ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="A common style used in many Chabad and other synagogues.">
<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%. In some systems %AZLA% and %GERESH% have different melodies. This system treats the same.
</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="ADVANCED_ZAKEF_KATON_MELODY">
When %KADMA% and %ZAKEF_KATON% appear together on one word, the %ZAKEF_KATON% has a special melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
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%. When two %MUNACH_LEGARMEH%s appear next to one another, the first is chanted as %MUNACH_LEGARMEH%, the second like a normal %MUNACH% before %REVIA%.
</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="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>
<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
<TROPEDEF NAME="Ashkenazic - Common Melody" TYPE="Haftarah" ENCODING="ASHKENAZ-COMMON NAMES" PITCHBEND="-4" KEY="A MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A common and traditional East European melody.">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has a one note melody that is the same as the first note of %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In this niggun style for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
<NOTE PITCH="D-" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="D-" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="4"/>
<NOTE PITCH="a" DURATION="6"/>
</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
Pashta (for ashkenazim, the last note).
</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="G" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Rosowsky (High Silluq)" TYPE="Torah" ENCODING="ASHKENAZ-ACADEMIC NAMES" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="A standard for Ashkenazim of Polish-Lithuanian origin. This version features the Silluq [Sof Pasuk] that Rosowsky taught to his students, not what is documented in his book. Also, the most complex with many detailed exceptions, principally with the 'Munach' trope. Many books on the topic of biblical chant make reference to Rosowsky's work.">
<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% it has a special melody. When it comes before %ZARKA%, it uses its common two note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. Rosowsky for Torah, 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%. 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="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="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.
</NOTE>
</LESSON_NOTES>
<MELODIES>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="14" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:4" TYPE="TIP" VALUE="TIP" STARTWORD="6" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:5" TYPE="TIP" VALUE="TIP" STARTWORD="3" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="5" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:7" TYPE="TIP" VALUE="TIP" STARTWORD="7" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:8" TYPE="TIP" VALUE="TIP" STARTWORD="8" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:9" TYPE="TIP" VALUE="TIP" STARTWORD="11" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:10" TYPE="TIP" VALUE="TIP" STARTWORD="7" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="8" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:12" TYPE="TIP" VALUE="TIP" STARTWORD="3" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:13" TYPE="TIP" VALUE="TIP" STARTWORD="5" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:14" TYPE="TIP" VALUE="TIP" STARTWORD="6" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:15" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:17" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:19" TYPE="TIP" VALUE="TIP" STARTWORD="15" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<TROPEDEF NAME="Ashkenazic - Rosowsky" TYPE="Torah" ENCODING="ASHKENAZ-ACADEMIC NAMES" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="A standard for Ashkenazim of Polish-Lithuanian origin. This version features a Silluq [Sof Pasuk] as documented in his book. Also, the most complex with many detailed exceptions, principally with the 'Munach' trope. Many books on the topic of biblical chant make reference to Rosowsky's work.">
<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% it has a special melody. When it comes before %ZARKA%, it uses its common two note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. Rosowsky for Torah, 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%. 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="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="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.
</NOTE>
</LESSON_NOTES>
<MELODIES>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="14" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:4" TYPE="TIP" VALUE="TIP" STARTWORD="6" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:5" TYPE="TIP" VALUE="TIP" STARTWORD="3" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="5" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:7" TYPE="TIP" VALUE="TIP" STARTWORD="7" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:8" TYPE="TIP" VALUE="TIP" STARTWORD="8" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:9" TYPE="TIP" VALUE="TIP" STARTWORD="11" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:10" TYPE="TIP" VALUE="TIP" STARTWORD="7" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="8" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:12" TYPE="TIP" VALUE="TIP" STARTWORD="3" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:13" TYPE="TIP" VALUE="TIP" STARTWORD="5" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:14" TYPE="TIP" VALUE="TIP" STARTWORD="6" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:15" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:17" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:19" TYPE="TIP" VALUE="TIP" STARTWORD="15" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<TROPEDEF NAME="Ashkenazic - Rosowsky" TYPE="Haftarah" ENCODING="ASHKENAZ-AVERY-BINDER" PITCHBEND="3" KEY="D MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A traditional melody of East European 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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%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 also special. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of a reading: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Rosowsky/Lipton" TYPE="Torah" ENCODING="ASHKENAZ-SPIRO" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard for Ashkenazim of Polish-Lithuanian origin, as modified by Cantor Lipton. Also, the most complex with many detailed exceptions, principally with the 'Munach' trope. Most books on the topic of biblical chant make reference to Rosowsky's work.">
<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% it has a special melody. When it comes before %ZARKA%, it uses its common two note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. Rosowsky for Torah, 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%. 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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" />
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT END_OF_BOOK="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_BOOK="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT SONG_OF_MOSES="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT SONG_OF_MOSES="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR" AFTER="MUNACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH_LEGARMEH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TELISHA_KETANA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH" TROPE_GROUP="ETNACHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH" TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA" AFTER="MUNACH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE_BEFORE="ZARKA" BEFORE="MUNACH">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="TEVIR">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="d" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERSHAYIM">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
<NOTE PITCH="f" DURATION="16"/>
<NOTE PITCH="e" DURATION="16"/>
<NOTE PITCH="d" DURATION="16"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="c" 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
DESCRIPTION="This melody is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is standard for the Reform movement.">
<TROPE NAME="V01">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="f" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V02">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V03">
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<TROPE NAME="V04">
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<TROPE NAME="Vl06">
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<TROPE NAME="V08">
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<TROPE NAME="Vl09">
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<TROPE NAME="Vl23">
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<TROPE NAME="V24">
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<TROPE NAME="V25">
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<TROPE NAME="V27">
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<TROPE NAME="V28">
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<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V99">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V100">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V:101">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V102">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V103">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl104">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="7" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="7" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V105">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="10" />
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V:106">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="d" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V107">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl108">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V109">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl110">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V111">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V112">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V113">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V114">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V115">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl116">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V117">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl118">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10" />
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V119">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl120">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V121">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V122">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V123">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V:124">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V125">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V126">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V127">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V128">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V129">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V130">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl131">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V132">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl133">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V134">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V135">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V136">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V137">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V138">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="7" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V139">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V140">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V:141">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V142">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V143">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="Vl144">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V145">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="V:146">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" />
<NOTE PITCH="C" DURATION="4"/>
<NOTE PITCH="b-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
</TROPEDEF>
<TROPEDEF NAME="Ashkenazic - Binder" TYPE="TorahBlessing" ENCODING="ASHKENAZ" PITCHBEND="0" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="This melody is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is standard for the Reform movement.">
<TROPEDEF NAME="Ashkenazic - Binder" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<MELODIES>
<MELODY LOC="EXO14:29" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="11" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO14:31" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="15" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="14" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:21" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="NUM10:15" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:16" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:12" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:17" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:21" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:22" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:25" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:28" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:29" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:30" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:31" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:32" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:33" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:34" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:35" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:36" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:41" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:42" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:43" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:44" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:45" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:46" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<TROPEDEF NAME="Ashkenazic - Binder/Mod 1" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. Modifications to Binder include Sof Pasuk, Zarka and melodies of sequential munachs.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<MELODIES>
<MELODY LOC="EXO14:29" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="11" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO14:31" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="15" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="14" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:21" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="NUM10:15" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:16" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:12" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:17" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:21" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:22" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:25" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:28" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:29" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:30" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:31" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:32" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:33" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:34" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:35" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:36" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:41" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:42" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:43" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:44" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:45" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:46" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<TROPEDEF NAME="Ashkenazic - Binder Mod 2" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<MELODIES>
<MELODY LOC="EXO14:29" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="11" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO14:31" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="15" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="14" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:21" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="NUM10:15" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:16" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:12" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:17" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:21" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:22" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:25" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:28" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:29" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:30" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:31" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:32" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:33" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:34" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:35" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:36" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:41" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:42" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:43" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:44" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:45" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:46" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<TROPEDEF NAME="Ashkenazic - Avery/Binder" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody Lawrence Avery's variant on the melody taught by Abraham Binder, and is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is a standard for the Reform movement. Sof Pasuk ends on C.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Avery/Binder High Sof Pasuk" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody Louis Avery's variant on the melody taught by Abraham Binder, and is of very traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is a standard for the Reform movement, and is how Lawrence Avery taught it. Sof Pasuk ends on F.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Binder/Avery (Reform Standard)" TYPE="Haftarah" ENCODING="ASHKENAZ-AVERY-BINDER" PITCHBEND="3" KEY="D MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A simplified version of the traditional melody of East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is the current standard for the Reform movement.">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%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 also special. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of a reading: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Binder/Avery Mod 2" TYPE="Haftarah" ENCODING="ASHKENAZ-AVERY-BINDER" PITCHBEND="3" KEY="D MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A melody of traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is a modified version of the popular Binder/Avery varient. Changes to Binder/Avery include Tipcha and Sof Pasuk in Sof Pasuk phrases, Munach and Etnachta in Etnachta phrases, Munach before Revii, Gershayim, Pazer">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%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 also special. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of a reading: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Binder Hi Holiday (Mod)" TYPE="HiHoliday" ENCODING="ASHKENAZ" PITCHBEND="8" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="A traditional melody of East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is the current standard for the Reform movement. The Sof Pasuk at the end of an aliyah has been changed.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TIPCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK" AFTER="MERCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SILLUQ">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="2" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="2" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="2" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="2" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="6"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="g" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
</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
<TROPEDEF NAME="Ashkenazic - Binder" TYPE="Haftarah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="3" KEY="D MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A melody of traditional East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is the former standard for the Reform movement.">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%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 also special. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of a reading: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Binder High Holiday" TYPE="HiHoliday" ENCODING="ASHKENAZ" PITCHBEND="8" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="A traditional melody of East European origin. Many Ashkenazim of all streams will find this melody used in their synagogue. This melody is the current standard for the Reform movement.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TIPCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK" AFTER="MERCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SILLUQ">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="2" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="2" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="4"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="6"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="g" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
</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
<TROPEDEF NAME="Ashkenazic - Chabad" TYPE="Haftarah" ENCODING="ASHKENAZ" PITCHBEND="-4" KEY="A MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Standard for Chabad Chasidim. As chanted by the Lubavitcher Rebbe.">
<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%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Chabad for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% but is the same as %ZAKEF% before %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the same as the melody for %MUNACH% before a %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C#" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="E" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="G" DURATION="12"/>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="8"/>
<NOTE PITCH="G" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C#" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6" />
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="G" DURATION="12"/>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="4"/>
<NOTE PITCH="a" DURATION="6"/>
</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
Pashta (for ashkenazim, the last note).
</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="E" DURATION="12"/>
<NOTE PITCH="F" DURATION="12"/>
<NOTE PITCH="E" DURATION="12"/>
<NOTE PITCH="D" DURATION="12"/>
<NOTE PITCH="E" DURATION="12"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
<NOTE PITCH="D" DURATION="12"/>
<NOTE PITCH="C#" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya:
1: Tipcha - Silluq
2: Mercha - Tipcha - Silluq
3: Tipcha - Mercha - Silluq
4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="Standard for Chabad Chasidim. As chanted by Rabbi Mordechai Shusterman z''l.">
<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="ADVANCED_ZAKEF_KATON_MELODY">
When %KADMA% and %ZAKEF_KATON% appear together on one word, the %ZAKEF_KATON% has a special melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Chabad Rabbi Shusterman for Torah, 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%. When two %MUNACH_LEGARMEH%s appear next to one another, the first is chanted as %MUNACH_LEGARMEH%, the second like a normal %MUNACH% before %REVIA%.
</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="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>
<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
<TROPEDEF NAME="Ashkenazic - Chabad High Holiday" TYPE="HiHoliday" ENCODING="ASHKENAZ" PITCHBEND="6" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="Standard for Chabad Chasidim. As chanted by Rabbi Mordechai Shusterman z''l.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, the first is chanted as %MUNACH_LEGARMEH%, the second like a normal %MUNACH% before %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TIPCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="4"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="g-" DURATION="10"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK" AFTER="MERCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SOF_PASUK">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SILLUQ">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g-" DURATION="4" UPBEAT="TRUE" />
<NOTE PITCH="g-" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="d-" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="6"/>
<NOTE PITCH="g-" DURATION="12"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="a-" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="e" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="PAZER" AFTER="MUNACH">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="PAZER">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="e" DURATION="10"/>
</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
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="TorahBlessing" ENCODING="ASHKENAZ" PITCHBEND="0" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="Somewhat simplified version of Rosowsky, which is the standard for Ashkenazim of Polish-Lithuanian origin.">
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="Torah" ENCODING="ASHKENAZ-SPIRO" PITCHBEND="1" KEY="F MAJOR" ASSIMILATE_PITCH="FALSE" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="Somewhat simplified version of traditional Polish-Lithuanian melody. Simplified version of Rosowsky with fewer musical exceptions.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Spiro" TYPE="Haftarah" ENCODING="ASHKENAZ-SPIRO-HAFTARAH" PITCHBEND="4" KEY="C MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="Somewhat simplified version of traditional Polish-Lithuanian melody.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. %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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Spiro High Holiday" TYPE="HiHoliday" ENCODING="ASHKENAZ" PITCHBEND="8" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="Somewhat simplified version of Rosowsky, which is the standard 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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, the first is chanted as %MUNACH_LEGARMEH%, the second like a normal %MUNACH% before %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TIPCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="e" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="d" DURATION="4"/>
<NOTE PITCH="c" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SILLUQ">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="2" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" AFTER="MERCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8" />
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="2" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="4"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="d" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f#" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="d" 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
<TROPEDEF NAME="Ashkenazic - Grob" TYPE="Torah" ENCODING="ASHKENAZ" PITCHBEND="-6" KEY="C" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Simplified based on years of teaching, this is based on traditional European melody.">
<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% uses its common single note melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Rabbi Grob for Torah, 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 the same as the melody for %MUNACH% before a %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="16"/>
<NOTE PITCH="A" DURATION="16"/>
<NOTE PITCH="G" DURATION="16"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="G" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="16"/>
<NOTE PITCH="E" DURATION="16"/>
<NOTE PITCH="D" DURATION="16"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="16"/>
<NOTE PITCH="C" DURATION="16"/>
<NOTE PITCH="D" DURATION="16"/>
<NOTE PITCH="E" DURATION="16"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="16"/>
<NOTE PITCH="E" DURATION="16"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="16"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="A" DURATION="16"/>
<NOTE PITCH="G" DURATION="16"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="G" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="16"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="b" DURATION="16"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="16"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH_LEGARMEH">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8" />
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="G" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="16"/>
<NOTE PITCH="E" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="16"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="E" DURATION="16"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="16"/>
<NOTE PITCH="b" DURATION="16"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="16"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="16"/>
<NOTE PITCH="b" DURATION="16"/>
<NOTE PITCH="a" DURATION="16"/>
<NOTE PITCH="b" DURATION="16"/>
<NOTE PITCH="a" DURATION="16"/>
<NOTE PITCH="g" DURATION="16"/>
</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
<TROPEDEF NAME="Ashkenazic - Grob" TYPE="Haftarah" ENCODING="ASHKENAZ" PITCHBEND="3" KEY="F MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Simplified based on years of teaching, this is based on traditional European melody.">
<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% uses its common single note special melody in %SEGOL% phrases.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Rabbi Grob for Haftarah, 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 the same as the melody for %MUNACH% before a %REVIA%.
</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="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="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH_LEGARMEH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" />
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="12"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="d" DURATION="12"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</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
<TROPEDEF NAME="Ashkenazic - Kreinces" TYPE="Torah" ENCODING="ASHKENAZ" PITCHBEND="-4" KEY="B- MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="False" DESCRIPTION="Simplified version of traditional East European melody.">
<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%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has a one note melody that is the same as the first note of %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. John Kreinces for Torah, 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 the same as the melody for %MUNACH% before a %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E-" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="F" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</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
Pashta (for ashkenazim, the last note).
</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="F" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E-" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="G" DURATION="8"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="6"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Kreinces" TYPE="Haftarah" ENCODING="ASHKENAZ" PITCHBEND="-4" KEY="A MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="Simplified version of traditional East European melody.">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has a one note melody that is the same as the first note of %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. John Kreinces for Haftarot, 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 the same as the melody for %MUNACH% before a %REVIA%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="F" DURATION="12"/>
<NOTE PITCH="E" DURATION="12"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="4"/>
<NOTE PITCH="a" DURATION="6"/>
</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
Pashta (for ashkenazim, the last note).
</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="G" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - British" TYPE="Torah" ENCODING="ASHKENAZ" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard for Ashkenazim in the United Kingdom (As arranged by H. Mayerowitsch and G. Prince).">
<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="MUNACH_IN_REVIA_PHRASES">
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. 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="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="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.
The %MERCHA% in %SOF_PASUK% phrases has a different melody than the one you learned for %ETNACHTA% phrases.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="2"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4" />
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON" ON_ONE_WORD="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="2"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_BOOK="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_BOOK="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="11"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PAZER">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TELISHA_KETANA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TELISHA_GEDOLA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERSHAYIM">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DARGA">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="e" DURATION="11"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="3"/>
<NOTE PITCH="f" DURATION="16"/>
<NOTE PITCH="e" DURATION="16"/>
<NOTE PITCH="d" DURATION="16"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
</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
<TROPEDEF NAME="Ashkenazic - British" TYPE="Haftarah" ENCODING="ASHKENAZ" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard for Ashkenazim in the United Kingdom (As arranged by H. Mayerowitsch and G. Prince).">
<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="MUNACH_IN_REVIA_PHRASES">
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. 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="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="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.
The %MERCHA% in %SOF_PASUK% phrases has a different melody than the one you learned for %ETNACHTA% phrases.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="2"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="d" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="b-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" />
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="4"/>
<NOTE PITCH="f" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TIPCHA" TROPE_GROUP="SOF_PASUK">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="PAZER">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TELISHA_KETANA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TELISHA_GEDOLA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERSHAYIM">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="3"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="3"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="3"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DARGA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="3"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="e" DURATION="11"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="3"/>
<NOTE PITCH="f" DURATION="16"/>
<NOTE PITCH="e" DURATION="16"/>
<NOTE PITCH="d" DURATION="16"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
</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
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%. Often %AZLA% and %GERESH% have different melodies. This system treats them as the same. 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% it has a special melody. When it comes before %ZARKA%, it uses its common two note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. Rosowsky for Torah, 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%. 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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" />
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DARGA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH" TROPE_GROUP="ETNACHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH" TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA" AFTER="MUNACH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="TEVIR">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
<NOTE PITCH="f" DURATION="16"/>
<NOTE PITCH="e" DURATION="16"/>
<NOTE PITCH="d" DURATION="16"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="c" 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
<TROPEDEF NAME="Ashkenazic - Hungarian - Mod 1" TYPE="Torah" ENCODING="ASHKENAZ-SPIRO" PITCHBEND="1" ASSIMILATE_PITCH="False" KEY="F MAJOR" ASSIMILATE_RHYTHM="True" DESCRIPTION="Torah chant of Hungarian origin with some modifications to Kadma and Etnachta.">
<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%. Often %AZLA% and %GERESH% have different melodies. This system treats them as the same. 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% it has a special melody. When it comes before %ZARKA%, it uses its common two note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Dr. Rosowsky for Torah, 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%. 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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" />
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="5"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MERCHA">
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="TIPCHA">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT END_OF_ALIYAH="TRUE" BEFORE="SILLUQ">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MAPACH">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH" TROPE_GROUP="ETNACHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH" TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA" AFTER="MUNACH">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="SEGOL">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT TROPE_GROUP="TEVIR">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MUNACH">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="12"/>
<NOTE PITCH="e" DURATION="12"/>
<NOTE PITCH="d" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
<NOTE PITCH="f" DURATION="16"/>
<NOTE PITCH="e" DURATION="16"/>
<NOTE PITCH="d" DURATION="16"/>
<NOTE PITCH="e" DURATION="8"/>
<NOTE PITCH="c" 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
<TROPEDEF NAME="Ashkenazic - Urstein" TYPE="Haftarah" ENCODING="ASHKENAZ" PITCHBEND="4" KEY="E- MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A version of traditional East European melody.">
<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%. Often, %AZLA% and %GERESH% have different melodies. %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_MELODY">%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has a one note melody that is the same as the first note of %ZARKA%.</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">In niggun style taught by Dr. John Kreinces for Haftarot, 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 the same as the melody for %MUNACH% before a %REVIA%.</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="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="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.</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="9"/>
<NOTE PITCH="e" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a-" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a-" DURATION="12"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a-" DURATION="9"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="e-" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="6"/>
</NOTES>
<CONTEXT BEFORE="REVIA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="MUNACH_LEGARMEH">
<NOTES>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="e-" DURATION="10"/>
<NOTE PITCH="d" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="e-" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8"/>
<NOTE PITCH="a-" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" 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 Pashta (for ashkenazim, the last note).</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="f" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="a-" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="b-" DURATION="10"/>
<NOTE PITCH="a-" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="4"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="8"/>
<NOTE PITCH="d-" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="2-" DURATION="10"/>
<NOTE PITCH="e-" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="e-" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="f" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e-" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="e-" DURATION="4"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="2-" DURATION="10"/>
<NOTE PITCH="c" DURATION="10"/>
<NOTE PITCH="e-" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Goldenberg" TYPE="Haftarah" ENCODING="ASHKENAZ-COMMON NAMES" PITCHBEND="-4" KEY="A MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="A variation of a common and traditional Lithuanian melody, as taught by Hazzan D. Goldenberg.">
<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_MELODY">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has a one note melody that is the same as the first note of %ZARKA%.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In this niggun style for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="GERESH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DARGA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERSHAYIM">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ETNACHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="F" DURATION="6"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="G" DURATION="4"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH_LEGARMEH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MUNACH">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZARKA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C#" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="SEGOL">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_GADOL">
<NOTES>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ETNACHTA">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8" />
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="REVIA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="6"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="6"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="G" DURATION="6"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="8"/>
</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
Pashta (for ashkenazim, the last note).
</COMMENT>
<TROPE NAME="PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="DOUBLE_PASHTA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="G" DURATION="10"/>
<NOTE PITCH="F" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="10"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="E" DURATION="10"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="10"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="b" DURATION="10"/>
<NOTE PITCH="C" DURATION="10"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TEVIR">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Goldenberg" TYPE="Torah" ENCODING="ASHKENAZ-COMMON NAMES" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This melody a very traditional East European origin as taught by Hazzan D. Goldenberg.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c and d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<TROPEDEF NAME="Ashkenazic - Landau" TYPE="Torah" ENCODING="ASHKENAZ-BINDER" PITCHBEND="1" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="TRUE" DESCRIPTION="This is based on the Tropes as learned by Cantor David Landau as taught by Hazzan Henry Rosenblum based on the Trope of S. Rosowsky.">
<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.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
%MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF% before %ZAKEF_KATON%.
%MUNACH_LEGARMEH% has its own special melody. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="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="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.
</NOTE>
</LESSON_NOTES>
<COMMENT>There are four patterns for the end of an aliya: 1: Tipcha - Silluq 2: Mercha - Tipcha - Silluq 3: Tipcha - Mercha - Silluq 4: Mercha - Tipcha - Mercha - Silluq For some niggunim, there are four components to the niggun for the end of an aliya. We will call them a, b, c and d. For pattern 1, the Tipcha gets niggunim a and b; the Silluq gets niggunim c and d. For pattern 2, the Mercha gets niggun a, the Tipcha niggun b, and the Silluq gets c and d. For pattern 3, the Tipcha gets niggunim a and b, the Mercha gets niggun c, and the Silluq gets niggun d. For pattern 4, the first Mercha gets niggun a, the Tipcha gets b, the 2nd Mercha c, and the Silluq gets d. Note that Mercha is a servant trope while Tipcha and Silluq are lords. Wherever the Mercha is located, it shares the niggun of the trope that follows it. Thus, when Mercha is before the Tipcha, the niggunim a and b are divided between the Mercha and the Tipcha. When the Mercha is before Silluq, the niggunim c a!
nd d are divided between the Mercha and the Silluq. To implement these four combinations, we need to distinguish for Mercha that it is before Tipcha or Silluq. For Tipcha, we need to know only if it is preceded by Mercha. For Silluq, we need to know only if it is preceded by Mercha.</COMMENT>
<MELODIES>
<MELODY LOC="EXO14:29" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="11" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO14:31" TYPE="TIP" VALUE="TIP" STARTWORD="12" ENDWORD="15" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:1" TYPE="TIP" VALUE="TIP" STARTWORD="10" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:2" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:3" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:6" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="17" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:16" TYPE="TIP" VALUE="TIP" STARTWORD="9" ENDWORD="14" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="EXO15:21" TYPE="TIP" VALUE="TIP" STARTWORD="4" ENDWORD="99" TIP="Chanted with 'Song of Moses' melody."/>
<MELODY LOC="NUM10:15" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:16" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM10:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:11" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:12" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:17" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:18" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:19" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:20" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:21" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:22" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:23" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:24" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:25" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:26" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:27" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:28" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:29" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:30" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:31" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:32" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:33" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:34" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:35" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:36" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:41" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:42" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:43" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:44" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:45" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<MELODY LOC="NUM33:46" TYPE="TIP" VALUE="TIP" STARTWORD="1" ENDWORD="99" TIP="Chanted with 'Festive' melody."/>
<TROPEDEF NAME="Sephardic - Moroccan - Casablanca" TYPE="Torah" ENCODING="SEPHARDIC" PITCHBEND="4" KEY="G MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" TRUNCATE_EXTRA_UPBEATS="TRUE" ADJUST_HIGH_MILEIL_LAST_NOTE="TRUE" DESCRIPTION="Traditional Moroccan melody as chanted in Casablanca. As taught by Yitzchak Revach z'l">
<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. The melodies are quite similar. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a simple in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different one note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In Morocan melody style, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
Near the end of the tutorials, there are some lessons and exercises for %SOF_PASUK% phrases at the end of an aliyah and at the end of a book of the Torah. The Moroccan custom is to chant these special verses using the same melody for %SOF_PASUK% as one does for all other verses."
<TROPEDEF NAME="Sephardic - Moroccan - (Idelsohn)" TYPE="Torah" ENCODING="SEPHARDIC" PITCHBEND="0" KEY="F MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" TRUNCATE_EXTRA_UPBEATS="TRUE" ADJUST_HIGH_MILEIL_LAST_NOTE="TRUE" DESCRIPTION="Traditional Moroccan melody. A style without added flourishes. (As recorded by A.Z. Idelsohn.)">
<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. The melodies are quite similar. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a simple in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different one note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In Morocan melody style, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
Near the end of the tutorials, there are some lessons and exercises for %SOF_PASUK% phrases at the end of an aliyah and at the end of a book of the Torah. The Moroccan custom is to chant these special verses using the same melody for %SOF_PASUK% as one does for all other verses."
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="2"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="F" DURATION="11"/>
<NOTE PITCH="E" DURATION="11"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Tarsa">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="3"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="3"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Kadma">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="4" />
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="10" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Shofar_Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="4"/>
<NOTE PITCH="C#" DURATION="8"/>
</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
<TROPEDEF NAME="Sephardic - Syrian - Halab (Aleppo)" TYPE="Torah" ENCODING="SEPHARDIC" PITCHBEND="4" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" TRUNCATE_EXTRA_UPBEATS="TRUE" ADJUST_HIGH_MILEIL_LAST_NOTE="TRUE" DESCRIPTION="Traditional Syrian melody as chanted in Halab (Aleppo) as recorded by A.Z. Idelsohn.">
<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. The melodies are quite similar. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a simple in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different one note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In Morocan melody style, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
Near the end of the tutorials, there are some lessons and exercises for %SOF_PASUK% phrases at the end of an aliyah and at the end of a book of the Torah. "
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="7"/>
<NOTE PITCH="d" DURATION="11"/>
<NOTE PITCH="e/" DURATION="4"/>
<NOTE PITCH="f" DURATION="11"/>
<NOTE PITCH="d" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="c" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e/" DURATION="2"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="11" />
<NOTE PITCH="e/" DURATION="10"/>
<NOTE PITCH="f" DURATION="10"/>
<NOTE PITCH="g" DURATION="10"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="11" />
<NOTE PITCH="e/" DURATION="8"/>
<NOTE PITCH="f" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="c" DURATION="8"/>
<NOTE PITCH="d" DURATION="8"/>
<NOTE PITCH="e/" DURATION="8"/>
<NOTE PITCH="c" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Kadma">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8" />
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8" />
<NOTE PITCH="g" DURATION="7"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH">
<NOTES>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8" />
<NOTE PITCH="g" DURATION="7"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" />
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8" />
<NOTE PITCH="e/" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="11"/>
<NOTE PITCH="e/" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Shofar_Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="d" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="e/" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="e/" DURATION="8"/>
</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
<TROPEDEF NAME="Sephardic - Syrian - Halab (Aleppo)" TYPE="Haftarah" ENCODING="SEPHARDIC" PITCHBEND="0" KEY="G MINOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" TRUNCATE_EXTRA_UPBEATS="TRUE" ADJUST_HIGH_MILEIL_LAST_NOTE="TRUE" DESCRIPTION="Traditional Syrian melody as chanted in Halab (Aleppo), as recorded by A.Z. Idelsohn.">
<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. The melodies are quite similar. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a simple in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different one note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In Morocan melody style, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
Near the end of the tutorials, there are some lessons and exercises for %SOF_PASUK% phrases at the end of an aliyah and at the end of a book of the Torah. The Moroccan custom is to chant these special verses using the same melody for %SOF_PASUK% as one does for all other verses."
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="7"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="4"/>
<NOTE PITCH="C" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Kadma">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="4" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Shofar_Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="f" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b" DURATION="8"/>
</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
<TROPEDEF NAME="Sephardic - Moroccan" TYPE="Haftarah" ENCODING="SEPHARDIC" PITCHBEND="4" KEY="F MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" TRUNCATE_EXTRA_UPBEATS="TRUE" ADJUST_HIGH_MILEIL_LAST_NOTE="TRUE" DESCRIPTION="Traditional Moroccan melody as recorded by A.Z. Idelsohn.">
<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. The melodies are quite similar. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a simple in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different one note melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In Morocan melody style, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
Near the end of the tutorials, there are some lessons and exercises for %SOF_PASUK% phrases at the end of an aliyah and at the end of a book of the Torah. The Moroccan custom is to chant these special verses using the same melody for %SOF_PASUK% as one does for all other verses."
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="11" />
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="C" DURATION="11"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b-" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Kadma">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="AZLA" >
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="GERESH" >
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b-" DURATION="11" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="11"/>
<NOTE PITCH="b-" DURATION="11"/>
<NOTE PITCH="a" DURATION="11"/>
<NOTE PITCH="g" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Shofar_Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" 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
<TROPEDEF NAME="Sephardic - Moses Gaster(Spanish-Portuguese)" TYPE="Torah" ENCODING="SEPHARDIC_SPANISH_PORTUGUESE" PITCHBEND="0" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard melody for Spanish-Portuguese synagogues.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="TELISHA_GEDOLA">
Other than this difference, both tropes are sung with the same melody.
</NOTE>
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. Sephardim do not differentiate between them, singing them with the same melody. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Moses Gaster for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is the different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8"/>
<NOTE PITCH="C" DURATION="12"/>
<NOTE PITCH="b" DURATION="12"/>
<NOTE PITCH="a" DURATION="12"/>
<NOTE PITCH="g" DURATION="12"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>
Sephardim don't destinguish Telisha Ketana from Telisha Gedola
</COMMENT>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="g" DURATION="9"/>
<NOTE PITCH="a" DURATION="9"/>
<NOTE PITCH="g" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Azla">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="8"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="b" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="b" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT AFTER="KADMA">
<NOTES>
<NOTE PITCH="b" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" 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
<TROPEDEF NAME="Sephardic - Moses Gaster(Spanish-Portuguese)" TYPE="Haftarah" ENCODING="SEPHARDIC_SPANISH_PORTUGUESE" PITCHBEND="-4" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard melody of Spanish-Portuguese synagogues.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="TELISHA_GEDOLA">
Other than this difference, both tropes are sung with the same melody.
</NOTE>
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. Sephardim do not differentiate between them, singing them with the same melody. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Moses Gaster for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="F" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="b" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4" />
<NOTE PITCH="D" DURATION="4"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>
Sephardim don't destinguish Telisha Ketana from Telisha Gedola
</COMMENT>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Azla">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<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
<TROPEDEF NAME="Sephardic - Moses Gaster(Spanish-Portuguese)" TYPE="Tehillim" ENCODING="SEPHARDIC_SPANISH_PORTUGUESE" PITCHBEND="-4" KEY="C MAJOR" ASSIMILATE_PITCH="False" ASSIMILATE_RHYTHM="True" DESCRIPTION="The standard melody of Spanish-Portuguese synagogues.">
<LESSON_NOTES NAME="LESSON_NOTES">
<NOTE NAME="TELISHA_GEDOLA">
Other than this difference, both tropes are sung with the same melody.
</NOTE>
<NOTE NAME="AZLA_AND_GERESH">
The only way to tell them apart is by the syllable over which they appear. Sephardim do not differentiate between them, singing them with the same melody. %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">
%DOUBLE_PASHTA% has a special and different melody for each of the last two syllables -- the ones with the tropes.
</NOTE>
<NOTE NAME="SEGOL_PHRASES">
%MUNACH% has a special melody in %SEGOL% phrases. When %MUNACH% comes before %SEGOL%, it has a one note melody that is the same as the first note of the %SEGOL% melody. When %MUNACH% appears before %ZARKA%, it has its a different melody.
</NOTE>
<NOTE NAME="MUNACH_IN_REVIA_PHRASES">
In niggun style taught by Moses Gaster for Haftarot, the %MUNACH% has a different melody than the melody you learned for %MUNACH% before %ETNACHTA% and %ZAKEF_KATON%.
The melody of %MUNACH_LEGARMEH% is different than the melody for %MUNACH% before a %REVIA%. When two %MUNACH_LEGARMEH%s appear next to one another, both are chanted the same way.
</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="DOUBLE_PASHTA">
This doubled %PASHTA% has the name %DOUBLE_PASHTA%. A special and different melody is used for each of the last two syllables -- the ones with the tropes. When you are listening to the phrase on the right, notice the difference between the %DOUBLE_PASHTA% and the %PASHTA%.
</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.
</NOTE>
</LESSON_NOTES>
<TROPE NAME="ZARKA">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="F" DURATION="8"/>
<NOTE PITCH="E" DURATION="8"/>
<NOTE PITCH="b" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="SEGOL" DISP="Segolta" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="6" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="PAZER" DISP="Pazer gadol">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="g" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4" />
<NOTE PITCH="D" DURATION="4"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="TELISHA_KETANA" DISP="Talsha">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<COMMENT>
Sephardim don't destinguish Telisha Ketana from Telisha Gedola
</COMMENT>
<TROPE NAME="TELISHA_GEDOLA" DISP="Talsha" >
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="D" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="KADMA" DISP="Azla">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="E" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="E" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="PASHTA">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="C" DURATION="4"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="MERCHA" BEFORE_BEFORE="TEVIR">
<NOTES>
<NOTE PITCH="a" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="ZAKEF_KATON">
<NOTES>
<NOTE PITCH="b" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="a" DURATION="6"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="AZLA" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="GERESH" DISP="Gereesh">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="D" DURATION="9" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="9"/>
<NOTE PITCH="C" DURATION="9"/>
<NOTE PITCH="b" DURATION="9"/>
<NOTE PITCH="a" DURATION="4"/>
</NOTES>
</CONTEXT>
</TROPE>
<TROPE NAME="MAPACH" DISP="Mehupach">
<CONTEXT DEFAULT="TRUE">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8"/>
<NOTE PITCH="E" DURATION="9"/>
<NOTE PITCH="D" DURATION="9"/>
</NOTES>
</CONTEXT>
<CONTEXT BEFORE="DOUBLE_PASHTA">
<NOTES>
<NOTE PITCH="C" DURATION="8" UPBEAT="TRUE"/>
<NOTE PITCH="D" DURATION="8" UPBEAT="TRUE"/>
<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