Characteristics of the Accents in different books

I don't know if the accents are used in different ways in different books. Except we learned something about the 21 books and the 3 books in the first two posts from this month - that in the 3 the rest on A is approached often without the g and in the 21 it is rarely approached without the g.

What I am wondering is whether the mode of a piece could be inferred from the patterns that are used in the phrases. The first tests will be to see if there are differences between books (in the 21). Then possibly we can see if there are hints of the mode anywhere.

So I decided to test Deuteronomy against Ezekiel as a first try. There is so much information it is difficult to tell if there will be a difference.

How does each approach the rest? How does each return to the tonic? These are the patterns used more than 20 times in these books. You can tell right away that no pattern is unique to a book. [My first lists were misleading - I have partitioned them differently]. The rows are sorted on the note sequence so you can inspect it to see if this sequence is shared. I have no conclusions at this early stage. But this is easier than meditating on degrees of rule.

Deuteronomy	e B f g# B ^A	11
Ezekiel	e B f g# B ^A	23
Deuteronomy	e B f g# ^A	22
Ezekiel	e B f g# ^A	29
Deuteronomy	e B g# B ^A	27
Ezekiel	e B g# B ^A	39
Deuteronomy	e B g# ^A	19
Ezekiel	e B g# ^A	22
Deuteronomy	e C B f g# ^A	10
Ezekiel	e C B f g# ^A	19
Deuteronomy	e C B g# B ^A	11
Ezekiel	e C B g# B ^A	25
Deuteronomy	e C B g# ^A	14
Ezekiel	e C B g# ^A	12
Deuteronomy	e C f g# ^A	12
Ezekiel	e C f g# ^A	25
Deuteronomy	e C g# B ^A	14
Ezekiel	e C g# B ^A	12
Deuteronomy	e C g# ^A	8
Ezekiel	e C g# ^A	20
Deuteronomy	e d f g# ^A	20
Ezekiel	e d f g# ^A	13
Deuteronomy	e f g# B ^A	29
Ezekiel	e f g# B ^A	49
Deuteronomy	e f g# ^A	58
Ezekiel	e f g# ^A	35
Deuteronomy	e f g# f e	2
Ezekiel	e f g# f e	38
Deuteronomy	e g# B ^A	21
Ezekiel	e g# B ^A	49
Deuteronomy	e g# ^A	32
Ezekiel	e g# ^A	49

There are 899 more patterns between 1 and 20 times. The data is a bit overwhelming. And we have not considered the variations introduced by the ornaments.

Here are the patterns for returning to the tonic - 21 or more times. The descending tri-tone is not uncommon. Neither is the diminished arpeggio. A good singer gets it clearly in the ear and finds it easy to reproduce though it is not common in the music of the last 400 years (apart from certain parts in Bach).

Deuteronomy	A B f g# e	32
Ezekiel	A B f g# e	23
Deuteronomy	A B f g# f e	9
Ezekiel	A B f g# f e	22
Deuteronomy	A B g# e	30
Ezekiel	A B g# e	46
Deuteronomy	A B g# f e	44
Ezekiel	A B g# f e	41
Deuteronomy	A C B f g# e	15
Ezekiel	A C B f g# e	20
Deuteronomy	A C B g# e	7
Ezekiel	A C B g# e	22
Deuteronomy	A C B g# f e	13
Ezekiel	A C B g# f e	39
Deuteronomy	A C f g# e	10
Ezekiel	A C f g# e	27
Deuteronomy	A C g# e	12
Ezekiel	A C g# e	14
Deuteronomy	A C g# f e	13
Ezekiel	A C g# f e	26
Deuteronomy	A c d f g# f e	8
Ezekiel	A c d f g# f e	14
Deuteronomy	A d f g# e	15
Ezekiel	A d f g# e	21
Deuteronomy	A d f g# f e	9
Ezekiel	A d f g# f e	16
Deuteronomy	A e f g# e	17
Ezekiel	A e f g# e	9
Deuteronomy	A e g# f e	10
Ezekiel	A e g# f e	12
Deuteronomy	A f g# e	92
Ezekiel	A f g# e	103
Deuteronomy	A f g# f e	49
Ezekiel	A f g# f e	76
Deuteronomy	A g# e	56
Ezekiel	A g# e	87
Deuteronomy	A g# f e	45
Ezekiel	A g# f e	77

There are 514 in the 20 or fewer table, including 293 unique sequences.