<TROPEDEF NAME="Ashkenazic - Binder: No detours " TYPE="Esther" ENCODING="ASHKENAZ-BINDER" PITCHBEND="+4" KEY="C Minor" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Version of traditional East European melody as annotated by Abraham Binder. This version implements none of the musical detours that Binder specifies for 18 verses.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special melody that is different for %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Esther, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
<TROPEDEF NAME="Ashkenazic - Jacobson" TYPE="Esther" ENCODING="ASHKENAZ" PITCHBEND="+3" KEY="F MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Version of traditional East European melody. Large set of musical detours.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special melody that is different for %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Jacobson for Esther, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
<TROPEDEF NAME="Ashkenazic - Chabad" TYPE="Esther" ENCODING="ASHKENAZ" PITCHBEND="+6" KEY="F MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Version of Esther as chanted by Rabbi Mordechai Shusterman z''l. This version features a relatively small number of musical detours.">
<Comment>
The following words are repeated: Est8:11 - says: vellaharog uleabeid. First we say laharog uleabeid, then velaharog uleabeid.
9:2 first say veeesh lo amad bifneihem then say veeesh lo amad lifneihem.
</Comment>
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special melody that is different for %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Esther, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="Esther" ENCODING="ASHKENAZ" PITCHBEND="+4" KEY="F MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Version of traditional East European melody as annotated by Pinchas Spiro. Cantor Spiro's Eichah melody was employed for verses using Eichah melody. The melodies for invitational phrases and where special melodies are used have been taken from Joshua Jacobson's version.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special melody that is different for %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Esther, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
<TROPEDEF NAME="Ashkenazic - Spiro: No Detours" TYPE="Esther" ENCODING="ASHKENAZ" PITCHBEND="+4" KEY="F MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Version of traditional East European melody as annotated by Pinchas Spiro. For those interested in a version with no musical detours, this is Cantor Spiro's version, chanted throughout with the melody he annotated.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special melody that is different for %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Esther, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="Eichah" ENCODING="ASHKENAZ" PITCHBEND="+4" KEY="F MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="Traditional eastern European melody as annotated by Pinchas Spiro. This version features the special melody annotated by Cantor Spiro for chapter 3.">
<Comment> Sof HaPerek combinations:
Mercha Tipcha | Silluq
Mercha Tipcha | Mercha Silluq
Tipcha | Mercha Silluq
Tipcha | Silluq
</Comment>
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Eichah, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. %MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, the both are chanted as %MUNACH_LEGARMEH%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like the %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="SOF_PASUK_MELODY">
A very important fact about tropes is that several tropes have a different melody when sung in different places. %MERCHA% is one of a couple of tropes whose melody changes in this way.
In this case, notice that the first %MERCHA% in the phrase sounds just like the %MERCHA% you learned from the %ETNACHTA% phrase. The second %MERCHA% -- the one that is followed by the %SOF_PASUK% has a different melody. When %MERCHA% is followed by %TIPCHA% it is sung one way; when it is followed by %SOF_PASUK%, it is sung differently.
<TROPEDEF NAME="Ashkenazic - Spiro:No detours" TYPE="Eichah" ENCODING="ASHKENAZ" PITCHBEND="+4" KEY="F MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="Traditional eastern European melody as annotated by Pinchas Spiro. We have provided this version for those congregations that chant Eichah with no musical detours.">
<Comment> Sof HaPerek combinations:
Mercha Tipcha | Silluq
Mercha Tipcha | Mercha Silluq
Tipcha | Mercha Silluq
Tipcha | Silluq
</Comment>
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Eichah, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. %MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, the both are chanted as %MUNACH_LEGARMEH%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like the %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="SOF_PASUK_MELODY">
A very important fact about tropes is that several tropes have a different melody when sung in different places. %MERCHA% is one of a couple of tropes whose melody changes in this way.
In this case, notice that the first %MERCHA% in the phrase sounds just like the %MERCHA% you learned from the %ETNACHTA% phrase. The second %MERCHA% -- the one that is followed by the %SOF_PASUK% has a different melody. When %MERCHA% is followed by %TIPCHA% it is sung one way; when it is followed by %SOF_PASUK%, it is sung differently.
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="Ruth-Koheles-ShirHashirim" ENCODING="ASHKENAZ" PITCHBEND="+4" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Traditional melody for Ashkenazim of Polish-Lithuanian origin.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. %AZLA% always appears over the last syllable in a word, and %GERESH% always appears over the next-to-last syllable in a word. Since this is a bit difficult to see when you are reading quickly, the TropeTrainer software shows %GERESH% a little thicker than %AZLA%. Strictly, %AZLA% and %GERESH% have different melodies. Many teachers ignore this difference and teach the melody of %AZLA% whenever it appears right after a %KADMA%, and the melody of %GERESH% at all other times. In fact %AZLA% is never found by itself -- it is always preceded by %KADMA%. %GERESH% is sometimes found by itself, and sometimes is preceded by %KADMA%, which is, in turn, sometimes preceded by %TELISHA_KETANA% and %MUNACH%:
</NOTE>
<NOTE NAME="DOUBLE_PASHTA_IN_TEVIR">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL% or %ZARKA%, it has a special two note melody that ends on the same note as the first note of %SEGOL% and %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Pinchas Spiro for Ruth, Koheles and Shir Hashirim, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. %MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, the both are chanted as %MUNACH_LEGARMEH%.
</NOTE>
<NOTE NAME="BASIC_ZAKEF_KATON_MELODY">
Note that the %ZAKEF% trope looks just like %MUNACH% which we learned in the %ETNACHTA% phrase lesson. The %ZAKEF% before a %ZAKEF_KATON% has a different melody than the %MUNACH% before an %ETNACHTA%.
</NOTE>
<NOTE NAME="DOUBLE_PASHTA">
When you see a doubled %PASHTA% the regular %PASHTA% melody is sung on the syllable under the first %PASHTA% (to the right). Just ignore the %PASHTA% at the end of the word.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="d" DURATION="12"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_CHAPTER="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_CHAPTER="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TIPCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="e" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_CHAPTER="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="12"/>
<NOTE PITCH="b" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="b" DURATION="12"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PAZER">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="4"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SILLUQ">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="d" DURATION="4"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_CHAPTER="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="12"/>
<NOTE PITCH="e" DURATION="4"/>
<NOTE PITCH="c" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>
When a Pashta appears on the next-to-last syllable, two Pashtas are put on the word, one on the
last syllable, and one on the next-to last syllable.
Ashenazim ignore the left Pashta and sing the melody on the right Pashta.
Sephardim call this combination Trei-Kadmin, and sing a melody on each Pashta.
In this file, the left Pashta is called Pashta and the right Pashta is called DOUBLE_PASHTA.
To make this sound right for Ashkenazim, be sure to add a DOUBLE_PASHTA trope name entry with the
melody to be sung on the first Pashta (for ashkenazim all but the last note)
and an 'AFTER="DOUBLE_PASHTA"' context to PASHTA with the melody to be sung on the second
