}
| U+05C3
| {{Script/Hebrew|size=xx-large|style=line-height:normal|סוֹף פָּסֽוּק}}<br />Sof pasuq
| {{Script/Hebrew|size=xx-large|style=line-height:normal|סוֹף פָּסֽוּק}}<br />Sof pasuq
| {{Script/Hebrew|size=xx-large|style=line-height:normal|סוֹף פָּסֽוּק}}<br />Sof pasuq
|-
! scope="row" | [[Etnachta]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֑}}
| U+0591
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אֶתְנַחְתָּ֑א}}<br />Etnachta
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אַתְנָ֑ח}}<br />Atnach
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אַתְנָ֑ח}}<br />Atnach
|-
! scope="row" | [[Segol (trope)|Segol]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֒}}
| U+0592
| {{Script/Hebrew|size=xx-large|style=line-height:normal|סֶגּוֹל֒}}<br />Segol
| {{Script/Hebrew|size=xx-large|style=line-height:normal|סְגוֹלְתָּא֒}}<br />Segolta
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שְׁרֵי֒}}<br />Shere
|-
! scope="row" | [[Shalshelet]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֓}}
| U+0593
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שַׁלְשֶׁ֓לֶת}}<br />Shalshelet
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שַׁלְשֶׁ֓לֶת}}<br />Shalshelet
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שַׁלְשֶׁ֓לֶת}}<br />Shalshelet
|-
! scope="row" | [[Zakef katan]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֔}}
| U+0594
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף קָטָ֔ן}}<br />Zaqef Qatan
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף קָט֔וֹן}}<br />Zaqef Qaton
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף קָט֔וֹן}}<br />Zaqef Qaton
|-
! scope="row" | [[Zakef gadol]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֕}}
| U+0595
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף גָּד֕וֹל}}<br />Zaqef Gadol
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף גָּד֕וֹל}}<br />Zaqef Gadol
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זָקֵף גָּד֕וֹל}}<br />Zaqef Gadol
|-
! scope="row" | [[Tifcha]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֖}}
| U+0596
| {{Script/Hebrew|size=xx-large|style=line-height:normal|טִפְחָ֖א}}<br />Tifcha
| {{Script/Hebrew|size=xx-large|style=line-height:normal|טַרְחָ֖א}}<br />Tarcha
| {{Script/Hebrew|size=xx-large|style=line-height:normal|טַרְחָ֖א}}<br />Tarcha
|-
! scope="row" | [[Revia (Hebrew cantillation mark)|Revia]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֗}}
| U+0597
| {{Script/Hebrew|size=xx-large|style=line-height:normal|רְבִ֗יעַ}}<br />Revia
| {{Script/Hebrew|size=xx-large|style=line-height:normal|רָבִ֗יעַ}}<br />Ravia
| {{Script/Hebrew|size=xx-large|style=line-height:normal|רְבִ֗יעַ}}<br />Revia
|-
! scope="row" | [[Zarka (trope)|Zarka]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֮}}
| U+05AE<ref name="TN27">''Zarqa''/''tsinnor'' and ''tsinnorit'' marks are wrongly named in Unicode. To encode a ''zarqa''/''tsinnor'', use Unicode "HEBREW ACCENT ZINOR" (U+05AE), and to encode a ''tsinnorit'' use "HEBREW ACCENT ZARQA" (U+0598). See [https://www.unicode.org/notes/tn27/ Unicode Technical Note #27: "Known Anomalies in Unicode Character Names"], and specially [https://www.unicode.org/notes/tn27/#Appendix_A Appendix A] inside it.</ref>
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זַרְקָא֮}}<br />Zarqa
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זַרְקָא֮}}<br />Zarqa
| {{Script/Hebrew|size=xx-large|style=line-height:normal|זַרְקָא֮}}<br />Zarqa
|-
! scope="row" | [[Pashta]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֙}}
| U+0599
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פַּשְׁטָא֙}}<br />Pashta
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַדְמָא֙}}<br />Qadma
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פַּשְׁטָא֙}}<br />Pashta
|-
! scope="row" | Shene pashtin
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֨}}{{Script/Hebrew|size=300%|style=line-height:1.35|ב֙}}
| U+0599, U+05A8
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שְׁנֵ֨י פַּשְׁטִין֙}}<br />Shene pashtin
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּרֵ֨י קַדְמִין֙}}<br />Tere qadmin
| {{Script/Hebrew|size=xx-large|style=line-height:normal|(שְׁנֵי) פַּ֨שְׁטִין֙}}<br />(Shene) pashtin
|-
! scope="row" | [[Yetiv]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֚}}
| U+059A
| {{Script/Hebrew|size=xx-large|style=line-height:normal|יְ֚תִיב}}<br />Yetiv
| {{Script/Hebrew|size=xx-large|style=line-height:normal|(שׁוֹפָר) יְ֚תִיב}}<br />(Shofar) yetiv
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שׁ֚וֹפָר יְתִיב}}<br />Shofar yetiv
|-
! scope="row" | [[Tevir]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֛}}
| U+059B
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּבִ֛יר}}<br />Tevir
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּבִ֛יר}}<br />Tevir
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּבִ֛יר}}<br />Tevir
|-
! scope="row" | [[Pazer]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֡}}
| U+05A1
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פָּזֵ֡ר}}<br />Pazer
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פָּזֶר גָּד֡וֹל}}<br />Pazer gadol
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פָּזֶר גָּד֡וֹל}}<br />Pazer gadol
|-
! scope="row" | [[Karne parah|Qarne farah]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֟}}
| U+059F
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַרְנֵי פָרָ֟ה}}<br />Qarne farah
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַרְנֵי פָרָ֟ה}}<br />Qarne farah
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַרְנֵי פָרָ֟ה}}<br />Qarne farah
|-
! scope="row" | [[Telisha gedola]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֠}}
| U+05A0
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּ֠לִישָא גְדוֹלָה}}<br />Telisha gedolah
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תַּ֠לְשָׁא}}<br />Talsha
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תִּ֠רְצָה}}<br />Tirtzah
|-
! scope="row" | [[Geresh (trope)|Geresh]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֜}}
| U+059C
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אַזְלָא-{{Script/Hebrew|size=xx-large|style=line-height:normal|גֵּ֜רֵשׁ}}}}<br />Azla Geresh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|גְּרִ֜ישׁ}}<br />Gerish
| {{Script/Hebrew|size=xx-large|style=line-height:normal|גֵּ֜רֵשׁ}}<br />Geresh
|-
! scope="row" | [[Gershayim (trope)|Gershayim]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֞}}
| U+059E
| {{Script/Hebrew|size=xx-large|style=line-height:normal|גֵּרְשַׁ֞יִם}}<br />Gershayim
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שְׁנֵי גְרִישִׁ֞ין}}<br />Shene gerishin
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שְׁנֵי גְרֵישִׁ֞ין}}<br />Shene ghereshin
|-
! scope="row" | [[Paseq]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב׀}}
| U+05C0
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מֻנַּח לְגַרְמֵ֣הּ׀}}<br />Munach legarmeh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|פָּסֵ֣ק׀}}<br />Paseq
| {{Script/Hebrew|size=xx-large|style=line-height:normal|לְגַרְמֵ֣הּ׀}}<br />Legarmeh
|-
! scope="row" | [[Mercha]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֥}}
| U+05A5
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מֵרְכָ֥א}}<br />Merkha
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מַאֲרִ֥יךְ}}<br />Maarikh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מַאֲרִ֥יךְ}}<br />Maarikh
|-
! scope="row" | [[Munach]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֣}}
| U+05A3
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מֻנַּ֣ח}}<br />Munach
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שׁוֹפָר הוֹלֵ֣ךְ}}<br />Shofar holekh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שׁוֹפָר עִלּ֣וּי}}<br />Shofar 'illui
|-
! scope="row" | [[Mahpach]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֤}}
| U+05A4
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מַהְפַּ֤ך}}<br />Mahpakh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|&rlm;(שׁוֹפָר) מְהֻפָּ֤ךְ}}<br />(Shofar) mehuppakh
| {{Script/Hebrew|size=xx-large|style=line-height:normal|שׁוֹפָר הָפ֤וּךְ}}<br />Shofar hafukh
|-
! scope="row" | [[Darga]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֧}}
| U+05A7
| {{Script/Hebrew|size=xx-large|style=line-height:normal|דַּרְגָּ֧א}}<br />Darga
| {{Script/Hebrew|size=xx-large|style=line-height:normal|דַּרְגָּ֧א}}<br />Darga
| {{Script/Hebrew|size=xx-large|style=line-height:normal|דַּרְגָּ֧א}}<br />Darga
|-
! scope="row" | [[Kadma (trope)|Kadma]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֨}}
| U+05A8
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַדְמָ֨א}}<br />Qadma
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אַזְלָ֨א}}<br />Azla<ref>It is called ''azla'' before ''gerish'' and ''qadma meḥabber'' in all other positions.</ref>
| {{Script/Hebrew|size=xx-large|style=line-height:normal|קַדְמָ֨א}}<br />Qadma
|-
! scope="row" | [[Telisha ketana]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֩}}
| U+05A9
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּלִישָא קְטַנָּה֩ }}<br />Telisha qetannah
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תַּלְשָׁא֩}}<br />Talsha
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תַּרְסָא֩}}<br />Tarsa
|-
! scope="row" | [[Mercha kefula]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֦}}
| U+05A6
| {{Script/Hebrew|size=xx-large|style=line-height:normal|מֵרְכָא כְּפוּלָ֦ה}}<br />Merekha kefula
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּרֵי טַעֲמֵ֦י}}<br />Tere taame
| {{Script/Hebrew|size=xx-large|style=line-height:normal|תְּרֵין חוּטְרִ֦ין}}<br />Teren chutrin
|-
! scope="row" | [[Yerach ben yomo]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֪}}
| U+05AA
| {{Script/Hebrew|size=xx-large|style=line-height:normal|יֶרַח בֶּן יוֹמ֪וֹ}}<br />Yerach ben yomo
| {{Script/Hebrew|size=xx-large|style=line-height:normal|יָרֵחַ בֶּן יוֹמ֪וֹ}}<br />Yareach ben yomo
| {{Script/Hebrew|size=xx-large|style=line-height:normal|יֶרַח בֶּן יוֹמ֪וֹ}}<br />Yerach ben yomo
|}

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

{| class="wikitable" style="text-align:center; line-height:1"
|-
! scope="col" | Name
! scope="col" | Symbol
! scope="col" | Unicode
! scope="col" | Hebrew name in Unicode
|-
! scope="row" | Geresh muqdam
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֝}}
| U+059D
| {{Script/Hebrew|size=xx-large|style=line-height:normal|גֵּרֵשׁ מֻקְדָּם֝}}
|-
! scope="row" | Atnach hafukh
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֢}}
| U+05A2
| {{Script/Hebrew|size=xx-large|style=line-height:normal|אֶתְנָח הָפוּךְ֢}}
|-
! scope="row" | [[Ole (cantillation)|Ole]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֫}}
| U+05AB
| {{Script/Hebrew|size=xx-large|style=line-height:normal|עוֹלֶה֫}}
|-
! scope="row" | [[Illuy (cantillation)|Illuy]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֬}}
| U+05AC
| {{Script/Hebrew|size=xx-large|style=line-height:normal|עִלּוּי֬}}
|-
! scope="row" | Dechi
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֭}}
| U+05AD
| {{Script/Hebrew|size=xx-large|style=line-height:normal|דֶּחִי֭}}
|-
! scope="row" | [[Tsinnorit]]
| {{Script/Hebrew|size=300%|style=line-height:1.35|ב֘}}
| U+0598<ref name="TN27"/>
| {{Script/Hebrew|size=xx-large|style=line-height:normal|צִנּוֹרִת֘}}
|}

===''Zarqa'' tables===

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 (Judaism)|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.

====Ashkenazic====
[[File:TAMI MIKRA ASHKENAZ.svg|center|thumb|580px]]

====Sephardic====
[[File:TAMI MIKRA MIZRAH.png|center|thumb|580px]]<!-- The sign for sof passuk, two vertical diamond-like marks, is missing at the end of the above graphic. -->

===Meanings of the names===
;Azla:"Going away", because it is often the end of the phrase 'Qadma ve'Azla' (lit. "go forward and depart", "start and leave", perhaps for its sound).
;Darga:"stairstep" from its shape or sound.
;Etnaḥta/Atnaḥ:"Pause", "rest", because it is the primary break in a verse, marked by a short pause. Because etnaḥta marks the halfway point in a verse, citing biblical verses, particularly in the poetic sections, some scholars will refer to everything up to the etnaḥta as "a", and everything after as "b" (example: Genesis 1:1a).
;[[Geresh (trope)|Azla Geresh/Geresh]]:"Azla divorced" (if called "azla geresh") or "Expulsion, divorce" (if called just "geresh").  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 and tune.
;Mahpakh:"Turning round".  Originally written like a sideways U, like a U turn.  In printed books, it has a V shape, possibly because that was easier for the early printers to make.  In Sephardi communities it is called ''shofar mehuppach'', "reversed horn", either because of the above reason, or because it faces the other way from ''shofar holekh'' (''munakh'').
;Merkha/Ma'arikh:"Lengthener", because it prolongs the word that follows.  In modern usage it is sometimes translated as "comma", but this usage is taken from the cantillation's appearance, and is misleading because merkha is conjunctive, whereas a comma marks a break.
;[[Merkha kefula|Merkha-kefulah/Tere Ta`ameh]]:"Kefulah" means "doubled", because it looks like two adjacent {{Transliteration|he|italic=no|merkhas}}; alternatively, "Tere" means "two", because it looks like two adjacent Ma`arikhs.  There are only five occurrences in the whole Torah: Gen. 27:25, Ex. 5:15, Lev. 10:1, Num. 14:3, and Num. 32:42.
;[[Munach|Munakh/Shophar Holekh]]:"Resting", because it is shaped like a horn lying on its side.:In Sephardi communities it is called ''shofar holekh'', "going-horn", because it appears as a horn, and makes the word it appears under "go" into the following word (i.e., it has the grammatical function of making the word secondary to the following one).:{{Transliteration|he|Munakh legarmeh}} "''munakh'' by itself" is a disjunctive, used mainly before ''revia'', but occasionally before a pazer.  It may be distinguished from ordinary ''munakh'' by the dividing line ({{Transliteration|he|pesiq}}) following the word.
;Pashta:"Stretching out", because its shape is an abstraction of a hand stretched forward.
;Pazer:"Lavish" or "strewn", because it has a complex tune with many notes.:In Sephardi communities, its called ''Pazer Gadol'', meaning "great Pazer", for the same reason.
;Qadma:"precede", "before", "prior [one]", "going forward", "starting";  Always occurs at the beginning of a phrase (often before other conjunctives) with a shape like a hand leaning forward, identical to Pashta (see above).  In particular it is the first member of the ''Qadma ve-Azla'' pair (see Azla, above).
;Rebhiya`/Rabhiya`: Usually Aramaic for "fourth [in a sequence]", for obscure reasons. Likely due to its four-note tune.: Some Ashkenazi Jews call it "revi'i" by a process of [[folk etymology]]. Since in many printings it appears as a diamond-shape above the word, folk etymology associates "revi'a" with "ravua", meaning "square". In some printings it appears as a solid circle. A more likely explanation is that it is from the Aramaic for "crouching", referring to its position vertically above the word and its descending tone.<ref>Lier, Gudrun, "The Revia in the Context of Decoding Masoretic Accents", Journal of Semitics, 2011, Vol 21/1, pp. 28-51.</ref>
;Segol:"grape-bunch" (from its shape, which looks like a [[bunch of grapes]]), not to be confused with the vowel of the same name, which appears beneath a letter, whereas this appears above. The cantillation mark is an inversion of the vowel.
;[[Shalshelet]]:"Chain", either from its appearance or because it is a long chain of notes.  There are only four occurrences in the whole Torah: Gen. 19:16, 24:12, 39:8, and Lev. 8:23.
;[[Sof Passuk|Sof Pasuk]]:"End [of] verse": The last note of every verse, sometimes called ''silluq'' (taking leave).
;{{Transliteration|he|italic=no|Telisha Gedolah/Qetannah}}: "Detached" because they are never linked to the following note as one musical phrase. Gedolah = great (long); {{Transliteration|he|italic=no|Qetannah}} = small (short);<ref>In the Sephardic tradition, both are equally referred to as ''talsha'' and the melodies are frequently confused.  When it is desired to refer unambiguously to {{Transliteration|he|telisha qetannah}} (the conjunctive), terms such as ''talsa'' or ''tilsa'' are used, on the analogy with the distinction between the letters ''shin'' and ''sin'' (the ''sin'' has a dot on the left and {{Transliteration|he|telisha qetannah}} appears on the left of the word); another term used for both accents is ''tirtzah''.  Which term is used for which accent varies among communities and even among individuals.</ref>: Sephardim have different names for each of the two: ''Telisha Qetannah'' is called ''Tarsa''; ''Telisha Gedolah'' is called ''Talshah'', also meaning "Detached".:
;Tevir:"broken", "downward tumble", because of its tune. Frequently paired with darga.
;[[Tifcha|Tifqha/Tarqha]]:"Diagonal", or "hand-breadth".  Originally drawn 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.<ref>In Sephardic and Oriental communities it is called ''tarḥa'', meaning "dragging" or "effort".  Hence the [[proverbial phrase]] "after ''tarḥa'', ''atnaḥ''", after effort comes rest: see the series of puns in the poem on [http://pizmonim.org/text/PAGE%2099-II.pdf pp. 99-100, ''Shir u-Shbaḥah Hallel ve-Zimrah''] {{webarchive|url=https://web.archive.org/web/20110719054230/http://pizmonim.org/text/PAGE%2099-II.pdf |date=2011-07-19 }}.</ref>:Sephardim call it ''Tarqha'', meaning "dragging", due to its tune, and possibly its grammatical function.:
;Yetibh:Short for ''Shofar yetibh'', "Resting horn" or "sitting horn", probably because of its shape of a horn sitting upright.:
;Zaqef Qaton/Gadol:"Upright/erect", from their vertical shape, or from their grammatical function to separate a phrase whatever follows.:''Zaqef Gadol'' = great ''Zaqef'', named so for its longer tune and because it more strongly separates the word as its own phrase.:''Zaqef Qatton'' = small ''Zaqef'', named so for its relatively shorter tune and weaker grammatical function as compared to ''Zaqef Gadol''.:
;Zarqa:"Scatterer", because of its complex tune of a scattering of notes.

Verse 90 of Parashat Mas`ei (Numbers 35 verse 5) contains the following two notes, found nowhere else in the Torah:
;Qarne Farah:"Horns of a cow" named so because it resembles the horns of a cow.:
;Yerach ben Yomo:"Moon of its day" [i.e. day-old moon] because it looks like a crescent moon; sometimes called ''galgal'' (circle).

==Sequences==
The rules governing the sequence of cantillation marks are as follows.
#A verse is divided into two half verses, the first ending with, and governed by, ''etnachta'', and the second ending with, and governed by, ''sof pasuk''.  A very short verse may have no ''etnachta'' and be governed by ''sof pasuk'' alone.
#A half verse may be divided into two or more phrases marked off by second-level disjunctives.
#A second-level phrase may be divided into two or more sub-phrases marked off by third-level disjunctives.
#A third-level phrase may be divided into two or more sub-phrases marked off by fourth-level disjunctives.
#The last subdivision within a phrase must always be constituted by a disjunctive one level down, chosen to fit the disjunctive governing the phrase and called (in the Table below) its "near companion".  Thus, a disjunctive may be preceded by a disjunctive of its own or a higher level, or by its near companion, but not by any other disjunctive of a lower level than its own.
#The other subdivisions within a phrase are constituted by the "default" disjunctive for the next lower level (the "remote companion").
#Any disjunctive may or may not be preceded by one or more conjunctives, varying with the disjunctive in question.
#A disjunctive constituting a phrase on its own (i.e. not preceded by either a near companion or a conjunctive) may be substituted by a stronger disjunctive of the same level, called in the Table the "equivalent isolated disjunctive".

{| width="100%" border="0"
|-
| style="border:2px solid #ccccff;text-align:center;" | Main disjunctive
| style="border:2px solid #ccccff;text-align:center;" | Preceding<br /> conjunctive(s)
| style="border:2px solid #ccccff;text-align:center;" | Nearest preceding lower level<br /> disjunctive ("near companion")
| style="border:2px solid #ccccff;text-align:center;" | Other lower level disjunctives<br /> ("remote companion")
| style="border:2px solid #ccccff;text-align:center;" | Equivalent isolated<br /> disjunctive
|-
|'''First level disjunctives'''
|-
| style="border:1px solid #ccccff;text-align:center;" | Sof pasuk
| style="border:1px solid #ccccff;text-align:center;" | Mercha
| style="border:1px solid #ccccff;text-align:center;" | Tifcha
| style="border:1px solid #ccccff;text-align:center;" | {{Transliteration|he|italic=no|Zaqef qaton}}
|-
| style="border:1px solid #ccccff;text-align:center;" | Etnachta
| style="border:1px solid #ccccff;text-align:center;" | Munach
| style="border:1px solid #ccccff;text-align:center;" | Tifcha
| style="border:1px solid #ccccff;text-align:center;" | {{Transliteration|he|italic=no|Zaqef qaton}}
|-
|'''Second level disjunctives'''
|-
| style="border:1px solid #ccccff;text-align:center;" | Segol
| style="border:1px solid #ccccff;text-align:center;" | Munach
| style="border:1px solid #ccccff;text-align:center;" | Zarqa
| style="border:1px solid #ccccff;text-align:center;" | Revia
| style="border:1px solid #ccccff;text-align:center;" | Shalshelet
|-
| style="border:1px solid #ccccff;text-align:center;" | {{Transliteration|he|italic=no|Zaqef qaton}}
| style="border:1px solid #ccccff;text-align:center;" | Munach
| style="border:1px solid #ccccff;text-align:center;" | Pashta
| style="border:1px solid #ccccff;text-align:center;" | Revia
| style="border:1px solid #ccccff;text-align:center;" | Zaqef gadol
|-
| style="border:1px solid #ccccff;text-align:center;" | Tifcha
| style="border:1px solid #ccccff;text-align:center;" | Mercha;<br /> Darga Mercha-kefulah
| style="border:1px solid #ccccff;text-align:center;" | Tevir
| style="border:1px solid #ccccff;text-align:center;" | Revia
|-
|'''Third level disjunctives'''
|-
| style="border:1px solid #ccccff;text-align:center;" | Revia
| style="border:1px solid #ccccff;text-align:center;" | Munach;<br /> Darga Munach
| style="border:1px solid #ccccff;text-align:center;" | {{Transliteration|he|italic=no|Munach legarmeh}}
| style="border:1px solid #ccccff;text-align:center;" | Geresh, Telisha gedolah, Pazer
|-
| style="border:1px solid #ccccff;text-align:center;" | Zarqa
| style="border:1px solid #ccccff;text-align:center;" | Munach or Mercha;<br /> Qadma Munach or Qadma Mercha
| style="border:1px solid #ccccff;text-align:center;" | Geresh/Azla/Gershayim
| style="border:1px solid #ccccff;text-align:center;" | Telisha gedolah, Pazer
|-
| style="border:1px solid #ccccff;text-align:center;" | Pashta
| style="border:1px solid #ccccff;text-align:center;" | Mahpach;<br /> Qadma Mahpach<br /> (occasionally Mercha or Qadma Mercha)
| style="border:1px solid #ccccff;text-align:center;" | Geresh/Azla/Gershayim
| style="border:1px solid #ccccff;text-align:center;" | Telisha gedolah, Pazer
| style="border:1px solid #ccccff;text-align:center;" | Yetiv
|-
| style="border:1px solid #ccccff;text-align:center;" | Tevir
| style="border:1px solid #ccccff;text-align:center;" | Mercha or Darga;<br /> Qadma Mercha or<br /> Qadma Darga
| style="border:1px solid #ccccff;text-align:center;" | Geresh/Azla/Gershayim
| style="border:1px solid #ccccff;text-align:center;" | Telisha gedolah, Pazer
|-
|'''Fourth level disjunctives'''
|-
| style="border:1px solid #ccccff;text-align:center;" | Geresh/Azla
| style="border:1px solid #ccccff;text-align:center;" | Qadma;<br />{{Transliteration|he|italic=no|Telisha qetannah Qadma}}
| style="border:1px solid #ccccff;text-align:center;" | <br />
| style="border:1px solid #ccccff;text-align:center;" | <br />
| style="border:1px solid #ccccff;text-align:center;" | Gershayim
|-
| style="border:1px solid #ccccff;text-align:center;" | Telisha gedolah
| style="border:1px solid #ccccff;text-align:center;" | Munach
|-
| style="border:1px solid #ccccff;text-align:center;" | Pazer
| style="border:1px solid #ccccff;text-align:center;" | Munach
|-
| style="border:1px solid #ccccff;text-align:center;" | Qarne farah
| style="border:1px solid #ccccff;text-align:center;" | Yerach ben yomo
|}

=== Groups ===
The following sequences are commonly found:

==== First-level phrases ====
;<nowiki>(Mercha) Tifcha (Mercha) Sof-Pasuk [Sephardic: Ma׳ariqh Tarqha Ma׳ariqh Sof-Pasuq]</nowiki>: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 {{Transliteration|he|italic=no|merchas}} may be omitted.
;<nowiki>(Mercha) Tifcha (Munach) Etnachta [Sephardic: Ma'ariqh Tarqha Shofar-holekh Atnaqh]</nowiki>: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).:

====Second-level phrases====
;<nowiki>(Mahpach) Pashta (Munach) Zaqef-qaton [Sephardic: Mehuppakh Qadma Shofar-holekh Zaqef-qaton]</nowiki>: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; replaces a Zaqef-qaton sequence.
;<nowiki>[Munach] Zarqa [Munach] Segol [Sephardic: Shofar-holekh Zarqa Shofar-holekh Segolta]</nowiki>:Zarqa only occurs before Segol.
;Shalshelet:Not a part of a group; replaces a Segol sequence. Occurs only four times in the Torah, and always at the beginning of a verse.<ref>http://www.divreinavon.com/pdf/Shalshelet1.pdf Symbolic Interpretation of the Shalshelet</ref>:

==== Third-level phrases ====
;<nowiki>Munach Paseq Munach Rebhia [Sephardic: Shofar-holekh Paseq Shofar-holekh Rabhia`]</nowiki>: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 {{Transliteration|he|Munach legarmeh}}, munach on its own.)
;Darga Tebhir:Tevir is found either alone or preceded by Darga or Mercha. Darga occasionally precedes other combinations (e.g. Darga Munach Rebhia).
;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 Tebhir.:

==== Fourth-level phrases ====
;<nowiki>Kadma v'Azla [Sephardic: Azla Geirish]</nowiki>:This pair is known as such when found together, and may precede a Mahpach, a Revi'a group or a Tevir group. A Kadma can also be found without an Azla before a Mahpach, and an Azla without a Kadma is known as Azla-Geresh or simply Geresh.  Gershayim on its own fulfils the same function as Kadma 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 {{Transliteration|he|italic=no|Telisha Ketannah}} or a Telisha Gedolah. It may be preceded by one or more Munach's.
;{{Transliteration|he|italic=no|Telisha-Ketannah/Gedolah}}<nowiki> [Sephardic: Talsha/Tirsa]</nowiki>:Not considered a part of a group, usually appears individually, sometimes after a Pazer.  It often precedes Kadma.
;<nowiki>Yerach-ben-yomo Karnei-farah [Sephardic: Yareyach-ben-yomo Karneh-phara]</nowiki>:Occurs only once in the whole Torah, in the parashah Masei, on the words ''alpayim b'amah'' (two thousand cubits). It is somewhat equivalent to Munach Pazer.

==Psalms, Proverbs and Job==
The system of cantillation signs used throughout the [[Tanakh]] is replaced by a very different system for these three poetic books.  Many of the signs may ''appear'' the same or similar at first glance, but most of them serve entirely different functions in these three books.  (Only a few signs have functions similar to what they do in the rest of the Tanakh.)  The short narratives at the beginning and end of [[Book of Job|Job]] use the "regular" system, but the bulk of the book (the poetry) uses the special system.  For this reason, these three books are referred to as ''sifrei emet'' (Books of Truth), the word ''emet'' meaning "truth", but also being an acronym (אמ״ת) for the first letters of the three books ([[Book of Job|Iyov]], [[Book of Proverbs|Mishle]], [[Book of Psalms|Tehillim]]).

A verse may be divided into one, two or three stichs.  In a two-stich verse, the first stich ends with ''atnach''.  In a three-stich verse, the first stich ends with ''oleh ve-yored'', which looks like ''mahpach'' (above the word) followed by ''tifcha'', on either the same word or two consecutive words, and the second stich ends with ''atnach''.

Major disjunctives within a stich are {{Transliteration|he|revia qaton}} (immediately before ''oleh ve-yored''), ''revia gadol'' (elsewhere) and ''tzinnor'' (which looks like ''zarqa''). The first (or only) stich in a verse may be divided by ''dechi'', which looks like ''tifcha'' but goes under the first letter of the word to the right of the vowel sign. The last stich in a two- or three-stich verse may be divided by ''revia megurash'', which looks like ''geresh'' combined with ''revia''.

Minor disjunctives are ''pazer gadol'', ''shalshelet gedolah'', {{Transliteration|he|azla legarmeh}} (looking like ''qadma'') and {{Transliteration|he|mehuppach legarmeh}} (looking like ''mahpach''): all of these except ''pazer'' are followed by a {{Transliteration|he|pesiq}}.  ''Mehuppach'' without a {{Transliteration|he|pesiq}} sometimes occurs at the beginning of a stich.

All other accents are conjunctives.

==Mishnah and Talmud==

Some manuscripts of early Rabbinic literature contain marks for partial or systematic cantillation. This is true of the [[Sifra]], and especially of [[Cairo Geniza|Genizah]] fragments of the [[Mishnah]].<ref>For a full study see Israel Yeivin, ''Cantillation of the Oral Law''. ''Leshonenu'' 24 (1960), pp. 47-231 (Hebrew).</ref>

Today, many communities have a special tune for the Mishnaic passage "Bammeh madliqin" in the [[Kabbalat Shabbat|Friday night service]].  Otherwise, there is often a customary intonation used in the study of Mishnah or Talmud, somewhat similar to an Arabic [[mawwal]], but this is not reduced to a precise system like that for the Biblical books.  Recordings have been made for Israeli national archives, and Frank Alvarez-Pereyre has published a book-length study of the Syrian tradition of Mishnah reading on the basis of these recordings.

On the relationship between the cantillation marks found in some manuscripts and the intonation used in Ashkenazi Talmud study, see Zelda Kahan Newman, ''The Jewish Sound of Speech: Talmudic Chant, Yiddish Intonation and the Origins of Early Ashkenaz''.<ref>{{Cite journal |last=Newman |first=Zelda Kahan |date=2000 |title=The Jewish Sound of Speech: Talmudic Chant, Yiddish Intonation and the Origins of Early Ashkenaz |url=https://www.jstor.org/stable/1454758 |journal=The Jewish Quarterly Review |volume=90 |issue=3/4 |pages=293–336 |doi=10.2307/1454758 |jstor=1454758 |issn=0021-6682|url-access=subscription }}</ref>

==In Christian missionary uses==

The Jewish-born Christian convert Ezekiel Margoliouth translated the [[New Testament]] to Hebrew in 1865 with cantillation marks added. It is the only completely cantillated translation of the New Testament. The translation was published by the [[Church's Ministry Among Jewish People|London Society for Promoting Christianity Amongst the Jews]].<ref>Scanned versions of this translation can be found here [http://www.alittlehebrew.com/jorge/London%20Jews%20Society/Margoliouth%20Hebrew%20NT.pdf], here [http://jer-31.com/Margoliuth.html] and here {{cite web |title=Vine of David &#124; Remnant Repository : Ezekiel Margoliouth |url=http://vineofdavid.org/remnant_repository/ezekiel_margoliouth/ |archive-url=https://web.archive.org/web/20120119150730/http://vineofdavid.org/remnant_repository/ezekiel_margoliouth/ |archive-date=January 19, 2012 |access-date=2011-10-12}}</ref>

==Notes==
{{reflist|30em}}

==References==

===Bibliography===

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* {{Citation | author-link = Paul E. Kahle| last = Kahle | first = Paul E | title = Masoreten des Ostens: Die Altesten Punktierten Handschriften des Alten Testaments und der Targume | orig-year = 1913 | year = 1966}}.
* {{Citation | author-link = Paul E. Kahle| last = Kahle | first = Paul E | title = Masoreten des Westens | author-mask = 8 | orig-year = 1927 | year = 2005}}.
* {{Citation | last = Park | first=Sung Jin | title = The Fundamentals of Hebrew Accents: Divisions and Exegetical Roles beyond Syntax | place = Cambridge | year = 2020 | publisher = Cambridge University Press}}.
*{{Cite journal | last=Park | first=Sung Jin | year=2014 | title="Pointing to the Accents": The Functional Development of the Masoretic Accents in the Hebrew Bible | journal=Hebrew Studies | volume=55 | pages=73–88 | doi=10.1353/hbr.2014.0022 | s2cid=170240065 }}
*{{cite journal | last=Park| first=Sung Jin | year=2013 | title=Application of the Tiberian Accentuation System for Colometry of Biblical Hebrew Poetry | journal=Journal of Northwest Semitic Languages | volume=39 | issue=2 | pages=113–127}}
* {{Citation | last = Price | first = James | title = The Syntax of Masoretic Accents in the Hebrew Bible | publisher = E. Mellen Press | year = 1990}}.
*{{cite journal | last=Trompelt | first=Kevin | year=2022 | title=Die exegetische Bedeutung der masoretischen Akzenten | journal=Trumah: Zeitschrift der Hochschule für Jüdische Studien Heidelberg | volume=25 | issue=25 | pages=115–137 | url=https://trumah.winter-verlag.de/article/TRUMAH/2022/25/9}}. 
* {{Citation | author-link = Israel Yeivin | last = Yeivin | first = Israel | others = trans. EJ Revell | title = Introduction to the Tiberian Masorah |publisher = Scholars Press | year = 1980 | isbn = 0-89130-373-1}}., 1985
* {{Citation | author-link = Israel Yeivin| last = Yeivin | first = Israel | title = The Hebrew Language Tradition as Reflected in the Babylonian Vocalization | year = 1985 }}.

====Music (general and comparative)====
* {{Citation | title = Grove Dictionary of Music | contribution = Jewish Music}}.
* {{Citation | author-link = Abraham Zevi Idelsohn| last = Idelsohn | first = Abraham Zevi | title = Phonographierte Gesänge und Aussprachsproben des Hebräischen der jemenitischen, persischen und syrischen Juden | place = Vienna | year = 1917}}.
* {{Citation|author-link=Abraham Zevi Idelsohn |last=Idelsohn |first=Abraham Zevi |author-mask=8 |title=Thesaurus of Oriental Hebrew Melodies |volume=II: Songs of the Babylonian Jews |place=Jerusalem, Berlin and Vienna |year=1923 |url=http://aleph500.huji.ac.il/nnl/dig/books/bk001768379.html |publisher=Huji |archive-url=https://web.archive.org/web/20110719132757/http://aleph500.huji.ac.il/nnl/dig/books/bk001768379.html |archive-date=July 19, 2011 }} also in {{Citation|url=http://aleph500.huji.ac.il/nnl/dig/books/bk001174870.html |title=Hebrew |archive-url=https://web.archive.org/web/20110719132807/http://aleph500.huji.ac.il/nnl/dig/books/bk001174870.html |archive-date=July 19, 2011 }}.
* {{Citation | author-link = Abraham Zevi Idelsohn| last = Idelsohn | first = Abraham Zevi | author-mask = 8 | title = Jewish Music in its Historical Development | place = New York | year = 1929}}.
* [https://www.academia.edu/20173199/%D0%98%D0%B7%D1%83%D1%87%D0%B5%D0%BD%D0%B8%D0%B5_%D0%B7%D0%BD%D0%B0%D0%BA%D0%BE%D0%B2_%D0%BA%D0%B0%D0%BD%D1%82%D0%B8%D0%BB%D0%BB%D1%8F%D1%86%D0%B8%D0%B8_%D0%B2_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D0%B8_%D0%95%D0%B2%D1%80%D0%BE%D0%BF%D0%B5_%D0%90%D0%BC%D0%B5%D1%80%D0%B8%D0%BA%D0%B5_The_Study_of_Cantillation_Marks_in_Russia_Europe_America Khazdan E. (2015) "The Study of Cantillation Marks in Russia, Europe, America". ''Еврейская речь. № 4.'' С. 10–39. (In Russian)]
* [https://www.academia.edu/12115424/%D0%97%D0%BD%D0%B0%D0%BA%D0%B8_%D0%BA%D0%B0%D0%BD%D1%82%D0%B8%D0%BB%D0%BB%D1%8F%D1%86%D0%B8%D0%B8_%D0%BF%D0%BE%D1%87%D0%B5%D0%BC%D1%83_%D0%B1%D1%8B_%D0%BD%D0%B5_%D0%B7%D0%B0%D0%BF%D0%B8%D1%81%D0%B0%D1%82%D1%8C_%D0%B8%D1%85_%D0%BD%D0%BE%D1%82%D0%B0%D0%BC%D0%B8_Cantillation_Marks_Why_Not_Writing_Them_Down_Using_Music_Notation 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)]
* [https://www.academia.edu/38319407/%D0%A2%D1%80%D0%B8_%D0%B2%D0%BE%D0%BF%D1%80%D0%BE%D1%81%D0%B0_%D0%B2_%D0%B8%D1%81%D1%82%D0%BE%D1%80%D0%B8%D0%B8_%D0%B8%D0%B7%D1%83%D1%87%D0%B5%D0%BD%D0%B8%D1%8F_%D0%B5%D0%B2%D1%80%D0%B5%D0%B9%D1%81%D0%BA%D0%B8%D1%85_%D0%B7%D0%BD%D0%B0%D0%BA%D0%BE%D0%B2_%D0%BA%D0%B0%D0%BD%D1%82%D0%B8%D0%BB%D0%BB%D1%8F%D1%86%D0%B8%D0%B8_Three_Questions_in_the_History_of_Studying_the_Jewish_Signs_of_Cantillation 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).]
* [https://www.academia.edu/44491499/%D0%9E%D1%82_%D0%BC%D0%B0%D1%81%D0%BE%D1%80%D0%B5%D1%82%D1%81%D0%BA%D0%B8%D1%85_%D0%BF%D0%BE%D0%BC%D0%B5%D1%82_%D0%BA_%D0%B7%D0%BD%D0%B0%D0%BA%D0%B0%D0%BC_%D0%BA%D0%B0%D0%BD%D1%82%D0%B8%D0%BB%D0%BB%D1%8F%D1%86%D0%B8%D0%B8_%D0%B4%D0%B8%D0%BD%D0%B0%D0%BC%D0%B8%D0%BA%D0%B0_%D0%B2%D0%BE%D1%81%D0%BF%D1%80%D0%B8%D1%8F%D1%82%D0%B8%D1%8F_From_Masoretic_Signs_to_Cantillation_Marks_A_Paradigm_Shift%D1%81%D0%BE%D1%80%D0%B5%D1%82%D1%81%D0%BA%D0%B8%D1%85_%D0%BF%D0%BE%D0%BC%D0%B5%D1%82 Khazdan E. (2020) From Masoretic Signs to Cantillation Marks: A Paradigm Shift (In Russian).]

[https://www.academia.edu/70283019/From_Masoretic_Signs_to_Cantillation_Marks_Initial_Steps_On_the_Virtual_Dialogue_between_Alfonso_de_Zamora_and_Johannes_Reuchlin_ 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.]

====Polish/Lithuanian melody====
* {{Citation | last = Neeman | first = JL | title = The Tunes of the Bible – Musical Principles of the Biblical Accentuation | place = Tel Aviv | year = 1955 | language = he}}.
* {{Citation | last = Binder | first = AW | title = Biblical Chant | place = New York | year = 1959}}.
* {{Citation | last = Jacobson | first = Joshua | title = Chanting the Hebrew Bible: The Art of Cantillation | year = 2002}}.
* {{Citation | last1 = Portnoy | first1 = Marshall | last2 = Wolff | first2 = Josée | title = The Art of Torah Cantillation – A Step-by-step Guide to Chanting Torah | year = 2008 | isbn = 978-0-8074-0734-9 | edition = 2nd | publisher = URJ | orig-year = 2000 | url = http://www.urjbooksandmusic.com/product.php?productid=152 | archive-url = https://web.archive.org/web/20120605211304/http://www.urjbooksandmusic.com/product.php?productid=152 | archive-date = June 5, 2012 }}, with CD.
* {{Citation | last1 = Portnoy | first1 = Marshall | last2 = Wolff | first2 = Josée | author-mask = 16 | title = The Art of Cantillation – A Step-by-step Guide to Chanting Haftarot and M'gillot | volume = 2 | year = 2002 | publisher = URJ | isbn = 978-0-8074-0756-1}}.
* {{Citation | last = Kohn | first = S | title = Learn to Lein: A Step-by-Step Tutorial Program for Developing Requisite Torah-Reading Skills | date = 2006 | publisher = Feldheim Publishers | isbn = 1-58330-913-6}}.

====Other melodies====
* {{Citation | title = Book of Prayer of the Spanish and Portuguese Jews' Congregation, London | place = Oxford | publisher = Oxford Univ. Press | volume = 1 | editor-link = Vivian Ridler | editor-first = Vivian | editor-last = Ridler | orig-year = 5725|year=1965}} (since reprinted): the parashah and haftarah melodies are set out at the end of the volume.
* {{Citation | last = Sharvit | first = Uri | title = The Musical Realization of Biblical Cantillation Symbols in the Jewish Yemenite Tradition (Yuval: Studies of the Jewish Music Research Centre) | number = 4 | year = 1982 | pages = 179–210}}.
* {{Citation | last = Alvarez-Pereyre | first = Frank | title = La Transmission Orale de la Mishnah. Une méthode d'analyse appliquée à la tradition d'Alep | place = Jerusalem | year = 1990 | language = fr}}.
* {{Citation | last = Rodrigues Pereira | first = Martin | title = Hochmat Shelomoh (Wisdom of Solomon): Torah Cantillations according to the Spanish and Portuguese Custom | place = New York | year = 1994 | isbn = 0-933676-37-9}}.
* {{Citation | last = Tunkel | first = Victor | title = The Music of the Hebrew Bible – The Western Ashkenazi Tradition | year = 2004 | publisher = Tymsder Publ. | isbn = 978-0-9531104-8-3}}.
* {{Citation | last = Smith | first = Chani | title = Learn to Leyn, The Cantillation of the Hebrew Bible | place = London | year = 2004}} (with CD: western Ashkenazic melody).
* The Western Ashkenazi melody is also set out in the {{Citation | author-link = Joseph H. Hertz| last = Hertz | title = Chumash| title-link = Chumash (Judaism) }}.

==See also==
*[[Torah reading]]
*[[Haftarah]]
*[[Megillot]]
*[[Yemenite Hebrew]]
*[[Bar and Bat Mitzvah]]
*[[Melody type]]
*[[Tone (linguistics)]]

==External links==
{{Commons category|Hebrew cantillation}}

===Textual resources===
*[http://hhr-m.userweb.mwn.de/teamim/ Hebrew Cantillation Marks And Their Encoding]: gives full tables with the Unicode equivalent for each cantillation mark
*[https://web.archive.org/web/20130612141810/http://www.mechon-mamre.org/ Mechon Mamre] has the full text of the [[Tanakh]] with cantillation marks in Unicode [https://web.archive.org/web/20130806083337/http://www.mechon-mamre.org/c/ct/c0.htm here] (which may be downloaded for free).
*[http://www.shulmusic.org/sheetmusic/sulzer/sulz_99.htm Western Ashkenazi Torah mode, notated by Salomon Sulzer]
<!--*{{usurped|1=[https://web.archive.org/web/20110107092255/http://www.torah-cantillation-analytics.nationalfinder.com/ Torah Cantillation Analytics]}}  A guide to the exegesis of Torah Oral Law, by Zalman Z. Fisher-->
*[https://web.archive.org/web/20231010220712/http://www.taamei-hamikra.co.il/ Torah Cantillation Analytics]  A guide to the exegesis of Torah Oral Law, by Zalman Z. Fisher

===Wikimedia cantillation projects (recordings)===
The recordings held at the Commons are organized by the Vayavinu Bamikra Project at [[Wikisource]] in the following languages:
*[[:he:s:ויבינו במקרא|Hebrew]] (currently lists thousands of recordings of ''aliyot'', ''haftarot'', and ''megillot'')
*[[:s:Vayavinu Bamikra|English]]

{{Torah reading}}
{{Hebrew language}}

[[Category:Torah reading| ]]
[[Category:Jewish services]]
[[Category:Jewish music]]
[[Category:Cantillation marks| ]]
[[Category:Language of the Hebrew Bible]]
[[Category:Hebrew diacritics]]
[[Category:Oral Torah]]
[[Category:Chants]]

[[cs:Akcent (hebrejština)]]
[[de:Teamim]]
[[id:Kantilasi]]
[[he:טעמי המקרא]]
[[nl:Teamim]]
[[nn:Ta‘amím]]
[[ru:Знаки кантилляции в еврейском письме]]