Hot answers tagged trop-cantillation
12
I would recommend William Wickes' treatise on the Taamei Emet. You are describing a revia mugrash, as distinct from a revia gadol or revia katon.
It is indeed a disjunctive accent:
To really understand its function, you should familiarize yourself with Wickes' description of the continuous dichotomy. But the pasuk is first divided at the etnachta (or ...
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I linked in the comments to the question to an article by Dan Rabinowitz published by Hakirah journal regarding Jewish sources pertaining to the origin of the nekudos. [Note that although the taamim of the Tanach are not mentioned throughout the article, it seems implicit in most of the sources (and in the main source, actually explicit) that the same ...
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I cannot speak (entirely) about how rare it is. Nor can I speak about any midrashic analysis of it. However, I can address what causes it.
The pashta is a pausal trup sign that splits in half a clause that ends in zakef. Where two occur, first the first one divides, then the second one divides. This division usually occurs on the basis of syntax, such as ...
4
Presumably this is a cue to the oleh that the aliyah is over, and he should begin reciting the blessing. If the kore were to simply stop reading, there would be a few seconds of awkward silence until the oleh is sure that the aliyah is over. Also, a kore who pauses for whatever reason would run the risk of having the oleh start the blessing too early.
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The Trope Trainer software (published by Kinnor, sometimes discounted at Davka) includes computer-generated recordings of everything in a couple dozen different cantillation systems. You can sometimes find recordings of passages on the net but unless the recording uses the system you're familiar with, this doesn't necessarily help.
Some tikkunim include ...
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If you're calling it "trei taamei", you are likely Sephardic, in which case, you can probably find a recording of the taamim (including tre taamei) according to your specific custom at Pizmonim.org.
For the standard Ashkenazic custom, the tune given in this video (at 1:07) is the one I and many others I know use. (I wouldn't necessarily trust that video for ...
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According to Nitei Gavriel, the custom is to sing with the taamei shira. (This seems to be his intention, although the statement is quite vague.) He quotes this from Minhagei Frankfurt as well as Hosafos HaYaavetz. He also lists some of the customs that pertain to which pesukim to apply the tune to, etc.
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See Israel Yeivin's Introduction to the Tiberian Masorah (trans. and ed. E.J. Revell; Scholars Press: 1980), available here. He discusses the accents in Sifrei Emet from pp264-274.
Concerning the revia mugrash (which is how he identifies the accent on the word לצים), he has the following to say (§366, p269-270):
Revia mugrash occurs only in the second ...
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Rashi on Berachot 62A says that people used to use hand signs to indicate the proper vocalization of the words as the Torah was read. I have heard from several different people, but not seen in writing, that the nekudot and taamim that are printed today are attempts to pictographically represent these hand gestures. This would explain why earlier texts such ...
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There are those that do Chapter 3 with a different tune due to its different rhythm.
http://www.masorti.org.il/uploads/uploads/MegilatEichaSample.pdf
פרק ג׳ הוא 'קינה אישית' למעט באותיות נ׳ וס׳, המנוסחות בלשון רבים. שאר
הקינות מדברות על גורלו המר של העם הסובל מחורבנו ומחורבן ארצו, עירו
ומקדשו. נגינת הטעמים של 'איכה' אף היא מלנכולית ומזכירה בכי ונהי. ...
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